The Pixel Hunt #3 | Looking for a Publisher

In this 3rd interview with The Pixel Hunt, we talk to Florent about the last 3 months of production on the Gaïa project. In particular, we discuss the design of his prototype for the search for a publisher, as well as another parallel project.

Point’n Think: Hi Florent, thanks for taking the time to chat with us today. I recently saw some news about The Pixel Hunt. Are you working on a second project alongside Gaïa?

Florent Maurin: In fact, that’s not quite true. We’re not developing two major projects in parallel. It all goes back to Enterrement, mon amour. At the end of that project, I realised that it would be interesting for the studio to always have two initiatives underway. It would allow us to diversify our creative efforts, but also to avoid putting all our eggs in one basket.

That said, these projects are never on the same scale. For me, it’s clear that I don’t have the bandwidth to be lead on two major productions at the same time. And it’s not always relevant from a creative point of view either. Sometimes it’s good to be in co-production on a project, where you can bring experience and support without having to carry all the weight of the creative decisions alone. This was the case, for example, with Inua: A Story in Ice and Time, which we co-produced with IKO.

PnT: It’s interesting to hear this distinction between creative leadership and co-production. How did you come to the decision to get involved in this new project you were talking about recently?

Florent: This project was born out of a collaboration with a friend of mine, an independent developer, who contacted me about a year and a half or two years ago. He had a very personal idea, a project that was close to his heart, but he didn’t want to set up a studio to carry it out. He wasn’t interested in the business side of things, or managing contracts, schedules, invoicing… in short, all the administrative stuff.

He was only interested in the creative side of things. He wanted to have the space to concentrate on that without worrying about the more operational aspects. For me, it spoke immediately. I was attracted by the idea of helping a friend bring his game to life while playing a more peripheral, but equally crucial role. So I offered to accompany him, taking care of the production management and providing creative feedback where necessary.

PnT: Now let’s talk about your other project, Gaïa. Where are you in the production process? Have you finished a prototype yet?

Florent: Yes, we finalised an initial prototype last July. After that, we started showing it around, notably at Gamescom, and the feedback was pretty encouraging. That said, after discussions with potential partners and a few user tests, we decided to refine the prototype even further.

We carried out an initial series of tests in July with a dozen people. It’s not a large number, of course, but it gave us some interesting qualitative feedback. Thanks to this feedback, we were able to identify a few adjustments that needed to be made to make the experience smoother and more engaging. So when we got back from Gamescom, I contacted our lead developer, Davidé, and we spent a fortnight incorporating these changes. Now we have a much more polished version of the prototype, and I’m back to contacting potential partners for the next stage.

PnT: Is the prototype you’re showing a complete version or just a note of intent at this stage?

Florent: It’s definitely more than a simple note of intent, but it’s not yet a complete version either. The prototype shows the main mechanics of the game, the general feel, and gives an idea of the tone of the writing, which remains a key element for us at The Pixel Hunt. We always try to push the writing to a high level, and I think this prototype reflects that. Of course, there’s still room for improvement, but for a first look I’m pretty happy.

PnT: There’s a delicate balance to strike in a prototype for a narrative game. How do you decide which parts of the game to include?

Florent: Yes, it’s a really delicate balance, especially when the game relies heavily on story. In the case of Gaïa, there’s quite a strong RPG dimension. So we wanted to show off the point systems and skill check mechanisms to illustrate how the player’s decisions influence the story. We also had to make the road trip tangible, because that’s the very essence of the game: you spend a lot of time driving, while having important conversations at the same time.

What’s interesting is showing this duality: on the one hand, you’re on the road, and on the other, you’re in these very personal interactions that shape the narrative experience. We really wanted to capture this atmosphere in the prototype, even if it’s still far from being as complete as the final version will be.

PnT: What were the main difficulties you encountered in developing the prototype with the rest of the team?

Florent: One of the recurring comments we received during the playtests was that there wasn’t a high stakes game right from the start. Some testers told us that they found it hard to get completely hooked without some immediate tension. That’s interesting, because I don’t naturally write in this fast-paced, action-oriented way. I like to take the time to establish the characters, to develop their complexity, before confronting them with difficult situations. That’s a bit what we did with The Wreck.

However, in a world where the competition for players’ attention is fierce, I understand that this approach can sometimes seem too slow. That’s one of the things we’re thinking about at the moment: how to integrate elements that create tension earlier in the game, without betraying our overall narrative vision.

PnT: The game also deals with ecological issues. Is it difficult to deal with these subjects without falling into clichés or an over-simplistic narrative?

Florent: Yes, it’s always a challenge. We don’t want to fall into the idea of the hero who saves the planet single-handedly, which is often the case in video games, especially RPGs. Instead, we want to tell the story of a person who lives in our world and faces these crises in a more realistic way. So the challenge is to find the right balance: to show the impact of these issues without over-dramatising or falling into melodrama.

PnT: Talking of finding a publisher, how are you approaching this stage? Do you already have any contacts in mind?

Florent: Yes, after a decade in this industry, we’ve built up a good network of contacts. But these days, the market is extremely competitive, especially for publishers. We’re looking for publishers who have a natural affinity with our style of game, publishers who understand and appreciate narrative games like ours.

Some publishers are more generalist, with very diverse catalogues, but for us it’s essential to find a publisher who already has solid experience in narrative or experimental games. There aren’t many of them, but those that do exist are on our radar, and we’re in discussions with several of them.

PnT: What are your main expectations of a publisher? Is creative autonomy an important criterion for you?

Florent: Creative autonomy is crucial, of course. But in the independent publisher sector, for the most part, they don’t seek to interfere in the creative process. Their interest lies in letting the developer follow their vision. That said, it’s important to find a publisher who understands the narrative games market, and who can really help us position the game for the right audience.

I’d also like a publisher to be prepared to get involved in the marketing side of things and think with us about how to reach audiences who don’t necessarily see themselves as gamers. This is an area I’d like to explore further. There’s still huge potential for games like ours to reach people who don’t define themselves as regular gamers.

PnT: This communication aspect is often a sensitive point for independent developers. What do you find most difficult about this aspect of game development?

Florent: Communication is a job in its own right. A lot of indie developers try to do it themselves, but it’s very complicated. You can quickly fall into a cycle where you invest in communication, then go back to production, and ultimately lose the initial momentum. That’s why it’s essential to find a publisher who has mastered this aspect and who can really amplify our message.

PnT: Are you also looking for a publisher who can support you on a technical level, for example with feedback on the game in development?

Florent: Yes, I always find it very useful to have regular feedback from the publisher. It’s essential to keep an outside perspective and make sure the project is moving in the right direction. When an editor is really involved, it can make a huge difference.

That said, it’s also important to find the right balance. Sometimes, certain publishers are so absent during production that it becomes problematic. There are stories where studios send in builds and get almost no feedback until it’s too late. That’s why I prefer publishers who know how to strike the right balance between creative freedom and active support.

PnT: You mentioned that some publishers can be too absent during the development process.

Florent: It’s true that sometimes certain publishers become too absent, even after signing a contract. You send them builds and wonder if they really open them. It’s destabilising, especially if you go ahead without critical feedback. This lack of feedback can lead to errors of direction that are too late to correct. This can really damage a project if the editor isn’t involved enough.

PnT: Speaking of The Wreck, has the critical reception had an impact on the way you approach your new projects? Has it helped you attract new publishers?

Florent: Winning a prize like the Apple Design Award last June is clearly something we put forward. It helps us get through the first stages with publishers, if only to open a pitch deck and give it serious consideration. But of course, that’s no guarantee of signing a deal. At the end of the day, publishers mainly want games that sell well. If you don’t have millions of sales under your belt, awards and critical acclaim can help you stand out, but they’re no substitute for sales figures.

PnT: What is the team doing while waiting for answers from publishers?

Florent: This is where having two projects running in parallel really makes sense. While we’re waiting for feedback on Gaïa, we can continue working on the other project, which is already in the middle or even at the end of production. If we ever have to consider downscoping Gaïa to continue on our own, we’ll do so. But for the moment, we’re waiting to see if we can get the funding we need to complete the project as it stands.