Porter's World

Pixel Purge

Awhile back I took on a little bet with Ben Lowry, fellow game developer and founder of Playtomic. The name of the game I created for that bet was titled Pixel Purge. It’s come a long way since that time, and has turned into a rather successful flash game. Although the earnings for the game weren’t nearly what I was hoping for, I did learn more in the few months developing /selling it than I have with any other project to date. I’ll now do a break down of how I thought of the game, my expectations, what worked, what didn’t, earnings, and more.

ORIGINAL PLANNING

The idea came to me where nearly all good game ideas come to me, sitting in the mall eating Taco Bell. It was nothing completely original, in fact, I simply wanted to create a better version of a flash game I had dumped a few hours into myself. That game was Cell Warfare. Cell Warfare itself isn’t ground-breaking in any possible way, but it was at the time (in my opinion) the best arena shooter flash games had to offer. The first thing I did was play the game for a good hour or so, to get a feel of what worked and what didn’t. Here’s a short list of flaws with Cell Warfare, as found in my original GDD (Game Design Document) for Pixel Purge.

• The camera system in Cell Warfare was annoying. You moved closer to the edge of the screen at all times, not just when you reach the end of the arena. This feels cramped, and made the distance between the player and off-screen enemies unfair at times.
• The collision detection in Cell Warfare is horrid. The ink splotches in particular are nearly game-ruining.
• I found the yellow quick chasing enemies to be too fast. My deaths by them felt more cheap than my fault.
• Some of the achievements were just silly/annoying. Dying from each type of enemy is not an achievement, it’s failure.
• The game suffers extreme lag on older machines/laptops. Many people reported getting the impossible badge on Kongregate due to the slow down and their ability to navigate better while it lagged.
• The controls in Cell Warfare felt slightly loose. They weren’t that bad, but they weren’t spot on.
• At later levels in the game, some of the enemies have nearly impossible to see contrast with the background. This was reported by many users in reviews, and I noticed it myself when dying from an enemy I couldn’t see.
• The music didn’t loop too well.

That may seem like a big list, but I’m just being critical. Cell Warfare itself is a great game. It was made awhile ago, and has had a huge success on the web. That being said, the above were huge flaws. I wanted to create an arena shooter that addressed all those issues, and added to the core mechanic. Another game I looked at that was popular in the genre, was Amorphous+. While I’m not as big a fan of Amorphous as I am Cell Warfare, I did recognize it’s success as an arena game. The one thing I found interesting about Amorphous + was it’s inclusion of a Bestiary. Despite a ton of mockery from fellow game developers at the fact that I put in a bestiary for only 10 enemies, it was actually very well received in the wild and I’m sure it gave it a slight boost in ratings. The last game I found inspiration from, was Vector Effect. I had previously enjoyed playing Vector Effect for a long while, but felt it was a bit more on the Geometry Wars side of gameplay, which was not what I was going for. I did however like the upgrade system, and that heavily influenced my decision making when thinking of how to do my own. Aside from finding flaws with the above games by tearing them apart, I also took note of what specifically worked, such as the bestiary. Here’s a list of what worked in Cell Warfare as found in my original GDD.

• Easy to jump in and play.
• Clean menus.
• Addictive arcade feel.
• Achievements
• Increased power based on achievements unlocked.
• A sense of power is given to the player with every kill via screen shake, sounds, and animation.

There were other positive features about Cell Warfare and Amorphous +, but to me, those were the highlights. Lastly, I had to determine what additions I would add to the game. Here’s the list of additions as found in my original GDD.

• Add a combo counter to increase the sense of power for the player.
• Add the combo system into the scoring mechanic.
• Add a more advanced bestiary with back-story, stats, images, and unlockable data.
• Detailed data presented in game on total kills, deaths, shots fired, and other stats.
• Tighter controls.

In the end, not everything on these lists was included in the design of Pixel Purge, but all major issues were fixed, and most additions found their way in. Some additions were left out due to the growing size of the game, my interest in a sequel, and my lack of knowledge on exactly how well the game would be received. All in all, I think I picked a perfect place to cap what was going in, and what wasn’t.

EXPECTATIONS

My expectations for Pixel Purge were fairly high, but nothing outrageous. I had seen the success of similar flash games, read the reviews, old and new, and I knew that there was plenty of room for improvement, even among the best of the genre thus far. I knew that Cell Warfare had a solid 3.9x / 5.00 on Kongregate, a very high 4.1x / 5.00 on Newgrounds, and a solid 8.0 / 10 on ArmorGames. I figured with my addition, and the fact that the bar in quality had been raised since those games were created, that I had a fair chance at surpassing the scores on all sites by just a bit. As far as sponsorship earnings were concerned, I was looking to bring in about $5,000 with a primary sponsorship, and bring in another $1,000, – $3,000 in licenses and revenue. As far as viral spread went, I assumed that it’s high scores and views would correlate, I was wrong.

As the flash game market becomes harder and harder to stand out in, so does the reality of my financial expectations. To help pitch my game on FGL, I did up my first ever trailer. I’m not entirely sure how helpful it was for sales, but I’m decently sure it did indeed help. Either way, I learned my way around basic video editing, and it came out pretty well.

RECEPTION

As I had originally anticipated, the game was a rather large success (on some grounds, but not all, more on that soon). The game was originally released with a seven day exclusivity to ArmorGames, and had an 8.2 or so. Reviews were great, bugs were reported, and fixes were in place as soon as possible, all was well. We made a substantial number of improvements to the game during this seven day exclusivity, and this resulted in an even more solid product during the viral release. The score on Newgrounds upon launch was as predicted, in the 4.2x region. This won it a daily 1st place award, as well an an unexpected weekly 5th place award. On Kongregate it pulled out of judgement with a strong 4.2x as well, but when scaled, this was a much more successful score than on Newgrounds. All in all, it’s initial release was a huge success.

As weeks passed, the game continued to live strong. We had launched with medals on Newgrounds, and were then given four badges on Kongregate. We also got a very accurate, and mostly positive review from JayIsGames. Youtube videos of people playing, hacking, and reviewing the game were also popping up, which is always fun to see. We got a ton of PM’s from users on sites saying they loved the game, wanted a sequel, and many even listed suggestions. After about 3 weeks in the wild, we’ve hit a little over 1 million views and 1.7 million plays. Views are how many times the game is loaded, plays are how many times people actually jump into a game. For more stats on that, you can view the public reports. The scores as of writing this are finally starting to set in stone, and are as follows. Newgrounds is sitting on a very high 4.45 / 5.00 rating, with a review score of 9.5 / 10 with over 350 reviews. Kongregate has a very solid 4.14 / 5.00, a very respectable score. ArmorGames has the game sitting on a very high 8.3 / 10, nothing record shattering, but definitely way above average. All in all, the scores are excellent, the reviews make me proud of what I do, and the game is loved by most who play it.

WHAT WORKED

As we’ve seen, the game is a pretty huge success in the eyes of the players. So what exactly made it work? Well, if you go back to the beginning of this post, you’ll see most of the answer. All the fixes that were noted from other games, and all the features added are what makes this game tick. Most importantly, the game is easy to jump into and play. The menus are neat, the controls are simple, and there really isn’t much that can confuse even the slowest of people on the internet. You may be thinking that the gameplay and graphics are the core factor in this game’s success, but I assure you having simplistic controls and making the game accessible is just as, if not more important than anything else.

Next we have the genre. From my research, I found that action games that stayed simplistic did incredibly well. Cell Warfare and Amorphous+ were tried and proven examples. I knew this was more than coincidence, it was factual. I stayed true in design to these games, and as anticipated, it worked. The game was very action-packed, had large enemies, and great explosions. I’ve seen some pretty horrible games add the above and be relatively successful because of it. Add those features to a good game, and you get success.

Lastly, this game has enormous amounts of polish. Most people glancing at the game don’t even notice the sheer amount of detail in the game, but I assure you it’s there. Here’s a small list of polish that helps this game stand above the rest in the crowd.

• The thunder and lightening effect adds huge ambiance.
• Silhouetted enemies in the background add great detail (watch closely when lightening flashes).
• Intro story with pictures, text, and voice acting.
• Particle effects on the main menu buttons when hovering add a sense of high production value.
• Parallax scrolling gives the game world more depth, making the player feel more immersed.
• Explosion effects are randomly generated and not a single animation.
• The large blue particle effect ring when leveling up adds a sense of accomplishment to the player.
• The level-up sound when leveling adds a sense of accomplishment to the player.
• The screen shakes when taking down larger enemies, further immersing the player into the game world.
• The upgrade menu spinning adds a great deal of polish to what would otherwise be a boring, unoriginal upgrade menu.
• 50 achievements give the player a reason to keep playing, and reward them while doing so.
• The added bestiary adds back-story to the world, and the enemies that live within it, further immersing the player into the game world.

There are definitely more touches of polish in there, but those are most of the big ones. Weather this list looks impressive or not, without the above, Pixel Purge wouldn’t be half the game it is. All of these features combined, and only combined, are what makes this game as successful as it is.

WHAT DIDN’T

As you can see, a lot went well with the game. That being said, some things didn’t. The most complained about feature of the game is that we only gave the player a single life. For one reason or another, the idea of giving the player 3 lives or more never occurred to me. I myself am a pretty hardcore gamer, and believe that when you die, you die. That being said, I kept the game on the difficult side, it’s just what I like. As far as the games success goes, adding some extra lives probably would have helped the game be a bit more casual.

While we’re on the subject of casual, I’ll now add that I basically bombed that in nearly every possible way. The game may have been easy to jump into, and easy to play, but that’s about all I did right as far as casual gaming goes. Not adding a campaign was probably the worst decision made in the entire creation of the game. The reason this wasn’t added is because the entire project was supposed to be much smaller in size, and it just wasn’t part of the formula. Keeping it as a simple arcade game meant small, at least, that was the plan. The reason a campaign mode is needed in this kind of game, is because casual gamers need a short-term sense of gratification. Killing enemies in Pixel Purge is rewarding. There’s a giant explosion, a sweet sound effect, and particles fly everywhere. That only lasts so long though, and the next sense of achievement is getting a high score, when you die. There’s nothing between those points, nothing to keep the player satisfied and feeling achieved every few minutes. Adding a campaign would have solved this issue entirely. In addition, it also would have allowed me to scale the difficulty much easier, create some more unique gameplay, add some bosses, and an actual ending to the game. The voice acting intro to the game was great, but the story basically ends there. Players felt cheated when there wasn’t an equally awesome ending to the game.

Lastly, the viral distribution of the game leaves something to be desired. If you look at the public reports, you’ll see that the game only has a little over 1 million views. Many games that are significantly worse in the eyes of the player do 20x the amount of traffic Pixel Purge is pulling. There are a number of reasons this happened, and the most valuable part of this entire project was learning them. First off, having a space theme for this genre of game greatly reduces sponsor interest and viral distribution. I’m not exactly sure what it is, but a space theme hinders a games success more often than not. Proof of this would be comparing our last game Traverse, to Numz. Numz has a very similar rating to Traverse, however it’s viral distribution and earnings far exceed Traverse. Although the above reasons do hinder the viral distribution of the game, I believe there’s another reason the actual views are so low. If you look at the public reports, you’ll notice that the average play time is above 18 minutes for each user, that’s rather impressive. I believe that the replay value that was added, just wasn’t enough. The views mostly consisted of players leaving right off, or staying a full 40 minutes to an hour and beating the entire game in every possible way. In a sense, it’s possible the game was so fun that it was beaten in a single play and left little reason to come back for the average, casual player.  Between the difficulty of the game, the lack of a campaign mode, and the space theme, Pixel Purge just isn’t all that casual and doesn’t offer a reason to keep coming back, and that’s what killed it’s earnings.

EARNINGS

The actual time spent working on the game was roughly 3-4 weeks of solid 8+ hour days from two people. Keep in mind that I’m not an advanced programmer and still have a lot to learn, so every project for me is a combination of work and learning, more so than for most people. In the end, the money earned was barely worth half the time spent.

When the game went up on Flash Game License, it almost immediately received it’s first bid of $500. Bidding then climbed slowly, and eventually halted around $2,000.  The two competing sponsors were PlayedOnline, and ArmorGames. Bidding eventually drew to a halt, so I decided to personally message both sponsors to work out a final deal. I tried pushing for roughly $4,000, or a value of around $2,000 + a performance deal, but neither sponsor was up for it. I eventually got PlayedOnline to offer me $2500, and Armor to offer $2250, I chose Armor. The reason I went with the lower value and Armor, is because I felt that the Armor branding, distribution they could offer our game, and the relationship I would start with Dan, would be worth far more than $250. I still stick to that decision today, and feel that my new-found relationship with Dan of ArmorGames will go much further in the near future. I will admit that I was at first extremely pissed with the low value of the primary sponsorship earnings when I saw the games huge success on Newgrounds, Kongregate, Armor, and so on, but my realizations listed above about how the game isn’t very viral, casual and so on, quickly cleared that up.

Primary Sponsorship – $2250
Non-Exclusive Licenses – $1425
Kongregate Contests – $400 (Weekly 2nd and monthly 6th)
Kongregate Ad Revenue – $343

Total Earnings (To Date)- $4418
My Share (To Date)- $2209

CONCLUSION

The biggest disappointment with the entire project is that I was hoping for this game to be my lucky break. I was really hoping that Pixel Purge would bring us a bit more cash, and give me a chance to finally work on some more ambitious projects that I’ve had in mind for some time now. Although the earnings aren’t bad, a lot of additional post-production work went into raising the earnings to where they are now, which was more time dumped into an already finished game. Despite the somewhat low earnings, I did gain a lot of knowledge from this project. Hopefully with that new-found knowledge I can crank up the earnings on some of my upcoming projects, and eventually get to creating games I’d like to. Overall, I learned a ton, I’ve read hundreds of very inspiring reviews, and I know that I have what it takes to go big. This game may not have given me the break I’ve been looking for, but it’s definitely paved the way for such a thing to happen.

The Fight Against Time

Organization and planning are key to the success of any project. As far as planning goes, managing your time is a big one. Over the years, I’ve found that every single game, web, or programming task I’ve ever set out to do takes significantly longer to complete than my original assumption. Even with the knowledge I’ve gained that things will take longer, I still seem to exceed the time I give myself. Poor time  management may not sound like it’s going to kill you, and it won’t (at least it shouldn’t, I can’t promise anything), but it could end up costing you thousands of dollars, especially when it comes to selling your games.

Good time management skills are definitely something you’re going to want in the flash game industry, especially if you’re new. As mentioned in my post, Being Your Own Boss, it’s incredibly hard to get started as a member of the self employed world; you better have some money saved, or excellent time management and game design skills. As someone new to the industry, you’ll find yourself looking for help more than you anticipated. Waiting for responses in forums, or looking online elsewhere for help can take a long time, a lot more than most people leave room for. In addition, you likely won’t have any contacts with sponsors, so the sales portion of the job will probably take significantly longer than someone with their foot in the door to the industry.

While on the topic of sales, let’s take a look at that bit about I mentioned about losing thousands of dollars. If you’re not working a second job, or sitting on a few thousand dollars of extra money, you may find yourself needing rent money, and soon. As great as this career path is, the time in which you’ll receive your money for a finished game is very unpredictable. Some sponsors will pay you as soon as the deal is confirmed, others will send it 30 days after they receive the final .swf. I’ve experienced the panicked emotions that arise when you’re counting the days until rent is due and frantically trying to finish a game and get it sold, it’s not a pleasant experience. The last thing you want to do is finish a game, or make a game because you need some cash; you should always be making games for fun, or it should at least be your primary concern (yes fun comes before paying rent). Sometimes games will get amazing bids within just a few days, as shown in this post on the SteamBirds earnings; other times you’ll want to give yourself a full month to find a good deal, sometimes two or three. That’s over 30 days of waiting just from the time you finish your game, and that doesn’t include waiting for payment.

Aside from giving yourself time for a proper bid to come through, you’ll also need time to accept, and be prepared for different types of deals. For instance, I’ve passed up performance based deals that would have earned me another $2,000 had I been able to afford having that money trickle in a bit slower (over the course of a few months). I was unfortunately not able to do so, and had to accept a more upfront payment at the time. If I had been prepared to accept payment at a later date, I could have had myself another couple grand, which would have been great.

It’s rather clear that there is money to be had (or lost) based on your time management skills, so it’s obvious that cracking down on those skills is essential for anyone looking to fully utilize their potential. I personally use Klok to keep track of my time management, it’s an excellent program and is incredibly easy to use; check out my review on that for more information. Hopefully with the above knowledge I can save a few of you a couple bucks, or perhaps a couple grand; feel free to buy me a drink or four if this advice saves you some cash one day.

Persistence

Microtransactions have been a pretty hot topic of discussion in the world of games, especially flash games. Services such as MochiCoins and GamerSafe are making their way into more and more games every day. These services definitely accomplish their tasks, and people are using them for sure, but something is still missing. Aren’t the earnings just not exactly where you think they’d be? I think something is missing, and that something is persistence. We all know that microtransactions work, and work well. MMO’s such as MapleStory, Trickster Online, Combat Arms, and more, all thrive from the earnings generated through microtransactions. Well, if it works, and flash games now have services such as GamerSafe and MochCoins, all should be well right? Not as well as you would think actually, because most flash games lack what the above MMO’s don’t, that word again, persistence.

When an MMO is created and released to the world, it sticks around, usually for a very long time. When a flash game is created and released into the wild, it doesn’t exactly get the longest life out there. Sure it could get front paged, maybe grab some badges on Kongregate, but it won’t be a hit for long, at least not your average, or even above average game. It’s exactly this that makes the effort of putting microtransactions in flash games almost a waste of time. Don’t get me wrong, there are exceptions, and it does offer additional revenue, sometimes rather significant revenue, but with a bit more planning, perhaps some persistence, those numbers could be significantly increased.

So there you have, I’ve mentioned persistence three times now, elaboration would probably be a good idea at this point. As I mentioned, flash games have a much shorter life than other games, at least a much shorter life containing a significant amount of players. This cripples any selling of goods within the game because there simply aren’t that many people around to pay anymore. However, if your game was to offer some persistence, this could be fixed, and earnings could be substantially better. If you were to add weekly updates to your game, such as new levels, bonus maps, new quests, just anything to get players to keep the game in mind and coming back, you would see a huge difference. If the game continues to change, it will continue to grab peoples attention, and that will have them coming back over and over again; granted your game is good enough to keep their interest in the first place, and people can find it.

Fantastic Contraption

That brings us to our next issue, how do players find a game that’s old, even if it has persistence? Sure many players may bookmark the game, remember it’s name, and so on, but many will forget about it as soon as it’s buried in the depths of sites across the net. There are many options on how to go about this, some a bit risky, others less effective. One option is to self sponsor the game and release it into the wild, while having many links lead back to a site dedicated specifically to the game. This could include character class guides, rankings, weapon guides, so on, there’s plenty of things that would draw players in. Once a player has clicked one of these links, they will likely remember the game has it’s own website and play it there, or go there when they can no longer find it on their portal of choice. If your project is a bit bigger, and likely to be more successful, you can take a different approach. You could simply host the game on a single site (generating a lot of traffic to that site in addition), and spread the word to bring people in. This could be done by hosting a development blog, doing press releases, getting some of the bigger review sites to look into your game before, and post completion, advertising with ad networks, so on. This may be a bit harder to start up, but your players will always know where to go to find your game, and you won’t risk getting your game buried around the net. In addition, you’ll see a nice boost in ad revenue from all of your fans playing the game on your site, rather than all around the net.

So we’ve determined what works best and what doesn’t, let’s take a look at a few games. Guardian Rock was a pretty successful sliding tile puzzle game. It uses MochiCoins, offers a few free goodies to users, and allows you to buy additional level packs. Although this game did well, it never made it to the top games section of many sites, if any. This unfortunately leaves this game rather low in views at this point (in comparison to what persistence could have offered), leading to low revenue from MochiCoins sales. Had this game had a bit of persistence for fans, the earnings would have been greatly increased. Fantastic Contraption is an incredibly successful game that made amazing earnings off of selling the full version of the game. It’s perhaps the most successful microtransactions flash game to date, in fact, I’m rather sure it is. As you’ll see, this game has what Guardian Rock doesn’t, a persistent place to play the game, a site dedicated entirely to it. Lastly, my newest example, Remnants of Skystone. Remnants of Skystone is an incredibly well built flash-based MMORPG. The game hits the nail on the head when trying to pull players into their world, as well as their microtransactions setup. The game is free to play, but offers a ton of additional features to those who join the Nidarian Guard, AKA the subscribed users list. Certain NPC’s sell things to Guard members only, menus remind you to join the guard for bonuses (without being annoying), and certain additional game features scream at you (figuratively) to join so that you can use them. The game is constantly getting new updates, and in-game links lead you to the game’s site; this is exactly the kind of persistence that will make a microtransactions game thrive. I keep in mind that Remnants of Skystone is basically a full blown MMORPG. I’m not saying that every flash game with microtransactions needs to be an MMORPG, but somewhere between what Fantastic Contraption and Remnants of Skystone does would be a perfect balance.

Become a Member

Persistence in microtransactions games isn’t exactly a genius thought, but nobody seems to be taking the idea in. Perhaps the majority of flash game developers have no experience with PHP and Databases, and because of that leave the idea behind completely, who knows. Regardless of the reasoning, it’s basically common sense to see that persistence will make all the difference in the world. This doesn’t mean you can take a sub-par project and add persistence to make amazing earnings via microtransactions, the game obviously has to be good in order to get a dime out of anyone (or perhaps addicting, but that’s a topic for another day). Either way, you definitely won’t be seeing a game with microtransactions and a lack of persistence out of me, hopefully more and more developers will follow.

The Power Is Yours

“The Power Is Yours!” is not only an awesome catch phrase of Captain Planet’s, it’s also a concept developers really need to understand. The most commonly asked questions by beginners in the flash game industry is, “How much should I sell my game for?”. While some people can help you estimate a price for your game, you should never let a sponsor do so, unless you are very close and have previous work experience with them. There’s a big issue in the game industry right now, game developers aren’t getting the right amount of respect for their hard work. There’s a hierarchy being shown to people that isn’t correct. Publishers and sponsors aren’t at the top of the food chain, developers need to stop acting like that’s the reality.

The first thing we all need to recognize, is that the flash game industry is new, very new. Yes flash games have been around a while, but it wasn’t until the last few years that it’s actually been recognized as a real industry. The young age of the industry is where the complications are coming from; wealth and greed are taking place, as they will in all industries. Those with money want more money, those supplying the fundamentals of that money aren’t getting their fair cut. Don’t get me wrong, there isn’t a fierce battle going on between developers and sponsors, not in the slightest really, but changes do need to be made, and current progress is proof of this concept.

I don’t know the exact dates of growth in the industry, I can however explain some huge growths in general that have happened over the last few years. There was once a time when people made flash games entirely for fun, there were no ads, and even no sponsorships. As we all know, sponsorships did indeed rise, and that was the beginning of where we are today. Everyone also knows of Mochi Ads, they’ve been around awhile now, and are a big name in the flash game industry. They weren’t always around though, or widely accepted for that matter. Once Mochi came around, there was an adaptation of allowing ads that didn’t happen over night. Users hated them, games and movies were voted down on portals such as Newgrounds, and so on, they simply weren’t welcomed. These days, you’ll find Mochi Ads all over the place, as well as other companies such as CPMStar; not only that, but these ads are actually widely accepted and not nearly as frowned upon as they once were. Ads aside, there was also a huge leap forward in the industry when performance deals were introduced. Performance deals allowed developers to get a significantly greater portion of the earnings on a game, compared to the usual upfront lump sum that basic sponsorships call for. For instance, if a game is in a performance deal and becomes the next hit game on the internet, the developer is going to see a lot of money, where as in a normal sponsorship deal, the original payment is about all they’re going to get, aside from a bit of ad revenue. In addition, there’s also the current battle (as of writing this) for microtransactions. For those unaware, microtransactions refer to the sale of in game items for real cash, a popular marketing model in free to play MMO’s that’s slowly making it’s way into the industry. It’s only a matter of time until this model is entirely accepted in the industry, but it’s up to us developers (or you the future developer) to fight the good fight. For more information on the fight on microtransactions, hear what Chris Hughes and a few other big names in the industry have to say over at the Way Too Casual Podcast (Skip ahead to 33:30 to get straight into microtransactions). With the above knowledge, we know that in the last few years we’ve gone from nothing, to sponsorships, to allowing ads, and now we’re getting into microtransactions. What does this mean for you specifically as a developer? A lot.

You may be a grade A developer, you may be someone new in the industry, or you may be somebody reading up on material thinking you want to join in, regardless of your status, we all hold equal power for the progression of this industry. For every developer that forgets that they are in control of their work, and not those looking to buy it, struggle is added to the change in this industry. Each and every developer needs to be educated on what is right and what is wrong, what options we do and don’t have, and what options we don’t, but should have. I’ll stress again that there isn’t exactly a war going on between sponsors and developers, but there is tension; as the Way Too Casual Podcast stated, the word “Microtransactions” definitely stings the ears of some, and that’s something that needs to change. If you’re a new developer, learn your rights, and practice them. If you’re an experienced developer, avoid selling your game for anything less than what you deserve, no matter what the circumstances; it may give you some extra cash quicker, but it slows down not only you, but the entire industry in the long run.

Klok

Are you self employed? Do you find putting in the right amount of work hours hard? Do you find keeping track of those work hours hard? Never again shall you answer yes to any of the above! Infomercial tone aside, Klok is a wonderful program that will not only keep track of your hours, but help motivate you. I recently wrote an article on being your own boss, and how complicated that could be due to motivating yourself to put in a proper amount of hours; since the discovery of this program, my production has greatly increased, and my work shows as a result. Let’s take a look at what the program has to offer.

The greatest thing about Klok, is how simple it is to use. It doesn’t have a ton of added features, it doesn’t require you to save, it just does what it’s supposed to do, keep track of your work hours. To get started, you simply create a new project. All of your projects will show up on the left side of the screen in a color coded, organized list. This portion of the interface can be collapsed if you so choose, but I personally prefer to keep it open. You can double click on a project to rename it, change it’s color, and add sub projects. As far as project organization goes, that’s up to you. I personally prefer to create a main project with my name, then have a sub project for each one of my projects, such as games, website work, and so on. Within games, I have another sub project for each individual game, and within each game project, sub projects for each task pertaining to that game. In the end, it doesn’t really matter how you set things up, the functionality will be the same, it’s just a matter of preference. Once you’ve created your projects and sub projects, you’re ready to go.

Now for actually using Klok to record your hours. To start recording your work, simply click on the exact project you’re working on, such as Porter/Games/Current Game/Level Design, right click, then press work on. Klok will then start recording your work hours, it’s as simple as that. If you want to work on multiple tasks at once, simply activate them, Klok will even change it’s visual representation of your hours to show that multiple tasks were going on during that given time . To stop working, simply press the stop button, located at the top of the program. Pressing stop does seem to stop recording all your current active projects, so if you stop only one task, be sure to resume the others immediately after. You can also manually edit the hours worked on projects; you can move them around to different times, increase or decrease hours worked, and so on. Use this feature if you wish to make up for hours worked when you forgot to turn on the program, something you’ll find rather common before you make using Klok a regular habit. If you need to delete hours, simply drag and drop them into the trash can found on the bottom left side of the interface.

One of the best features of Klok, is it’s ability to display data back to the user. If you’ve organized your projects and sub projects correctly, you can get some very useful information out of Klok, in no other form than the beloved pie chart. To see these charts, simply click on Reports. You’ll instantly see a pie chart showing the data of all your top level projects. Clicking on a project within the pie chart will then update the chart showing the data for that specific project. If you’ve set up your project correctly, you can look at how many hours you’ve put into an individual project, and how much time you’ve spent on each task within that project.

Klok also has a number of added features, luckily for those who don’t want them, they’re not at all in the way. If you’re in a more work place environment, perhaps your boss requires you to log your hours worked, and what you worked on. When this is the case, bosses will generally require you to use a program such as Microsoft Excel. The developers have kept this in mind, and added a feature to instantly export your Klok data to an Excel project file. Your hours can be exported as either a weekly time sheet, or a monthly time sheet, very handy. If you’re into archiving, you can do so by simply dragging and dropping a project into the archive box at the bottom left of the program; that’s a nice plus for keeping track of previous work. The developers are also working on version 2.0 of the program, and from what I’ve read, they’re also adding in support for third party programs. For now, I suggest using the 1.5 beta, it’s far superior to the 1.0 version is stable from what I can tell. If you have any suggestions for the program, check out the developer’s forums and leave a comment.

All in all, Klok is an amazing program. It’s simple to use, the interface is clean, and it gets the job done. If you are like I was, and had issues putting in the right amount of hours, you’ll definitely find that using Klok fixes this. I’ve always wondered exactly how much money I’ve been making per hour as a flash game developer, with Klok, I’ll actually be able to figure that out accurately, and with ease. If you haven’t installed it yet, I definitely suggest doing so, it’s one of the best free programs I’ve ever come across, and I’m loving it.

Audacity

Anyone who works with audio needs a good program. When it comes to game design, audio is incredibly important, and there is always a bit of editing that must be done. Many people are under the impression that they need to pay for expensive audio software, or even hire someone to do their audio work, this isn’t true. Audacity is a free audio program that will cover all the basic needs of a game develop, and with ease. I won’t cover the entire program, but I will go over the basics that a game developer doing sound work will want to know.

Adjusting Volume Levels

An annoying issue that many games suffer, is the lack of unbalanced volumes for sounds. Having headphones on and suddenly hearing an ear piercing sound effect is the last thing your players want, and believe me it happens. To keep your players pleased with the audio of your game, and to allow them to hear all of your sound effects properly, it’s important to balance the volume of your sounds. Doing so in Audacity is incredibly easy; simply open your audio file, highlight the entire sound (or specific parts if you feel like getting fancy for whatever reason), go to Effect, then Amplify. Here you can drag the bar left and right to alter the volume change. Remember that going negative will decrease the volume of your sounds. Test your sound after each adjustment to see if you have the desired volume. I suggest having your music done first, this way you can run the swf and listen to your sound over the music as well. You should also keep your computer volume at a constant volume as go through all your sounds adjusting their volume, this will ensure that in the end, you’ll have a library of sounds that will work well together, and stand out over your music just the right amount.

Cleaning Up A Music Loop

First off, and most importantly, you need quality music to work with. If you’re looking for sources, check out my article on music for games. If you’re taking the free approach, and using music such as that which can be found in the Newgrounds Audio Portal, you’ll likely need to do some editing to the tracks before they’re ready to use. If you download a song from the net, even a loop, you’ll still generally have some work to do, depending on the source. Once you’ve selected a music loop, go ahead and open it up in Audacity. You’ll see no issues at first glance, in fact, testing the loop will sound as if it will loop perfectly; in reality, it will be alright, but nowhere near perfect. If you click on the magnifying glass tool, found on the top left in Audacity, you can zoom in on the sound waves to get a closer look. Take a look at the very beginning and end of your audio, you’ll find that there’s a straight line of absolute silence; even if this is 1/5 of a second, it’s going to show (You may have to zoom in multiple times to see this). Zoom in as much as needed and remove the silence as best as possible be selecting it with the mouse, and pressing delete. Do this to the end of the loop as well, removing any silence found at the end of the track. Now for the testing phase. Highlight the entire track, then press Ctrl + C to copy it. Now click on the two arrows pointing to the right in your playback toolbar, this will take your current selection tool to the end of your track. Paste the entire track by pressing Ctrl+V. You should now have a file with your loop copied twice, the copy starting immediately at the end of the original loop. If you successfully removed the silence at the beginning and end of your loop, you should be able to play the sound file and hear absolutely no hiccups in the middle where the repeat is taking place. If the loop still doesn’t sound right, and you’re certain you removed all the silence and copied the track correctly, it’s safe to say that the “loop” you downloaded wasn’t the greatest loop after all. If all went well, press Ctrl + Z until the copy of the loop is removed (this was only needed to test that it does indeed loop). You now have an excellent loop and are good to go, be sure to save the file as a .WAV as well as .mp3, having both is always a great idea. If you’re using flash, you’ll want to use the .WAV file, this will ensure a perfect loop after flash compresses your file to an mp3. If you’re using something else, such as FlashDevelop and Flex to compile, you’ll be forced to use a .mp3 file since .WAV’s aren’t supported. There is a work around for this, however that’s a bit complicated and will be a different post for a different day. All in all, if you’re using flash, use the .WAV file and you should be good to go.

Creating A Loop From A Non-Looping, Full Length Track

If you’re not finding an existing loop with the feel you’re looking for, worry not. Many non looping songs will have portions of the song that can be taken out and turned into a loop, doing this is actually a common task for me, and I find it rather effective. This is where the true power of an audio editing program comes in, you can get some quality loops in a short time, without spending a cent. Take a look at the song Cobalt Blue Sphere, notice how long the song is, and the fact that it isn’t a loop. Now take a look at one of our past games, Gravibounce, created by Andrew and myself of Epic Shadow Entertainment. Go back to Cobalt Blue Sphere on Newgrounds, and listen to the song from 3:58 – 4:25. As you’ll see, this is the portion of the song that you hear in Gravibounce; it was cut out using audacity. Another example of me doing this is in my first solely developed game, Dominus Void. The song “Lost”, by Ryan Stevens, or Reasoner as he’s often referred to as, was edited by myself to be a title screen loop, it came out rather well. With a good ear, some patience, and a free program like audacity, you too can create great loops such as this. This is far more complicated then simply removing the silence before an already created loop, but it gives you a track that nobody else has ever used, and one of great quality. The trick is to listen to the song closely, and use your ear to find a portion of the song that can loop into itself. When you’ve located the proper position, roughly cut out everything before and after the portion of the song you’ll be using. Be sure to give yourself some extra wave length, this is a good idea seeing as you can remove whatever you want, but you can’t add to the file once you’ve removed too much. Zooming in during the editing process will also give you much more accuracy over what you delete, and you can often see where the new measures starts due to the visual increases in wave length. Use your ear and closely narrow the intro down to the first beat of a measure, this is usually pretty easy to determine in a song, unless it’s something with a tremendous amount of percussion. Once you’ve got the intro down, edit the end of the file so that it ends at the end of a measure, this is usually after 4 major beats as most music is in 4/4 time. Be sure to slice only a little off at a time, then use the testing method as mentioned earlier. Count the beats as the loop plays, if it hiccups before the 4th beat plays, you’ve cut too much off, if it plays a little bit passed the 4th beat, you’ve still got a little more cutting to do. This is an advanced technique, and takes some practice, but it can produce some pretty awesome loops, ones that only your game will have at that. As a rule of thumb, always ask the artist if you can edit their work to create a loop, and always give them credit for their original piece.

Cutting Down A Sound Effect’s File Size

Audio is by far the biggest contributor to flash game file size. Although there are a number of compression options to reduce file sizes for audio, there are also a number of techniques that can be done before the files are even imported into your game’s library. One of the most simple, and effective, is to cut the length of your sound effects. If you open up many of your sound effects in audacity, you’ll notice that the sound waves die out, and trickle for some time, often times doubling the wave length of a sound. Although there is indeed sound going on here, you often times can’t hear it, especially over music. To greatly reduce the file size of effects, simply cut off these trickling endings bit by bit. Each time you cut, listen to the sound to ensure that quality isn’t lost, if it isn’t, cut some more. You’ll be surprised at how much of a sound wave can be cut off before any audible changes occur. Using this method on your entire library of sound effects will greatly reduce your file size, making for quicker load times, and in the end, happier players.

Correcting Audio Files

Ever had an mp3 file that flash just wouldn’t accept? The reason for this is most likely that your mp3 file has a bit rate that flash doesn’t support. You can check the bit rate by right clicking on your sound file, going to properties, then to summary. If the bit rate is not one that is shown on chart below, you’ll likely encounter problems. The good news is, you can simply import your audio file into Audacity, then export it as an mp3 again; this will change the bit rate to 112 kbps, the default bit rate for mp3′s in Audacity.

Bit Rate Chart, Source: Articulate Blog

Conclusion

That’s a lot of power for a free audio program, respect to the authors for such an awesome program. Aside from the above, you can do plenty of other complex variations to your audio files. Some of these include pitch changes, tempo changes, adding echo, adding reverberation, bass amplification, and more. Audacity may not be a full fledged audio program, but it definitely has what’s needed to take care of your basic audio editing needs, and that should be enough for any flash game developer.

Sources For Sounds

Whenever audio is brought up pertaining to game design, most people seem to jump straight into the thought of music. Even I thought of game music first, and proceeded with writing an article on the importance of game music before even touching the thought of sound effects. Where is the importance of game sound effects? It’s definitely there, and just as important to games as music is. Not too long ago I made a list of music for games, now we’ll take a look at some sources at which you can acquire game sound effects.

If you’ve ever found yourself looking for sounds for a retro styled game, look no more. SFXR is a free program that will meet your every need as far as retro sounds go. I came across this wonderful program earlier this year when working on Tower of Greed; never again will I have troubles with finding retro sounds for my games. If you want a more in depth description, follow the above SFXR link to my more in depth review. Be sure to check out Tower of Greed as well, every sound in the game was created using SFXR, so it’s a perfect example of what it’s capable of.

Freesound.org is an excellent source for all sorts of sounds. With a large database of user submitted sounds, you won’t have trouble finding anything, menu bleeps, thunderstorms, you name it, it’s likely here. The search system is great, allowing you to search by file name, description, duration, and so on. Even though you should be good to go with anything you find, always be sure to check the licenses before actually downloading and using any sounds.

Another free source, and rather well known, is Flash Kit. Flash Kit offers numerous free sound effects for all to use. There are multiple categories, sub categories, and plenty of variety. The organization is unfortunately a bit lacking, and there is no way to organize sounds by duration, but they’re all there, and with enough time you’ll definitely find sounds that are of use to you. The licenses vary from sound file to sound file, so be sure to check closely before downloading and using any. Overall, the net is short of free sound sources, and this is one of the best.

PacDV is another great source for free sounds. They offer a medium sized collection of sounds, all entirely free. You won’t find every sound in the world here, but there are definitely enough to fill the basics and get some good background sounds, whether it be a crowd, or rainfall. The sounds are organized in a number of main categories, all rather self explanatory. Overall, it’s a nice collection of sounds; if your desired sound is rather common, chances are you’ll be able to find it here, and for free.

SoundJay is yet another free source for sound effects. This is yet another medium sized selection, but it’s definitely got it’s use. Much like the other free sound sources, they offer a variety of sounds, again all free. The sounds found here are unique to the site, so you don’t have to worry about finding duplicate sounds from previous sites and similar categories. In addition, there are a few short music tracks that are available for free use as well; I found them to be of great quality, so if you’re in search for music as well, give them a listen.

If you’re looking for more variety, as well as higher quality, there’s always the option of buying sounds. Soundsnap is an excellent site for sound effects. The site offers a very large variety of sounds, all of which are incredibly organized. You can filter by category, duration, ratings, date added, and more. I personally find sorting by category and duration best; the 1 second sound effects are generally excellent for games in my opinion. I’ve used them in the past and have been very pleased with them. You can check out Gravibounce for examples of their sounds, I had a lot of fun working with that one and feel the sounds fit very well. The site offers various plans, so depending on your needs you’ll pay anywhere from $30 for a single month of up to 100 downloads, to $150 for a year of unlimited sound effect downloads. I’m rather certain that after my next game sells I’ll be picking up an annual subscription; if you’ve ever spent time looking for sound effects for your game, you’ll know these rates are plenty worth it.

Another great site that offers paid sound effects is PartnersInRhyme. That’s right, not only do they offer an excellent selection of music, but they also have some incredibly well put together sound effect collections. What they offer varies by collection, there’s an all purpose mix offering over 2 gigs of quality sounds, as well as specific collections that are more themed, such as ambiance or horror. All collections offer the ability to preview them, so you don’t have to take a gamble in buying a collection you’re not sure of. Regardless of which collection you purchase here, all are of superb quality and will meet your needs.

There you have it, you now have excellent sources for both game music and sound effects. You now have everything needed to supply all of your future works with high quality audio, both music and sounds. Both lists were compiled using knowledge from my previous experiences, as well as current findings while working on my newest projects. I’ve spent a lot of time narrowing down the best of the best, so be sure to utilize these lists, they’ll save you a lot of time.

What Not To Do

One of the biggest mistake game developers make, is having a game that isn’t fun, even though it is in fact playable. Sometimes this is caused by something rather simple, such as the game running sluggish. Although lag is a huge issue in many games, that’s not what I’m referring to, I simply mean the game plays too slow, the action doesn’t come fast enough. If ever there was something you don’t want to do in game design, this is it, because today’s players have even less patience than those of the past. In addition, you’ll find yourself working weeks, even months on a game, only to have absolutely no sponsor interest, and not an idea why such is the case. If you really think this doesn’t apply to you, read on. Notice I didn’t say “One of the biggest mistake new game developers make” in my opening statement, that’s because even world famous companies make these mistakes, everyone does time to time.

The best example of a game that has been entirely broken from sluggish gameplay is Final Fantasy VI on the PS1; it came with Final Fantasy V in the Final Fantasy Anthology collection. Final Fantasy VI, as many of you may know, is one of the most impressive RPG’s of it’s time, and by no means a bad game. Aside from being impressive, it also had a lot of random battles, which was fine on the SNES, but absolutely horrid due to load times between battles on the PS1. It never should have been ported in my opinion; the down time spent just waiting is so immense that it honestly ruined the game, I didn’t play more than an hour into it. I’ll remind you that when I first got it, I was psyched to play one of my classic favorites again, and have no problems with turned based battles and random encounters; the remake however, was unplayable to my standards. Although the above issue is mostly due to hardware, the company was aware of the issues before releasing the game, it was just poor judgment on their part to ever port the game.

Final Fantasy may be a console game, but that doesn’t mean that flash games can’t suffer the same consequences. In fact, flash games are more susceptible to failing because of this, due to the low patience of casual gamers. As some of you may know, I review a lot of games over at FlashGameLicense; you would be surprised how many games suffer from slow paced gameplay. Slow gameplay issues I’ve encountered vary. I’ve seen action games where the tank moved far too slow, sliding puzzle games where the block moved too slow, games where the player could outrun the bullets shot by his own weapon, and more. As cool as a game could be where you have some power that allows you to slow down time and run around bullets, that wasn’t what this game was going for, and that called for very obvious failure. You may think all of these are novice mistakes, but there are some very professional games out there with this issue, some that suffer horribly, others that could have benefited from an increase in speed in certain aspects.

All of this may sound like another novice mistake that you’re probably telling yourself you’ll never do, but I guarantee that somewhere in your future works, there will be a time when one of your games is severely hurt, or hindered by such an issue. The biggest reason for this, is that most developers generally don’t even notice these issues, this is usually due to a curtain of illusion that is thrown over a developer when they work on their own games; we as developers become oblivious to some of the most obvious faults with our games and will never notice them until told by an outside source. If you ever suspect that you’re game could in fact suffer from such an issue, take a look at Four Second Frenzy or Grid 16, they are fast paced from start to finish, exactly what the market loves. You may be thinking, well I have a puzzle game, or a defense game, same applies; even tower defense games,  such as Flash Element TD 2 offer the ability to speed up the game once you’ve got things under control. No matter what genre your game is, there are always moments when things can get dull, not always due to gameplay elements, but how slowly they’re presented. No matter how open minded about your game you think you are while testing, get others to test the game and give you feedback; you’re far better off being surprised with testers catching sluggish gameplay, rather than your players when the game goes live.

Part 1 || Part 2 || Part 3

The Boss

Being your own boss is pretty sweet. As a full time web developer, and flash game developer, I’ve come to enjoy far more time in my room and outside, rather than making pizza on the make line at Domino’s. As great as being self employed is, I perhaps jumped into the self employed role a bit too early, and I’m facing the consequences of that now. I do however plan to push through hard times and succeed, but I’m here to share the pros and cons of being your own boss, and what you can do to ensure a smother ride if you happen to choose this wonderful route.

Everyone wants to be there own boss; nobody likes taking orders from others, especially when your input on matters isn’t really appreciated, or even listened to. Aside from the horrible wages and lack of free time I experienced working a “normal” job, I also got sick of taking orders from someone above me, especially when that someone wasn’t exactly as intelligent or deserving of that position in comparison to myself. This is one of many things that finally drove me to the decision of quitting my job and becoming self employed. Sounds awesome right? For the most part, yes, but there are a few negative aspects to it that I’ll go over now.

I admittedly jumped into being self employed a little too soon, I can cope with it now, but at a price I would have avoided had I known what I know now. I definitely should have gotten more experience under my belt before making this my actual day to day job, especially without having too much funds saved up. Stability of income is an incredibly important thing, if you’re not entirely prepared to be out on your own and self employed, you’ll find yourself facing unstable income from time to time. This can all be easily avoided if you save up enough funds to support possible issues, so I definitely advise anyone considering becoming self employed to do so. I also encourage you to be well prepared for what it is you’re doing. If you’re a programmer, make sure you know your stuff, learning is much harder when you have to worry about paying the rent and where that money will come from.

The next issue, and biggest issue for myself and others from what I’ve heard, is motivation. It’s really hard to put in the proper amount of hours, as well as actually stay focused, when sitting in front of a computer. I’m not addicted to any social networking sites, nor do I play any MMO’s, yet I still find myself wasting far too much time in front of the computer; this generally consists of doing things such as browsing the net, reading interesting articles, looking at computer parts on Newegg, and so on, it’s just one thing after another. When I finally do get settled down, and into a mental state that is ready for work, a friend will call me up and invite me to some gathering that all my friends are going to, something I have a hard time passing up when there isn’t someone there to tell me no. It’s not that I don’t have self control (believe me, I’ve passed many events in the last few months), it’s just not as easy to pass up a good time when nobody is stopping you but yourself. If you think that this could be a possible issue for yourself, check out my other article titled Motivation Boost. In addition, I strongly advise you to change your desktop background to a little motivation, it’s effects are rather impressive.

Lastly, there’s the wonderful world of taxes. This really shouldn’t be an issue, at least once you’ve learned what’s required of you as someone who is self employed, but unfortunately for me, I’m one of those people who has been delaying the research and will have to deal with it when the time comes. Some sponsors require you to fill out a W2, while others don’t. Regardless, I don’t exactly know what to do when it comes to my taxes and being self employed, and this could prove to be an issue in a few years. It really isn’t a huge issue since I have records of all my game sponsorships, but it’s still something you have to be aware of when becoming self employed.

Cons aside, there are definitely perks to being your own boss. I can sleep in as late as I want, whenever I want. I’ll repeat that for those who are in shock, yes, I can sleep in as late as I want. There is no greater perk to being your own boss than that. I don’t have to rush out of bed, take a shower, catch a bus, then fly down to a place I don’t want to be. Instead, I can wake up slowly, grab some food, hop online for awhile, then let the course of my day roll out as I please. We all remember the dreaded sound of an alarm clock waking us up for school or work, rarely do I hear that sound anymore, and when I do, it’s not I who has to wake up with the feeling that smashing something against the wall is a great idea.

As far as free time goes, there is a lot more free time to be had, and it really won’t hurt you if you use a bit of self control and plan out your work schedule. On that note, I highly suggest you plan out actual hours for yourself, don’t feel that you have to work those exact hours, but giving yourself a rough outline will help you maintain a balance of free time and actual work accomplished. I suggest using the program Klok, it’s an excellent program to keep track of the hours you work, and those you don’t.You’ll also find that having more free time makes you a happier person, which in turn makes your actual production hours more valuable because you’re in a better mindset. The amount of work achieved when happy and working on something passionate is significantly larger than work you have to do, and really don’t give a damn about.

Lastly, and most importantly, there is a certain sense of accomplishment one gets from working for him or herself. My biggest complaint with a “normal” job is that I constantly felt like I was wasting my life, like I was literally a slave to society and the system that it rests within. Making pizza is fine, but it’s not something I want to do, it’s not something I can feel proud of. People shouldn’t have to sit behind counters and take orders for nearly 25% of their life (168 hours in a week, full time employment is 40 hours, often times more). If I’m going to be working that long, it’s going to be towards something I’m passionate about, something that I enjoy, regardless of how tiresome it can be at times. That being said, I would rather work 40 hours a week as a game designer and just barely be able to pay my rent, then work 20 hours at a gas station making more, it’s just that much more fulfilling.

All in all, being your own boss is excellent. You’ll live a happier lifestyle, feel more accomplished, and eventually make more money than any retail job will ever pay you. It takes a lot more work than those jobs do, and often times it’s much harder work, but you’ll gain valuable knowledge along the way, and actually enjoy yourself. The few cons I mentioned aren’t really cons, but more things you should be aware of before becoming self employed. If you enter carefully, and well prepared, you’ll find yourself a much happier and successful individual.

Music Sources

Every great flash game needs top notch music in order to fully succeed. If you’re reading this, I’m sure at one point or another, if not now, you’ve wondered where you can go to get great music for your flash games. There are tons of sources, some free, some not. Some are widely known, while others are known only by myself and a few others, up until now. I’ve mentioned the importance of game music numerous times, by utilizing the below sources, you can take those teachings, and apply them to your games.

Let’s take a look at some of the more well known sources. Somatones Interactive Audio may be a bit on the more expensive side for audio, but there isn’t a chance in the world that you’ll walk away feeling like you didn’t get your money’s worth. These guys know what they’re doing, and they do it flawlessly. They have more experience working with music than anyone else in the flash game industry, and it shows. They’ve worked with companies such as Disney, Konami, Nickelodeon, Sony, Ubisoft, and plenty more. Keep in mind that the work they do for you is exclusive to you, meaning your game will have custom music that no other in the world has. Visit Somatones and check out their work and customer feedback, if you can afford their rates, it’s definitely worth it.

Another great source for music is ibaudio. These guys have a huge library of royalty free music for a very reasonable price. You can purchase music for any genre and feel you desire, some for as low as $10 a loop. Music is purchased using credits which you buy from the site, buying in bulk can save you up to 40%. In addition, you can purchase a 1 year subscription for a one time payment of $213.69; this allows unlimited downloads, which is definitely worth it for anyone pumping out multiple successful titles in a single year. On top of that, any music downloaded during your year subscription may be used by you in the future, even after your subscription is up. Keep in mind the music can be used by you, and only you, any abuse to this system is of course illegal. If you are somehow not finding exactly what you need throughout there massive library, you can also request custom music, they’ll work closely with you to negotiate pricing and get the exact music you’re looking for.

Another great source, despite being less catered towards game music, is Stockmusic. They have an expansive library of music, most tracks being in the $30 range. All music is of excellent sound quality and very professionally done. The site as I said doesn’t exactly target game music, but they offer an amazing search tool that will let you find exactly what you’re looking for. You can also legally alter the music in order to create loops, add echo, or any other reason you may find, so despite the music not being perfect for games right off, it shouldn’t be an issue with anyone who knows how to do basic audio editing. Stockmusic also offers custom music. If you chose to do this, you will be working closely with a composer who fits your genre best, and are supplied demos of the works as they progress, allowing you to suggest changes and customize the music to your liking. I haven’t had any direct experience with these guys, but they definitely look like they know what they’re doing.

Audiosparx is an ideal source for anyone looking to find quality game music. I suggest filtering to search for loops as they’re much more suited for games, but that’s up to you. Rates definitely vary on this site, but the quality is consistently high. Be sure to view “B” rates, these rates pertain to the license you’ll be using in order to legally put the music into your games, distribute them, and profit. These guys have experience with the big guys in the industry, with music in games by companies such as Midway, Atari, EA, and more.

MusicLoops is another great place to find royalty free loops for your game development needs. All tracks are in the form of a loop, so little to no editing will be needed on your part. With a large variety of genres, there’s not a feel you won’t be able to find. The majority of music is roughly $20-$40, which isn’t much for a fitting piece of quality music. A clean design, variety of music, and affordable rates, make this an excellent addition to any list of sites to search when looking for affordable audio for your projects.

Now we’ll take a look at another company I actually have experience with. Partners In Rhyme is an excellent source for virtually all genre’s of music, including seasonal genre’s such as Halloween and Christmas. Each package includes various tracks, each with an incredible assortment of loops, track edits, multiple duration cuts, and the occasional stingers. Some packages will even come with bonus content, including various additional loops and sound effects, some of which you may find even more useful than the original content you purchased. Packages are places at various prices, most resting between $80-$90, which is well worth what you’ll be getting from these guys.

Another site that caters directly to flash games, is Twune. The music is of decent quality, and all packages go for a flat rate of $75. The convenient part of buying from Twune, is that all the editing is entirely done for you. Each package includes multiple loops cut from the same track, allowing you to have multiple loops throughout your game, all with a similar sound. The selection is a bit smaller than some sites, but they’re still growing. Overall, the convenience of multiple loops coming in a single package is convenient, and definitely worth checking out.

In addition to many of the large companies, there is an endless source of freelance musicians just dying to have their music heard by the world. These musicians are incredibly talented, and for the most part, unknown to everyone other than their friends and family. Despite their lack of popularity, these musicians have incredible talent, and will likely be known for it in the future. For the time being however, they lack exposure and are eagerly awaiting to hop on board a project.

A well talented individual that falls into this category is Mike Taylor. I met Mike when living in the wonderful rolling hills of Moscow Idaho. After meeting him, I found out that he was incredibly talented at the piano, as well as doing his own compositions in various other genres. He can do a variety of music, such as techno, trance, ambient, classical, 8-bit, and so on. As far as the flash industry goes, his music can be heard in Dominus Void and Tower of Greed. Dominus Void features features various tracks from multiple artists, track two being Mikes, while Tower of Greed was composed entirely by Mike from scratch. As you can hear, it sounds very authentic to the days of the NES, so much in fact that it sounds as if it could have appeared in a popular title in the early 90′s. Mike is always looking for custom music work, and will listen to all of your ideas and suggestions to make sure the music fits your exact needs. He’s a huge perfectionist, so don’t be surprised when he scraps something you’re proud of and comes back the next day with something far more impressive. His rates are incredibly affordable and definitely worth what they add to your game. He’ll help decide a fair price with you depending on various factors, all of which you’ll both discuss and plan out beforehand.  If you’re interested in having Mike do some work with you, you can contact him via Newgrounds PM, or email him at miketaylorandhisimaginaryband@gmail.com; I know, it’s an awesome email address.

Another excellent, and unfortunately lesser known artist, is Yiannis Ioannides. I met Yiannis recently while browsing the forums over at Newgrounds. I listened to his music and felt a strong urge to get in contact with him and talk business, so that’s what I did. Yiannis is an incredibly skilled musician who is currently studying film scoring and jazz composition at Berklee College of Music over in Boston, MA. He’s passionate about composing game music, and specializes in music that consists of jazz, electronica, world, classical, ambient, soundscape etc. He’s looking for work and would be more than happy to compose for all sorts of games, from young, colorful, interactive games, to darker, serious, professional games. Rates vary from project to project, and will be negotiated prior to completion. Definitely give his music a listen and keep him in mind for future projects; he’s got a lot of talent just waiting to be put into your future works. You can reach Yiannis for questions and work by emailing him at yioannides@berklee.net.

If you’re looking for some music on the cheaper side of the spectrum, perhaps free, there’s always the Newgrounds Audio Portal. Contrary to popular belief, nearly all of the music on Newgrounds is free. There are a few things to keep in mind however. You must always contact the author of a piece you wish to use, let them know of your project, and always request permission. They’ll decide on the terms when responding to you, but 99% of the time artists are just looking to get some exposure, and are thrilled to hear that their music will be used in a game. They’ll generally ask that you mention them in the credits, as well as link to them on the credits page if possible, which is more than acceptable. The audio portal offers a lot of music in various genres, so you shouldn’t have any issues finding some good music. Seeing as it’s an audio portal run off of user submissions, you will have to filter through a lot of lower quality music in order to find what you’re looking for, but that’s the price you have to pay if you don’t feel like forking over some cash.

Another free source is Incompetech, a website run by Kevin MacLeod. Kevin has a large library of royalty free music that he has composed and recorded himself. You can search by genre, or by mood, giving you plenty to work with when it comes to getting the right feel for your project. Kevin doesn’t charge anything for his music under the creative commons license, but greatly appreciates donations as all artists do. The only thing actually required of you is to list his name in the credits, as well as the piece(s) used. If you like what you hear, Kevin can also compose custom music for you, rates are negotiated on a project by project basis.

As you can see, there’s plenty of sources to get amazing music out there. Until recently, I was one to just go out and get free music and do my best with it, which has never hurt, but after doing the research for this article, I can’t stress how important quality music is. I had always thought that I did a fantastic job selecting music for my games prior to this article, however looking back, I did great, but these services offer a quality that cannot be matched for free. If the above prices sound a bit high, consider the fact that the value great music will add to your game is far more than you’ll be paying. If you can’t afford exceptional music from the above services, perhaps land a sponsor, then point out some music you would like to add to the game; chances are they’ll pay you the amount needed up front (out of your sponsorship money, or in addition) to let you boost the value of the game. If you do find yourself using the above sources, or any for that matter, always check the license agreements for the music you are purchasing, this is extremely important and cannot be stressed enough. All in all, you now have an incredible list of sources to find excellent flash game music, all at varying prices that should be affordable to everyone. I definitely hope to hear an increase in the quality of music in all of your future games, don’t let me down.