Archive for Intellectual Property

The Business and Legal Issues Surrounding Team-Building

Building an independent game development team or think-tank for the first time is typically an organic and exciting process. Although going with the flow and letting things happen can be wonderful for the creativity and enthusiasm of your team, it doesn’t hurt to think ahead and plan for your success or failure. Riding the euphoric tide of a brilliant idea may leave you and your team stranded on a desert island! Once the Honeymoon period is over and your idea begins to take shape as a viable project or set of projects, it’s time to think about more than your design documentation.

This means paying attention to your business and legal relationships and developing some adaptable goals that fit your motives. Don’t misunderstand—developing is your priority, and will always be your priority. It’s frustrating when you’re forced to take time away from development to concentrate on things you simply do not want to think about, like failure. However, anything you invest in, especially when you involve other people, will create risks and possible rewards. Those risks and rewards deserve due consideration and diligence on your part. They will inevitably demand the creation of a business and legal strategy. Thinking about these things early on can save you a serious headache in the future.

I’ve already discussed collaboration agreements. That’s the starting line—the bare minimum you need to get up and running. This article will cover business and legal decision-making from the ground up: who makes the decisions for your project? What’s the purpose of what may now only be a loose cooperative of likeminded individuals? What will you accomplish and how will you evolve? And just as importantly, what business and legal issues should you consider based on your answers?

Your Team: Who’s In Charge Here, Anyway?

You may start with one or two people building on a simple game concept. You might start with a larger group of like-minded individuals focused on idea-sharing and education. You could live in different countries, or you could meet in your community every few weeks through LinkedIn, Facebook, or Meetup. You might be classmates working on a project with other students, professionals, and hobbyists. Your team’s goals and their success or failure will vary as much as the composition of the teams themselves.

The most challenging question you must ask before you can even begin the decision-making process is “how do we make decisions?” The more collaborative and organic the team’s origin, the more uncomfortable teams become when discussing leadership. Sometimes leadership occurs naturally—you’ll have a charismatic voice, an “idea (wo)man”, or someone who has championed and spear-headed the project from the word “Go”. On the other hand, a team may be truly collaborative. Everyone will want to have a say in how things operate. In the case of the “key man” situation, there’s a lack of checks and balances. In the latter democratic scenario no one can act as a final arbiter in the event of a serious dispute. Looking at some examples may help illustrate these problems.

Illustration One: Mary is a recent graduate from a top notch game development program. She wants to bolster her design portfolio for the sake of her job hunt. To do this, she wants to build a team to develop a game concept she’s passionately yearned to create since her youth. The game charts the journey of Squea, an alien taking the form of a sweet, pink nosed, golden eyed white kitten. Squea seeks out the energy created through joy, which she then converts to charge her spaceship. “Joy points” are earned by finding and cheering up lonely and scared young boys and girls throughout the galaxy. Mary attracts a motley team of developers, including an odd artist cousin or two, but it’s clear to everyone that she is the driving force behind the operation.

As the game nears completion Mary’s cousin, Emily, suggests they register the game with the Copyright Office. Mary doesn’t consider this a priority and forgets along the way. Additionally, she fails to include copyright notices on the game’s assets. Because Mary has full responsibility over all aspects of the project, no one else takes it upon themselves to override her. After submitting the game to several game competitions and receiving multiple awards, Mary’s team starts selling the game through digital PC channels. A year later, Emily finds an identical copy of the game ported for free to the Android Marketplace. Furious, she contacts Mary, who subsequently contacts an attorney. The attorney informs the team that although they still own the copyright in the game, their claim for damages may be substantially reduced due to a failure to register the game and a failure to include proper notice of ownership to potential infringers. Emily holds Mary responsible for the sudden dearth of legal remedies and a massive falling out ensues. Family affairs are now tense, and Mary (without consulting the rest of the team) pulls her game from the PC marketplaces. The rest of the team sues Mary, claiming ownership and equal rights to exploit the work.

The fact that Mary was the sole person responsible for all aspects of her game, including its legal protections, worked to the team’s detriment. Most political tyrannies fail; it’s no surprise that business tyrannies meet even less success with the existence of competitors and pirates. Having a checks and balances system in place where multiple team members take mutual responsibility for ensuring the game’s critical and commercial success is an important step to securing your team’s future. However, having too many cooks in the kitchen can lead to its own problems.

Illustration Two: Bill and Carly started a game developer group on Meetyou.com, a popular local event creation site. Every month, the group meets to discuss programming and design concepts, pitch ideas, and collaborate on a variety of projects. After two years the listed members for the group number over a hundred; some are more active than others, but there are roughly 30 or 40 people who are continually involved in projects developed by the group. IP ownership is never discussed and everyone assumes they own their own contributions. Additionally, several of the members are students or employees. Several of these are improperly using third party licenses in connection with their own contributions. Bill and Carly have taken a “hands-off” approach to this; their motivation is to facilitate idea creation, collaboration, and education, and they don’t want to force rules and restrictions on the group.

However, one project becomes a break-out success and sells hundreds of thousands of digital downloads through various mobile marketplaces. Five group members who actively participated in the project’s development can’t seem to agree on who owns what. Several more group members who participated in meetings where the idea was first pitched also claim a “stake” in the game. The fight becomes heated as the game earns more and more. Finally, the group members go to the group founders seeking guidance. Unfortunately, neither Bill nor Carly developed a contingency plan for this possibility. As dissension spreads the group begins to fall apart. Bill and Carly become disheartened and stop scheduling meetings. Eventually the group is disbanded; meanwhile, at least one suit has been filed against the other group members involved in the dispute.

Bill and Carly wanted to engender a wholesome, developer-friendly environment; unfortunately, a total lack of leadership or guidance in any collective that produces a commercial project poses a legal danger to the collective and its individuals. Several alternatives to the laissez-fair approach taken by Bill and Carly include creating a voting membership of core members, creating a set of guidelines for project management, or formalizing as a non-profit or LLC that assists developers in organizing their own projects. These alternatives may permit Bill and Carly to remain in the background while still engendering the type of environment they hope to create.

Your Goals: What Are We Doing?

Both scenarios described above include specific reasons behind the decision to do (or lack thereof). Goals are important. A goal to “make something”, even if you don’t know what, is still a goal. Your goal is the soil in which you will plant the seeds of your ideas—the richer and more substantial your goals are, the greater the likelihood of a good harvest. A goal becomes substantial when it goes beyond “what” and “how” you develop and includes “what happens after we’ve finished?” However, it’s also important that your goals be flexible. This is especially true in the beginning. Finally, it is important that the key players within your team understand the end game and want to accomplish the same or similar goals. Many of your decisions and the way you make those decisions will flow from your underlying purpose.

Let’s re-examine the scenarios mentioned above. In Mary’s case, registering the game’s copyright may not have seemed important because she wasn’t thinking of commercial success. She wanted to bolster her portfolio and she wanted to see her brilliant idea come to life. Without discussing this goal with her teammates, she created a high likelihood that her teammates would participate in the project for entirely different reasons. Certain decisions, such as the decision to formalize, determine IP ownership, and establish profit distribution seem unnecessary when the project is a hobby portfolio builder. These decisions are mandatory when you want to create a commercially successful game.

Similarly, the decision to not focus on commercial projects is just as important to your decision-making process. Bill and Carly only hoped to bring people together and create a community of likeminded friends and developers. Collectives, Start-up Weekends, and Co-Ops are popping up everywhere for iOS, XBLA, and Android/Google game development. The original organizers themselves may seek only to bring people together; they may not have an active interest in making a profit off of the games produced by the collective. In those cases, you have an entire bevy of options both simple and complex: formalizing as a non-profit with a robust IP management and asset distribution assistance program; organizing as a for-profit business entity that also helps distribute the games produced and taking a commission;   may provide both financial stability and legal protection for the collective.

Documentation and Assets

When you formalize the design and technical elements of your game, you put that in a document. Your game documentation is the roadmap for your game, and project leadership relies on this roadmap to complete the game. Your team’s collaboration agreement, operating agreement, bylaws, articles of incorporation, or organizing documents all serve the same purpose—they provide a roadmap, and also spell out how those assets should be distributed and managed. Many, many conflicts are the result of a misunderstanding because something wasn’t “spelled out” in an agreement, or because the parties didn’t anticipate certain possibilities such as failure, dissension, and the investment they may be forced to make to finish the project. Sometimes nothing was written down in the first place. While this may not result in the failure of a project, it may certainly result in the collapse of your team.

Once you’ve decided to put things in writing, and as with design documentation, you may need to reevaluate what you originally wrote down. If you have something in writing and check it frequently when things change, you are taking an important step to keeping the peace. Your agreements let you know how decisions should be made and what decisions are already determined. This goes a long way to clearing up future disputes and the legal costs associated with those disputes.

Finally, knowing the assets that you are creating /contributing and putting a value to those assets is imperative. This is especially true in Bill and Carly’s illustration, where teams are constantly changing and the underlying group is constantly expanding. Determining ownership, distribution, and control of the various intellectual properties (including copyrightable content, trademarks, trade secrets, proprietary and prior works) embodied in a project can be a massive undertaking late in the project’s development. However, an adaptable approach can be taken at the outset to avoid the kinds of problems Bill and Carly experienced. For example, a simplified project documentation form that lists team members, their roles, and their initial ownership interest is a good starting point. Elaborating on that with provisions that spell out what happens in the event of a teammate’s withdrawal, removal, or replacement also goes a long way to avoiding future conflict.

Conclusion

Even if you don’t expect your team to live past the first project, it’s always important to consider the road ahead. “Let’s make a game!” involves a lot of technical and creative elements, but “Let’s make a game people can play!” also involves decisions that have little to do with the creative and programming processes of your game and more to do with your team’s goals and underlying business. Finding time to make those decisions early and often will go a long way toward preparing you for all of the thousands of possibilities and inevitabilities that await your team.

Solutions to Student Ownership and the DigiPen IP problem

In traditional Academia students retain intellectual property to their term papers, artwork, screenplays, and other creative works. So why should this change when Academia meets game design? According to DigiPen and other schools that have implemented similar IP policies, the Institution owns all rights, titles, and interests to the games and underlying content you create through the program. Many students have bitterly confronted the IP ownership quandary presented by these programs. On the one hand, they want to attend a highly regarded and accredited game design/development school. On the other, they want attribution and compensation for their work.

Why Institutions want Ownership

The institutions themselves believe they have the best interest of their students at heart. Claude Comair, President of DigiPen, has previously asserted that this is for the students’ own good. The institution is ill-equipped to determine who contributes to any given project. This could easily lead to legal disputes down the road should a project obtain some success. If the institution retains ownership in the work this is no longer a problem; DigiPen will not commercially exploit its students’ works. The fact that DigiPen has a policy of not competing with the games industry and doesn’t actively release any of the games produced within their program makes it clear that this isn’t greed talking. It’s a matter of control, and it’s not a terribly different situation from what most students will face in the real world.

There are other factors, however, that may also lend itself to the belief that this policy makes sense. In some cases it enables students to create things they otherwise couldn’t produce on their own. According to the USC/SCA (School of Cinematic Arts) Intellectual Property Policy, USC/SCA owns the “Student-Produced Works” that are produced with SCA funds, equipment, guild agreements and insurance. This is without question in the students’ best interest. Securing guild agreements and insurance is an expensive and tedious process that many students are ill-equipped to handle. As these contracts are made with the Institution, the Institution must necessarily own the work. However, students retain rights to the “underlying script, idea, treatment, concept or other written work product related to any such audiovisual work.” Thus students are free to do whatever they want with their idea in the future.

Similarly, DigiPen provides the software licenses and equipment needed to create games within their program. It may therefore share a similar justification as the one presented by USC/SCA; these licenses are expensive and prohibitive. Students may not be able to secure the tools they need to make the game they want without the institution’s help. As these licenses are in the school’s name, games produced with these licenses must be owned by the school. It becomes a balancing act between giving students creative ownership and giving students the tools they need to become effective game developers. And while DigiPen does not permit students to retain rights in their underlying script, idea, treatment, etc., this hasn’t stopped students from reproducing future games that rely on the same game mechanics.

Finding a Balance

So are these institutions in the right? Is DigiPen merely protecting its students by asserting its rightful stake in the project? Perhaps, but it’s taken it to a fascist dimension that is entirely avoidable. As mentioned above, IP policies like the one presented by USC permit students to retain ownership in the underlying work. Any dispute arising between contributors at USC, however, will naturally arise in the future and without USC’s involvement. This is one solution DigiPen and similar game schools could and should consider when examining its own IP policies. Even if the institution itself doesn’t want to compete with the games industry, it has no right to prohibit its alumni from competing once they’ve completed (or quit) the program.

There are other solutions that could give students 100% ownership now, should these schools choose to embrace the policies frequently adopted by the rest of Academia:

  1. IP Education. Information is key, and providing students with an understanding of intellectual property will hopefully prevent future foibles. Game development programs should provide at least one mandatory legal/IP course. This could be a semester-long course or a week long “orientation” program that discusses idea theft, intellectual property infringement (including patent and trademark infringement), copyright ownership, plagiarism, attribution, and the school’s policy concerning idea theft and copyright infringement.
  2. IP Enforcement. Every institution in higher education takes plagiarism seriously. Students can and have been failed or even expelled for stealing another person’s work. Disciplinary measures for idea theft are one of the most stringent among most colleges and universities. This should hold equally true in game development programs. While this does not curb the practice entirely, it certainly provides students with incentive to stick to their own ideas.
  3. IP Ownership. Each team member in a project should own an equal undivided interest in the work. Additionally, each team member may own 100% of their contribution to the work. No matter how the ownership structure is determined, contributors should be documented and attributed throughout the game’s development. This can be managed by an advisor or a senior-student/project lead. Prior to the release or exhibition of a game the game credits should be well established and confirmed. If this isn’t already an existing practice at schools like DigiPen, it should be. Additionally, prior to exhibition or release of a game the school should prepare a copyright application designating who owns what; this can be funded by the students or by the institution as appropriate.
  4. Dispute Resolution. One of the concerns Comair mentioned involved ownership disputes and possible legal claims. Rarely should a dispute concerning games developed in an academic program ever see the inside of a court room, or if it does, it should have nothing to do with the institution itself. Most academic institutions have ethics committees or judiciary committees that will reach their own determination as to claims of idea theft and intellectual property infringement. This same technique can be used to determine whether students deserve credit or should be disciplined.
  5. Licensing. This should be fairly straightforward; prior to the release or distribution of any game, students should be required to obtain the requisite commercial licenses for their games at their sole expense (or at the expense of an interested publisher). Once a student elects to release their game, they are responsible for that game and DigiPen should rightfully disclaim all liability, rights and interests in the final product. However, DigiPen may elect to retain a non-exclusive, perpetual, and royalty-free license to reproduce and display the work for instructional and academic purposes.

Conclusion

Having policies and procedures in place to resolve disputes and discipline those who commit idea theft is the responsibility of any academic institution. DigiPen and other institutions with similar IP policies undoubtedly have their own disciplinary and dispute resolution measures, but for whatever reason have determined that those current infrastructures are ill-suited to manage such disputes. The risk these institutions face is obviously heightened by the commercial value of games, which may encourage students to litigate for monetary reasons as opposed to moral principles.

Regardless of the reasoning behind institution ownership, students should own their work. And despite the problems arising from student ownership, these problems can be addressed without creating a significant burden for schools. A Graduate Student preparing to publish her dissertation from Harvard doesn’t worry about whether Harvard’s going to prevent her from doing so because she used their library to conduct her research. Traditional Academia has centuries of experience handling intellectual property and attribution disputes. These lessons should be passed on to this “new” art form.

Licensing Third Party IP for your Game Part I

This is the beginning of a series. Stay tuned for more.

Game developers don’t always rely on their own intellectual property when making a game. They don’t always develop their own game engines or tools software, or compose original soundtracks for their games, or even use characters and stories they’ve created.  Sometimes developers rely on third party intellectual property, or IP developed by someone else. To obtain third party IP, you need a license. Knowing what you can and cannot do with those licenses is mandatory. Understanding what you can and should negotiate is equally important. I will cover a few of the basics, but by no means all, in this series.

Music

Music licensing usually happens in one of two ways. You either only need the music and lyrics of a song and will re-record your own version or you need the original recording as performed on an album. In every case, there are three primary concerns you need to consider when dealing with music licenses: the fee, the scope of the license (how you can use the music) and the duration.

Let’s take a fictional example. Mercedes is the President of Bottom Line studios and is in the process of developing an MMO for teens and young adults called “Rebel Garden”*. She wants to incorporate some “Guitar Hero”-like mechanics in her game that allows kids to jam out online. She’s also incorporating listening parties and listening stations all over Rebel Garden that allow both indie and signed acts to promote their latest releases. Before she can do any of this she’ll need a licensing system in place to get all of the music she wants to include in Rebel Garden.

Music Licensing Basics

Copyright law treats music in a confusing way by providing two types of protection in a recorded work. First, there’s the musical composition. This is the melody, arrangement, and lyrics of a song. Next, there’s the sound recording. This is the specific recording of a song. So any recording in any format, whether physical or digital, will have at least two layers of copyright protection. What kind of license you need depends heavily on these two forms of protection.

Sync License

Let’s go back to Mercedes and Bottom Line. For Rebel Garden’s rhythm and music mini-games she’s going to re-record the songs she wants to include. This will give her greater flexibility in how the songs can be performed on-line. If she includes some Tool and Puscifer songs she wants the ability to simplify the songs to make them more accessible to her younger audience. Because she’s not using the original recordings from albums like Ænima and “V” is for Vagina, she only needs a license for the musical composition. This is known as a sync license.

The sync license is obtained through the song’s publisher. Co-publishing deals (where the songwriter retains 50% or more of her publishing/musical composition rights) are common, but even in those cases the publisher will handle the licensing (also called “exploitation”) of a songwriter’s catalog and distribute royalties to the songwriter.

Master Use License (Master License)

What licenses will Mercedes need for Rebel Garden’s listening rooms and listening stations? These areas permit players to listen to the latest releases by their favorite artists. However, before Mercedes can include these recordings in her game she must be permitted to use both the underlying song and the recording itself. You can have a sync license without a master license, but you will always need a sync license for the underlying composition if you get a master license.

Unless an artist self-releases record labels hold the rights to reproduce recordings. You will need to contact the record label that released the specific recording you want to use to obtain a license.

Music License Deal Points

Fee: Sync licenses for video games are still relatively new to the publishing industry. Industry standards for fees are therefore still being established. Those fees currently vary depending on the publisher/record label and the developer’s leverage. The rate can be flat fee or royalty-based. A royalty-based sync license could include an advance on the royalty, a minimum guarantee, and any number of ways of defining “net receipts” on which the royalty is based. In short there are as many ways to negotiate the fee for a sync license as there are songs in the vast catalog Mercedes needs. If Bottom Line has the leverage and the budget a flat fee may be ideal. However, if Bottom Line is relying on a big payout at the end and doesn’t have much capital in the beginning a royalty rate can still net Mercedes the song, provided she can negotiate out of an advance. Minimum guarantees can be treacherous, as they will require Bottom Line to pay a set amount at a specific time after the release of the game regardless of whether the game has made any money.

Scope: Scope describes how you’re allowed to use the music. The “Scope” statement will include the title and a brief description of your game and limit use of the song to that game. Mercedes should keep the scope of use as broad as possible to allow for current and future distribution channels within Rebel Garden. The scope should include current and future technologies both known and not yet contrived, and the region covered should be universal.

Term: The perfect deal allows you to use the work for as long as the rights holder retains copyrights in the work. Similarly ideal licenses include words like “perpetual”. However, publishers and record labels may attempt to hedge you in by limiting you to a specific release cycle. For example, a license may say that it will endure for the three years that your game is in print. This isn’t always a bad thing as it may reduce the fee. However, in today’s digital distribution environment games are able to see sales long after the initial release cycle.

Additional Considerations: Sync licenses and Master Use licenses should match up as much as possible. This will avoid confusion in the future. If, for example, Mercedes is using a recording and her sync license is narrower in scope than her master use license, the narrower license trumps. Additional rights granted in the master use license become moot. Another point worth noting: Unless a developer commissions a song for their game, all licenses are non-exclusive; this means Mercedes isn’t the only one who can use it and her rights are limited to the scope of the license.

Movies

Film licensing has taken on a life of its own in the video game industry. Almost every notable film franchise has a game or series of games based on that franchise. These licenses are generally negotiated through the game publisher and are usually so fraught with restrictions and time constraints that the game becomes little more than a mediocre marketing tool for the film. This should be a major consideration when you’re developing for big screen properties; you generally will not enjoy the same freedoms and sense of accomplishment you probably enjoy when developing original IP.

And while a film IP license is often infinitely more complex than a sync or master use license, you still have a handful of major considerations: development time,  approvals and creative freedom/control, and of course the budget.

Let’s assume that Bottom Line Studios is approached via their publisher to produce a game for on an upcoming blockbuster based on a wildly successful book. What deal points should Bottom Line’s publisher fight for prior to accepting this project, and can Mercedes produce a game that’s more than your typical Marketing Department Debacle?

Development Time and Release Date: The single most important consideration for Bottom Line in creating a game based on film IP is lack of development time. The time Mercedes gets to develop a game based on film IP is constricted. A movie studio usually won’t consider licensing its IP for a game based on the film unless that film is 100% greenlit. This means all financing is secured, all necessary parties are committed to the deal, and principal photography is ready to begin. From beginning of principal photography to completion of post-production can take anywhere from 8 months to 2 years depending on the film’s budget, special effects, etc. However, by the time a studio gets around to finding a publisher, principal photography may be well under way unless a relationship with the publisher is already established.

Assuming a relationship isn’t established, principal photography has likely already begun by the time Mercedes is given the dubious honor of developing the game. Bottom Line must deliver the game by the end of post-production. Because film studios often do treat games like marketing tools, the game’s ideal street date is two weeks before the film’s release.

Any developer can tell you that it is impossible to produce a Triple A title in 6-8 months. Even a marginally polished, professional product is difficult to pull off with that much of a time crunch; and it will be crunch, hours and hours of it. And unfortunately, even if a relationship already exists between the publisher and the film studio development time usually isn’t negotiable, with some exceptions. Games based on already released film franchises, television shows, and long term film franchises (e.g., Harry Potter) are under less pressure to produce games quickly.

Creative Control: Another major drawback in developing games for film IP is getting necessary approvals throughout development. Milestone deliverables for a movie-based game are subject to an additional layer of approvals by the film studio in addition to the publisher’s approvals. In the studio’s mind this is necessary; studios need to preserve the integrity of their IP, and this includes monitoring the quality and content of any product licensing their IP. Unfortunately, this also means that the developer has fewer opportunities and less time to make the game fun. The additional approval process takes time away from development. If the publisher has considerable leverage and a working relationship with the studio, or if the film studio is actually interested in making a worthwhile game as opposed to making a merchandising opportunity, some of these approvals may be loosened. However, Mercedes should expect that every aspect of her game will be hedged in by licensing parameters, restrictions, and approvals over all content.

Budget: Unless the publisher is under the same roof as the film studio, studios don’t assist in the budget for the game. In fact budget for a third party IP game is generally less than average because of licensing fees to the studio and the shorter development time. The studio may require an advance or minimum guarantee that the publisher must pay in addition to the licensor’s royalty; this money frequently comes out of the game’s budget and the game’s bottom line. Mercedes will have to keep this in mind when preparing her milestone and payment schedule as the publisher will invariably try to make the budget as lean as possible.

All of this means that Mercedes will have less money, less creative control, and considerably less time to create the game she wants; in exchange, she gets free marketing for her game in the form of the film itself and the crossover customer benefit of the franchise. This paints a somewhat bleak picture for Bottom Line. But this should be familiar if you’ve examined the status quo of games based on movie franchises. Until and unless the movie industry treats games as valuable IP in and of itself, the intersection between games and film will continue to disappoint. However, in the uncharacteristic and unlikely situation that you get a film studio willing to grant you some modicum of creative control and all the stars are aligned granting you the time and budget to do so, you may be able to produce a game that can succeed independently from the licensed IP.

Clearance

One additional concern in all third-party licensing is the matter of clearance and chain of title. Is it Mercedes’ job to ensure that Bottom Line can use certain properties and assets from the film in the game? For example, whether Bottom Line can use likenesses of the actors in the movie depends on whether publisher, studio, and developer have permission from the actor to use his likeness in derivative products other than the film. Whether Mercedes can use the film score depends on if the studio owns those rights. Locations, trademarks, product placement; all of these individual components of IP must be separately licensed or included in the third-party license prior to moving forward.

Missing even one seemingly unimportant license can get the publisher and developer into a world of legal trouble. Ideally Bottom Line has negotiated a publishing deal that lay this responsibility wholly on the publisher. The publisher, in turn, will likely demand some assurances and warranties concerning these assets from the film studio. At no point should clearance be Bottom Line’s problem when creating games for licensed IP. The cost of clearance should also be in addition to the budget and at the Publisher’s expense, not Bottom Line’s.

Conclusion

Third party licensing is a part of the games industry. It is neither simple nor, in many cases, fair. Every game studio will be confronted with it at some point; how you fare depends on what you’re licensing, why, and your bargaining position.

  • Special thanks to David Nonaka at Lionsgate and Patrick Sweeney at Reed Smith for their assistance and expertise.

* All characters, events, companies, and game concepts are fictional.