"The individual developer takes all the risk and the very best they can hope for is to be paid, eventually, if the game does well, but with every chance they won’t get paid at all. There’s no upside. Working for no money up front is a risk, of course, but with a fair, uncapped revenue share deal, the chance of not being paid at all is balanced against the possibility of earning big should the game go on to be a financial success."

"I asked on Twitter how game journalists imagine the perfect press kit."

"a delightful futuristic absurdity: a computer program, pretending to be human, hawking a book about computers pretending to be human, while other computer programs pretend to have used copies of it. A book that was never actually written, much less printed and read."

"LAST STEP IS SMASH CAGE, LIGHT BARN ON FIRE."

"People want to access specific digital things: the song, the clip from the film, the article from the magazine, the section from the newspaper. They are no longer interested in the analog wrap of irrelevance they had to put up with before. And this could have some interesting side effects: it would appear that you can no longer subsidise the weaker parts of your music/news/journalism output by joining them up with the stronger parts."

Fantastic work and figures here, notably linked to a google spreadsheet.

Fine art TV shopping

Simon Carless: DL Games on arcade services are too cheap, more diversity is flattening profits. I think he might be right: $10 for Rez HD? I'd pay quite a bit more than that.

Interesting idea: Extrapolates XBLA sales from gamercards.