Wreck-It Ralph Director Talks About Movie’s Creation

Wreck-It Ralph director Rich Moore says that lessons he learned about humanizing characters from The Simpsons and Futurama really set him up for this movie. Treating animated characters as real was always stressed for those shows.

“What we were making wasn’t a cartoon show, it was a sitcom about real people, that happened to be animated. [That idea] directly translates even into a Disney movie,” says Moore. “What we’re trying to do is tell stories about characters that we care about, in a world we believe in.”

John Lasseter wanted Moore to develop an original video game idea for a movie. “So I really fell in love with this notion of doing a story set in that world, the scope and scale and big spectacle of video games, and having a story about a simple man and an existential crisis — wondering is this all there is in life,” says Moore. “That’s what gave the movie its heart. It wasn’t about two warring factions within video games [like some of the previous pitches]. It had the action within games, but also a profound situation that our character is struggling with in his mind.”

While Wreck-It Ralph is an homage to games of yesteryear, it’s possible now because of how video games have embedded themselves in our popular culture. Moore said, “I think even 10 years ago, it might have been hard to make this movie, or even five years ago.”

Source: io9.com

Exclusive: Star Trek Online Interview Hits Warp 2

In part one of our interview with Star Trek Online executive producer Dan Stahl and Perfect World Entertainment vice president of business development and corporate communications John Young discussed everything from the game’s shift to free-to-play, Star Wars: The Old Republic going free-to-play, and the future of the Klingon faction. In part two of that interview, we continue talking about free-to-play considerations, the game’s learning curve and discuss different ways MMOs could be reviewed.

Where is Cryptic at with PvP content in Star Trek Online right now?

Dan Stahl: Up to this point, PvP has not been a strong selling point in our game and we’ve admitted that we have a ways to go before this can become a vibrant part of the Star Trek Online experience. Cryptic Studios is making a serious effort to address this.

Over the last year we had an internal development team focus on building a PvP only game which helped us tune our engine and editing tools so that we have a better grasp on incorporating PvP into our games. For example, the PvP in Neverwinter is already in a much better state than STO.

We are now in the process of learning from what has been done on these internal projects and applying it to the nuances of our space combat engine.

Has the conversion to free-to-play done well by both Star Trek Online and Champions Online?

Dan Stahl: It has been a very healthy development for both games if for no other reason than the influx of new players. This is one of the encouraging aspects of free-to-play because it shows that there are people who want to play the game that simply couldn’t afford it at the existing price point. In today’s economy, free-to-play makes sense to consumers looking for options on how to spend their time and money. It is wonderful to see that, even with a free-to-play option, there is still a large core audience of players who see value in the benefits offered by subscribing. We are learning a lot from this hybrid model as we approach the launch of Neverwinter.

It seems like for the shift to free-to-play is really complemented by your new bosses at Perfect World Entertainment.

Dan Stahl: It’s been a great marriage. Even before we completed the transaction, we were meeting with Perfect World because they are a thought-leader for free-to-play in China. So once we made the decision to go free-to-play, we started consulting with them before Atari put Cryptic up for sale because they know a lot about what it takes to be successful with this business model. Now that we are part of their company, the marriage has been absolutely beneficial and we are learning from one another.

John Young: There are few teams like Cryptic out there, whether they’re external or internal, to absorb the lessons we want to convey. We couldn’t have asked for a better partner.

I once heard one of the best arguments for why 97 percent of free players in free-to-play games add something to the game — they fill out the world and become part of the gameplay.

Dan Stahl: That’s a good observation – even if you’re not spending a dime, you’re adding to the experience. You feel like you’re part of something greater and everyone wants to go into an MMO when it’s full of people.

Some recent MMOs have struggled with the perception of being empty because the zones are simply too large or spread out.

Dan Stahl: STO struggles with that as well. Whether you have large zones or you instance them it can still be a problem. The key is ensuring that players feel a sense of community as they learn the game. This is accomplished by seeing other players in key locations that act as “hubs” of gameplay. With free-to-play, you commit yourself to a community of people who might play very rarely to those who play every day – it’s all part of the challenge!

Star Trek Online seems to scale well to different PC specs.

Dan Stahl: One fun challenge of free-to-play is that people will try to play the game on any and all PC specs that you can think of. It wouldn’t surprise me if someone was trying to play STO via a Dreamcast.

Star Trek seems like a good fit for free-to-play, since it has a large mainstream fandom.

Dan Stahl: We’ve had internal debates at Cryptic about this. What is the worth of an Intellectual Property when considering a F2P MMO game If I were to compare STO to a retail business, I’d look at some of the great properties like Star Trek and Star Wars which both have a healthy hobby business attached to it. When you consider that there are people who may want to buy Spock’s eyelashes for $1,000, it is clear that Star Trek is their hobby.

The nice thing about a hobby is that you spend what you want to spend. Some people will watch an Oakland Raiders game from the luxury of their couch while wearing their sweats. Conversely, some people will paint their cars silver and black and spend hours tailgating decked out in Raider merchandise. In F2P, you also have people engaged at all levels. Having an Intellectual Property like Star Trek is awesome for a F2P MMO because it brings with it an already established mix of fans that might not exist if you tried to build a space MMO concept from scratch.

Did you think it was important from the beginning to get space combat right?

John Young: The game would not be as popular if the mechanics weren’t fun. It is really unique and if you marry that with squad-based content, there’s a lot out there to enjoy.

Dan Stahl: We built the game with a focus on space combat. It’s very unique, distinctive and it’s relatively faithful to the series’ depiction of capital ships slugging it out. It should remind you of Kirk battling against Khan. So when we think of “getting it right” we feel that we’re faithful to the shows.

Some people early on complain about the learning curve in Star Trek Online — is there any work being done to explain some elements better?

Dan Stahl: That is one of the concerns we had going into the free-to-play launch. We now have good evidence that it’s improved greatly since we launched back in 2010. We find that once players get through the tutorial the majority of the players will stick with the game up through max level.

Nevertheless, there are still some players who feel the tutorial is a steep learning curve. We’ll continue to tweak it because there’s always room for improvement in an MMO.

It’s a bit unfortunate, we feel, about the reviews of the launch version of the game in 2010 since the game has evolved so much since that time.

Dan Stahl: In my opinion, the whole game rating business doesn’t necessarily do a great justice to MMOs. MMOs are designed to grow over time and get better with every major release. It might be better if sites like Metacritic could find a way to rate MMO’s by releases instead of just the initial day one. There are plenty of MMOs that have made huge strides since days one and some that have even gotten worse. Until then, we will continue to offer the game for free and ask for people to try it out and decide for themselves.

John Young: Games as a service is “what have you done for me lately” and Star Trek Online offers so much right now.

What can we look forward to with Star Trek Online Will there be more story content to pour over?

Dan Stahl: Star Trek Online has a very busy schedule over the next year. Season 6 released two months ago and introduced Starbases and the Tholians. Season 7 will be releasing before the end of the year and will feature a storyline involving the Romulans. As a developer, I’m very excited about what we have planned over the next year. The game continues to get bigger and better year over year. The storylines we have coming up will be some our best yet!

Dan, John thanks.

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Exclusive: Trion’s Quest Never Ends

By David Radd

The past year hasn’t been kind to the subscription-only MMORPG. Star Wars: The Old Republic saw free-to-play plans shifted up after subscriber retention did not meet expectations, Funcom has admitted that The Secret World did not hit launch expectations and Mists of Pandaria has failed to completely stave off World of Warcraft’s lower player engagement. All the while countless subscription-only games have switched to free-to-play. Yet, at the same time all of this has been happening, little Rift from Trion has been plugging along and even thriving due to fast design adaptation, plenty of regular content (including Ember Isle, a free expansion) and a variety of ways to experience the game. Now only a few weeks out from the launch of the game’s first paid expansion Storm Legion, we talked with Rift global brand director Jim Butler about marketing the game’s first expansion pack and aspects of making it as well.

The tagline for Storm Legion is “Our Quest Never Ends” – why was this chosen as an important part of the messaging?

This ties back to something we’ve heard customers say again and again: “The Rift team is listening to us.” We wanted to drive that message home to a wider audience and let them know that we’re still listening, and we’re never done adding new features or polishing current ones. That’s true on both the Development and Marketing sides.

Tell me about the “Save a Panda” campaign that was launched to support Pandas International — what prompted it and was the timing a continuation of a proud Trion tradition of tweaking Blizzard in its advertising?

What do you mean, you don’t like pandas Really?! I mean they’re so adorable and cuddly, and . . .  Oh, all right.

Our agency presented a number of great ideas for the pre-order campaign. While we went forward with “Our Quest Never Ends” we really liked the prodding of a Panda treatment they presented — but we didn’t want to be the game that always pokes fun Blizzard in our launch advertising. We couldn’t let their launch go by without a good jab, and this one was too good to pass up. We did a week-long promotion for this around the week of the Pandaria launch, and everyone seemed to love it.

Speaking of purchasing the expansion, how have initiatives to offer the expansion for free to those who purchase a certain amount of subscription time gone down?

Amazingly well; beyond expectations. Our original forecast had us targeting an 7 percent adoption rate. We’re currently at 13 percent and climbing. It’s an amazing deal for gamers that know they’re going to play Rift for the next year.

MMOs are a cyclical business, with gamers playing intensely around major content updates and then sampling other games before returning. Some of those gamers cancel their subs as they check out the new hotness; promotions like this help to insulate the business from the newest flavor.

Any chance for Lifetime subscription to Rift?

Nope; never. I was against the idea when we did it at Turbine, and it won’t happen on my watch here at Trion. Lifetime memberships are a great deal for consumers that plan to spend the next few years playing the game, and a financial disaster for subscription-only companies that have to continue paying for new feature development, salaries, server costs, marketing, etc. Ultimately, it’s a bad deal for the consumer in the long-term.

MMO’s tend to acquire reputations a PvPer’s MMO, a crafter’s MMO, a social MMO, etc. What sort of reputation do you see Rift as possessing, and what sort of reputation would you want it to possess?

I’m one of those marketing folks that plays the hell out of the games I’m working on, from Dungeons & Dragons Online to Lord of the Rings Online to Rift. That’s still a tough question, because I think MMOs present different visages to the various segments of the MMO marketplace.

I’d say Rift has the reputation of a dynamic MMO. The world literally comes to life around me with zone events, invasions, and more. One encounter I’m raid healing, the next I’m DPS, and then I’m tanking the third (all with the same character). Ember Isle, the current level 50 end-zone for Rift, brings all of this together and is one of the most fun experiences I’ve ever had soloing. The Storm Legion expansion is taking all this to the next level with a colossus that actually destroys part of the world and changes tactics based on his attackers.

What has the reception been like to the soul reveals you’ve done for Storm Legion?

We’ve had a very strong, positive reaction to the new souls. We’ve been listening for more than the last year about what customers are saying they’d really like to see for their favorite classes, and these souls are fulfilling those wants. We’ll keep listening too.

Storm Legion is Rift‘s first big expansion . . . what’s hardest thing about creating/producing the new campaign and what’s the most exciting thing about creating/producing it?

Selecting each campaign was hard, but the hardest thing has been managing all the various components for the different campaigns. We work closely with the Development team to ensure that their vision for the final feature matches what’s showing up in videos and text, and typically that means that material comes in very close to the deadlines. Sometimes it means we have to change our schedule to ensure that a feature is available for us to show, and that causes a lot of cascade changes down the line.

Working closely with Dev is also one of the most exciting things too, because we kind of feed off each other. We get excited for their vision, and then we add more feedback from customers and the press, and the feature gets an extra polish pass before it’s even released.

How will you seek to message some of the small but important incremental improvements that are being incorporated into Storm Legion?

We’ve focused on the new features, giving each one a full week or so of coverage before moving to the next. We’ve targeted each of the new souls separately, because we know that players have a favorite class of character to play and they’re waiting for this information. In each of those reveals, we’ve tried to add additional details of new features that will make that core element shine even more.

Ultimately we focus on (and broadcast) those improvements that we’ve heard from customers are on their wish list. For instance, we heard that the macro system was making combat a bit too easy and allowing simple rotations. Update 1.11 (live now) improves all of the classes and makes for much more dynamic (fun!) gameplay.

What sort of creative input do you get from your players and fans? Can you think of an particular examples of useful or intriguing player input you’ve ever received?

We put creative in front of focus groups from time to time, especially for big campaigns. The most useful feedback we’ve received has been to focus on actual gameplay and don’t drown them in CG. Everyone knows CG looks awesome, but you can’t play CG.

Sometimes, what someone says isn’t as important as what they do. We had players who were incredibly upset over the whole ‘We’re not in Azeroth anymore’ campaign; shocked and enraged over us touching something sacred. That was just what a new company needed to launch its first product, though . . . and the rest is history!

Jim, thanks.

Exclusive: From Golden Crackers To GoldenEye

By Meelad Sadat

David Pokress held a number of pivotal roles at Activision during the period the company reclaimed its place as a game publishing powerhouse. From 2000 to 2011, Pokress moved from branding to head of franchise development then licensing, working on key properties such as Tony Hawk, Guitar Hero and Call of Duty along the way.

Pokress’ career path has a ‘state of the industry’ trajectory to it. He entered games as a marketer who had cut his teeth at Nabisco and later Con Agra. The move jibed with the early phases of a trend that continues today, where big publishers look outside the industry for those experienced in other forms of consumer marketing, especially packaged goods marketing.

David Pokress

There’s a reason they relate.

“Whether you are marketing a console game, a freemium mobile title or a Ritz cracker, the basic marketing challenge is the same. You have to solve the riddle that is unique to your specific situation,” says Pokress.

At Activision, Pokress eventually moved from overseeing console games to lead the company’s digital initiatives, including mobile, digital distribution and DLC. Today, where Activision is still dragging its feet towards digital, Pokress has taken the leap. He’s now a founding partner of gigaGame partner, a consultancy focused on social and mobile games.

We talked with Pokress on the changes he’s seen in the industry over the past decade and whether he thinks game marketing has evolved with it.

How did you get into the game industry, and what would you say translates well from being a packaged goods marketer to marketing games?

In 2000, Activision was looking to bring a more disciplined brand management approach to the company. They started to hire some of the people that I respected the most from my company so I decided to learn more. What I found was an amazing opportunity. The job opening was on the Tony Hawk’s Pro Skater franchise. I grew up in southern California playing video games, skateboarding and snowboarding so it was a dream.

The packaged goods industry has always been a training ground for great marketers. That industry trains you to be the conduit between the company and the consumer; helping to not only communicate with consumers about a company’s offerings but also to be the voice of the consumer inside the company. That mentality works across a wide spectrum of businesses including interactive entertainment.


Give us an example of how your consumer packaged goods background came in handy early on in your game marketing career.

The fundamental challenge of finding the best tactics that are appropriate for your situation has remained pretty much the same no matter what I have been trying to sell. A good collection of tactics differentiates you from the competition, connects you with your consumer base and motivates them to buy. A good example of that in action was for the remake of GoldenEye. We had to find a message that would resonate within the highly competitive first person shooter genre that included releases from both Call of Duty and Medal of Honor. In that case we had to lead with our biggest strength, the attachment and memories that so many gamers had for the original. The idea of nostalgia and the memories of playing against your friends was featured in all of our creative from TV to social to online. We were a remake and a Wii exclusive trying to compete with two of the biggest mega-brands in the industry. We did our best to make it work. We tried to compete on a level that the others just couldn’t and wouldn’t. We would have lost if we made it about graphics or gameplay, so we made it personal. Whether you are marketing a console game, a freemium mobile title or a Ritz cracker, the basic marketing challenge is the same. You have to solve the riddle that is unique to your specific situation.

You served several different roles at Activision in marketing and licensing during what could be described as the most pivotal decade for the game industry yet, spanning the last two console generations. What do you consider as the most important changes in the game industry during that time?

There have been so many changes in our industry over the past decade. The rise and fall of licensed titles, the rise of the mega-brand, the Wii breaking the fourth wall, the importance of online play and the rise of mobile and social are just a few of the biggest. I was on both the winning side and losing side of many of these trends. These trends really speak to the changing desire among the consumer base to interact with games in a new way. Consumers got tired of ‘see the movie, play the game’. They wanted more from their licensed titles. Consumers also voted for blockbuster mega titles, proving that if you provide them quality they can get excited about something familiar and will return.

GoldenEye Wii bundle included this exclusive gold Wii Classic Controller


Both the Wii and the rise of online multiplayer showed that consumers want to be social. And the last trend of mobile and social proved that the definition of what a gaming experience has expanded. Consumers can get excited about something other than a triple-A game that takes 12-40 hours to finish. They can actually get excited about tending farms, playing word games or with slot machines in 60-second intervals.

What about from here on out, what do you consider important developments or trends that are changing the industry, whether from a product development, consumer taste or marketing standpoint?

The proliferation of technology that allows consumers to engage with games in so many ways is probably the most significant development. Games are fundamental to human existence. If a person has the chance to play, they will, unless we make it too difficult for them. I remember having to upgrade my graphics card and memory just to play a PC game. That is not very inclusive in nature. Only the hardcore would go through the bother in order to play their favorite PC games. Smartphones now put a powerful game machine in an ever-increasing number of consumers’ pockets. Does that mean that there are no longer any consumers looking for the triple-A console experience? Absolutely not. Many gamers still enjoy the immersive and visually stunning console games of today. But those consumers only represent one segment of potential gamers. Reaching, engaging and monetizing this new breed of gamer is what excites me at the current moment.

You’re at the front of line of social marketing and community right now. What are your thoughts on how social media has changed the way games are marketed today?

The nature of selling has changed so much. In many parts of our industry, the challenge is beyond just convincing a consumer to spend $60 once. Marketers need to expand their notion of the purchase cycle. The purchase cycle is now continuous. That means engaging with their player community in a constant dialogue. That puts social media at the forefront of any marketing strategy. Our consultancy, gigaGame partner works with many companies that make this transition easier for game developers and publishers. The business fundamentals are getting harder and harder. Acquisition costs are rising, forcing many to try and improve in this area. Companies like Playnomics help to acquire not just any player but the right player for your game. One who is likely to stick around and monetize.

Engagement and retention is an area that more companies are investing in as well. The old adage that it is cheaper to keep an existing consumer than to find a new one is more true today than ever. Understanding and communicating with your existing consumers is critical. But the real challenge is to know who to listen to among the chorus of consumer feedback. Companies like Clara Technology can help with community analytics to better understand the real sentiment in your community.

Thanks, David.

Exclusive: Finalists Revealed For Game Connection Marketing Awards

In an exclusive for [a]list daily, Game Connection organizers have revealed nominees for their first-ever Marketing Awards.

Coming from an event best known for pairing independent game developers with publishing partners, Game Connection’s inaugural awards show is keeping to its roots. Major publishers, big game IP and a couple of global marketing agencies will vie for wins alongside indies and unknowns in PR and marketing categories. One winner will be chosen from among all finalists as the ‘Best Videogame Marketing Team 2012’.

A few things stood out when Game Connection announced the awards earlier this year. The contest can fill the gap left open now that PromaxBDA’s Mi6 Game Marketing Awards are on hiatus. Unlike Mi6, Game Connection’s awards don’t have hefty submission fees that can discourage cash-strapped game makers. They’re also focused on about a half dozen key categories. For anyone familiar with agency-centric awards, it’s instantly apparent this isn’t the place to get recognition for every department, format and execution known to ad men.

Game Connection also revealed advisory board members behind the first Marketing Awards. Senior executives from EA, Namco Bandai, Innogames, Ubisoft, Wargaming and Eurogamer were among those who helped get the effort off the ground.

Winners for the Game Connection Marketing Awards will be announced at Game Connection Europe 2012 with the ceremony starting at 4:40pm on November 28th at Porte de Versailles Expo in Paris. Those interested in attending can contact marketing manager Giulia Palmieri.


The nominees are as follows:


Best Digital Campaign

• 4T2 Multimedia – branded advergame for Hero Factory (Lego)

• NC SOFT / Target Media – branded online campaign for Guild Wars 2 (NC SOFT)

• MediaMonks – online game for House of Anubis (Nickelodeon)


Best Experiential Marketing

• GOG.com – booth design and execution at Penny Arcade Expo Prime 2011 (GOG.com)

• TBWA\Brussels – train station football stadium for PS Vita (Sony Computer Entertainment)

• Ideactif – European bus tour for Rocksmith (Ubisoft)


Best Mobile Campaign

• Crispin Porter + Bogusky – “Autodance” smartphone app for Just Dance 3 (Ubisoft)

• Panache PR – global PR campaign for Smash Cops (Hutch Games)

• Fishlabs Entertainment – “Sports Car Challenge” mobile app (Volkswagen Group China)


Best PR Campaign

• Wargaming.net – western Europe campaign for World of Warplanes (Wargaming.net)

• Bethesda – France campaign for Dishonored (Bethesda)

• Marchsreiter Communications – GSA campaign for Dark Souls (Namco Bandai Partners)


Best Print Campaign

• CD Projekt RED – EU and NA campaign for The Witcher 2 on Xbox 360 (CD Projekt RED)

• NC SOFT – European campaign for Guild Wars 2 (NC SOFT)

• Bethesda – France campaign for Dishonored (Bethesda)


Best Broadcast Campaign

• ichi – “Enter the Metro” global online trailer for Metro: Last Light (THQ)

• Sid Lee Paris – “Rise” European trailer for Assassin’s Creed 3 (Ubisoft)

• [a]list games – EU and NA launch trailer for APB Reloaded (GamersFirst)


Best Social Media Strategy

• neoco – European graffiti campaign for Borderlands 2 (2K Games)

• Amplitude Studios – US, EMEA, Russia community campaign for Endless Space / GAMES2GETHER (Amplitude Studios)

• CD Projekt RED – EU and NA campaign for The Witcher 2 on Xbox 360 (CD Projekt RED)

Gree Closes Down OpenFeint

Gree has announced that it will shut down OpenFeint on December 14, doubling back on Gree’s promise to keep the in-game social networking platform open until the third quarter of 2013. This gives developers a limited time to port their games.

“Our game GoNinja has had over 1.5 million downloads on Android and iOS,” said developer George Deglin. “Even if we push an update in time, thousands of our users won’t know to download it and will get a failed game. It’s very frustrating. If we do nothing, new users and users who have previously opted into OpenFeint in GoNinja will most likely not be able to launch our game after the OpenFeint shutdown — it will freeze on the loading screen,” said Deglin. “Since our game has been out for a while now and has so many people who have downloaded it, it’s possible that many of them will leave a bad review upon the game failing.”

Games that are migrated to Gree can reclaim their achievement definitions, screenshots, and game descriptions. The top 1,000 players from a game’s OpenFeint leaderboards can all be transferred to its service.

Source: VentureBeat.com

Deus Ex Film To Be Directed By Scott Derrickson

CBS Films has tapped Scott Derrickson to direct the movie adaptation of Deus Ex. He will co-write the script with C. Robert Cargill, while Roy Lee and Adrian Askarieh will produce and John P. Middleton will serve as exec producer.

Deus Ex is a phenomenal cyberpunk game with soul and intelligence,” said Derrickson. “By combining amazing action and tension with big, philosophical ideas, Deus Ex is smart, ballsy, and will make one hell of a movie. Cargill and I can’t wait to bring it to the big screen.”

Source: Deadline.com

Mobile Holiday Sales Are Expected To Jump 110 Percent

For this holiday buying season, consumer confidence is expected to trump concerns about a global recession. The National Retail Federation estimates that total holiday sales this season will rise 4.1 percent, above the 3.5 percent average for the previous 10 years.

Accenture says that over half of Americans will increase their spending this year by $250 or more, with consumers on the whole spending an average of $582. 53 percent say they will go out and shop on Black Friday, up from 44 percent last year.

Shop.org estimates that November and December sales will grow 12 percent using data from the Commerce Department, the Conference Board and the NRF. Adobe, looking at e-commerce data from 500 retailers using its content and marketing data, estimates that sales between Thanksgiving and Christmas will grow between 7 percent and 10 percent.

Adobe expects Cyber Monday sales to rise 18 percent this year to $2 billion, while the second busiest online-shopping day is expected to be Black Friday, which will see a 12 percent bump in sales. Shopping on mobile devices will be a much larger part of that, as such devices will account for 24 percent of visits to e-commerce sites.

Mobile sales are expected to rise 110 percent overall, and account for 21 percent of all online sales, according to Adobe. Two-thirds of those mobile sales will come through tablets, while the other third through smartphones.

Some retailers are using text messages and push notifications to offer discounts to loyal customers, while others are enlisting them to be brand ambassadors for social sites like Pinterest. “Mobile is helping retailers have better relationships with people,” says Brad Rencher, vice president of digital marketing at Adobe.

Source: Fortune.CNN.com

Star Citizen Raises Over $6 Million

The crowdfunding round for Chris Roberts’ Star Citizen has concluded, raising a record $6.2 million. The Kickstarter reached $2,134,374 spread across 34,397 backers, while the drive on the official site Rocket Space Industries had $4,104,189 with 55,270 backers.

“I am absolutely elated by the incredible outpouring of support for this project,” said Roberts. “It’s clear that space sim fans have just been waiting for a game like ours to come along and rekindle some of the excitement that’s been missing from PC games and the space sim genre. With the resources that our fans have provided, it means the team will be able to provide more features in Star Citizen and deliver an even better game.”

“I’ve been looking for an opportunity to jump back into gaming,” he added. “With all the tools and tech currently available, I can now make a game that really provides gamers with cutting-edge visuals, a highly detailed, immersive world and visceral, heart-pounding combat that only the PC can provide. In fact, PC gamers don’t need to take a back seat to any other platform. With Star Citizen, I want them to be able to stand up, be counted and completely enjoy all that their PC can deliver.”

Source: Kickstarter