Nie bardzo, bo jak się wczytasz, to gra miała podwaliny mocne w postaci gotowej społeczności, a działania marketingowo-PRowe rozgrywane były w mniej typowy sposób. Typowy mamy na myśli pompowanie grubej kasy w ogólnoświatową reklamę. Działania ich były podobne do wspomnianych działań 11bit, który sprzedaje fajnie grę (TWOM) w oparciu o niewielkie środki. Śmiesznie niskie. Stąd rynek jeszcze nie jest w stanie uchwycić jej fenomenu. Co innego CDP jak trzepnie 200 melonów na marketing Wiedźmina 3http://nymag.com/selectall/2017/05/why- ... pular.html
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How an Unfinished Game With No Marketing Came Out of Nowhere to Dominate the Internet
F51 na żadnym z tych poziomów nie działa właściwie.
Battlegrounds’ success was “rooted in several factors,” Twitch’s Jason Maestas, senior director of partnerships, North America, told me. “The fanbase was already in place,” thanks to PlayerUnknown’s previous popular mods, for one. But, just as significantly, “their team has done a phenomenal job of getting the game into the hands of many of popular Twitch content creators” — according to Twitch’s data, “essentially every major variety and FPS streamer” is playing it.
That word-of-mouth distribution method, which can bring in millions in revenue without a traditional PR blitz, represents a dramatic shift in how games are sold, and how they are played. From one standpoint, it’s meritocratic, and it’s easy to sense the waning market influence of traditional gaming publications. Personal brands and one-man (or woman) media operations can now move the needle in ways unimaginable even five years ago. This can give smaller developers, who don’t have marketing or PR budgets, a chance to shine. At the same time, the feedback loop between developers and the people who play their games most prominently and obsessively lets developers make tweaks and changes that benefit their customers directly.
