h. Play

Chocobeam Sound Lab. The beginning.

So I founded my company and called it Chocobeam (Sound Lab). I find that it’s interesting to come out with a word to imagine a name because at some point, it’s pure sound.

When you hear the name of something, the brain converts audio to words to meaning. So the audio layer comes on first, even if it’s for a micromillisecond so you are not even noticing it (because the meaning is really what the brain is searching for).

Anyway this sound is what people are sharing and spreading by word of mouth about you, first. It also can be repeated in the case of a success, billion times everywhere. You’d better sound good when there’s competition, it can make a difference.

So my references are for most of them japanese: Nintendo, Capcom, Konami, Softbank etc or from the web and computer world: Twitter, Vimeo, Amazon, Google.. What I found is that:

• They are easy to say for a lot of people around the world. Of course based on english.
• Contraction of two words (Capsule Computer seriously, it’s genius) works good. I personally find that it’s better to have a cool name that having a perfect description of the service/product.
• Three syllables is always a win because it’s like a story: there’s a start, a middle and and end. People love stories. UPS sounds finished, Fedex not much. Two syllables is dangerous, too fast for people to remember it and after three, the more you have the more it’s boring to say. The more you have, the more you can describe and give meaning though. It still often sounds boring or pompous.
• People need to be able to read it and pronounce it well at first try. Super not easy. I remember the first time I heard about Nintendo I thought it was hard to say. And weird to read.

With that in mind, considering my values and what my business is about, I came to Chocobeam. Sounds cute (Chocobo anyone?) and kind of edgy even pronounced ala française (without the Ch dynamic).  Some people just want to read Chocobean but I can’t do nothing for them. Get back to school? Kidding.

The meaning is quite simple: contraction of chocolate and beam, chocolate being me and the beam being my audio. Be kind, to get this brainstorm done I almost had a phlebitis.

Beam has two others meaning though: in french beam is “bim” and it kind of reminds me of the slang in the suburbs of Paris. “BIM! dans ta sale face lààà!” meaning “BAM! motherfucker”, adding a comics-related and active sound while reminding me where I come from.

BEAM is also an acronym and means Biology, Electronics, Aesthetics and Mechanics (BEAM robotics). I think it fits well my work in the interactive design and computer games field.

Looking at that sometime I really believe that how the name of your service/brand/product sounds has a big impact. I wrote about it two years ago when there was so much web 2.0 services with stupid names. Who made it through time? None with weird silly sounding names and difficult pronunciation. Facebook fits my points above. Three-four syllables, good dynamic between consonant and sibilant, easy to say around the world, easy to write and have some meaning (and humor). Instant interest, instant good feeling. Perfect.

Counter example: Aka-Aki. The service is interesting and promising. The name is awful. Freaking not appealing at all. It sounds complicated. It sounds boring (“can you spell it to me?”), you can’t hardly get it the first time you hear it (and I had to search the web to be sure of how it’s written even if I already was aware of his existence!). It’s like people creating this service found that it was a fun and cool name. It’s already killing them outside Germany where they are quite successful.

If you want some consulting on this issue, if you need advices to help you find the timeless name of your product, brand, application, feel free to send an email at info@chocobeam.com.

But first, we need to stop a bit this BS around.

Like the bullshots. We exactly know how they are done, we all know this is pure bullshit compared to real gameplay in-game, with opponents, AI inputs etc

But still, Kotaku for example is full of them more than ever. And people jerk off on it. We had to when we were young because game news were only on paper. In 2009? I don’t even understand.

It’s like this crazyness about figurines and movie adaptation of games. Come on even at 11 years old I knew Doom or Wolfenstein stories were not serious, just here to wrap some outstanding and groundbreaking 3D engines and gameplay. Now they try to make it as if the story was really the core of these games, using the IP to some extreme. Ridiculous.

Sony is launching the PS3 Slim and still loose money on it. As everybody knows, it’s all about software and the PS3 has already lost this battle: games are either multi-platform and sell or Sony exclusive and don’t. For the BR player? Yeah maybe. We sell 1To hard drives for 100$ now and media centers like crazy but yeah, maybe.

I think the public is tired of having to go all the way for a manufacturer, or having no choice but to buy them all. The trend seems to be to go away from closed platforms. Always have been the case: after some hegemony from closed platforms (Amiga, Atari, C64), they suddenly die.

For developers and consumers it’s a win/win. In the Scott Miller ind-depth interview on Gamasutra, we can see that it really has always been the case: the more you aim your game to a large crowd -technically, making sure it runs on the largest chunk of people’s computers- the more you make money. It seems stupid I know. 

“Obviously all your Kroz games were text-based, and you said they sold extremely well. So graphics weren’t a prerequisite at that time to have a successful game for the IBM PC, right?

SM: That appeared to be the case. Most people back in those days when I was doing the Kroz games had CGA cards. EGA was up and coming, but you really couldn’t count on it. These disk magazines like Softdisk wanted the kind of ASCII-based games I was making because they felt like everyone could play them. They didn’t want games that could just work on ten or twenty percent of people’s computers.”

When a developer goes exclusive with a very specific theme in his game –like, WAR- he’s aiming an awful little market. Really juicy ok but with no growth expected. That is what are aiming a lot of publishers these days: 10% of the overall computer market maybe less.

Talking about growth, netbooks sales are up by 40% from last year this quarter. Just sayin’

So to resume: publishers and big names are trying to make sure that we are partying like in 2003 with AAA games and exclusives deals while developers are getting laid off more than ever from that kind of game productions –canceled games every week- with veterans going indie –Chris Hecker man!-. On top of that, consumers are buying games on mobile platforms and tend to enjoy fast and quick game sessions. They use closed platforms when it’s good and different –DS, Iphone- but they know they don’t want that in the future.

They want the fun and the freedom. Developers, don’t forget the freedom part. Oh by the way,

“For 2009, sales are expected to jump to 35 million, rising to an estimated 139 million in 2013.”

About netbooks. I think it could be the case.

For me the netbook is the beginning of the computer becoming something like a fridge, really useful, really efficient, cheap, with the brand that says nothing except that it is totally useless and irrelevant to know it (almost).

What is interesting is that its development around the world is matching the beginning of services like OnLive or Gaikai. David Perry said in some interview:

“You don’t need to have full screen HD to play a game, you just don’t. It needs to be good, but each game has a set size it’ll work at, and we suggest that they go as small as they can while still having a great experience – because the audience will be exponential. The smaller you go, the bigger the audience.”

Playing on screens like the DS/iPhone or the low res of the Wii which are currently the best selling game devices proves the point. People don’t give as much about overall technical graphical achievement that they do for innovation and gameplay and fantasy (which I will discuss later). So if the server side game service is working as in this demo (and this is where Prism or others are gonna be useful):

Well people running little computers with gigabit ethernet or wifi n are gonna be happy. They are legion.

Interesting Masaya Matsuura point of view about the state of music games.

"In Musika, [NanaOn-Sha’s first iPod game] we tried generating game data from ID3 metadata, while, in our most recent game, Major Minor’s Majestic March, we allowed the player to play with the tempo of music, as well as its rhythm. These are just some of the early steps we’ve been taking in trying to expand music gaming beyond ‘Rhythm Action’."

And we sure can do a lot more. Guitar Hero/Rock Band even if they generate millions of dollars are basically always playing the same Rhythm Action card. It’s really fun no doubt about it, but it’s starting to get old as we can see a drop on sales for those two games (-49% overall and a staggering –67% for Rock Band).

I think it’s not really the Rhythm gameplay’s fault. It is very efficient and addictive, I think it’s about music genre and Matsuura-san nails it very well:

"I would be so happy to see a game based around traditional Japanese music, or one featuring Buddhist prayers or chanting," he said.
"Rock Band: The Beatles will fulfill the dreams of many rock fans. But what about fans of other musical styles? Why not give players the chance to conduct the London Philharmonic, for example?"

I think more about Funk and RnB. These are in the real world –and believe me or not, I played a lot of genres with my 4 strings- the funniest music patterns you can musically play: with a strong emphasis on poly-rhythm especially on bass/guitar/drums, killer breakbeats where people need to be sync’d as shit, improvisation where they need to be creative, vocals challenge where they need to go further, a constant call/response design inside songs pushing the band spirit higher, Funk & RnB have everything you need to have fun with. Don’t even get me started on dance moves.

Parappa the music game that every gamer addicted to this sub-genre in games love, is about Hip-Hop and Hip-Hop comes from…Funk and RnB which are the Mothership of all the community dance pop driven music of today, especially with electro music from House to Jungle or whatever, Santogold or Datarock (a “rock” band, I only can hear FUNK in it) or even this Genesis:

You can’t resist this phat bass and the boogie flow, I know. It’s the funk man.

Why not doing games around these genres or more widely, around these patterns? Why not make games about these playful musical roots? It would make non-player people dance around the living room while the plastic band would be playing this funky, complex, heavy fun music. From the 60s to now there’s a gazillion songs ready to make people happy, to challenge them in a way Rock music can’t. Plus from a sad but true opportunity business perspective, a lot of the musicians of these old bands are dead or don’t have the rights of their own music, at all. It would be easy to licence it I guess.

Anyway I don’t really know anybody not loving some groove, at some point. Even the most Sweden metal hardcore fan ever can dance to some Abba disco music sometimes. Maybe not. But the point is that there is not a lot of music capable of making people dance, having fun and be happy, men and women, all across the diversity of this world.

It sounds cheesy but still, the world needs more of that. Fun.

Think about it, simply look at how much MJ has generated funky revenues since he passed away. Music demand since his death surpassed those of Elvis Presley or John Lennon after their suddens death. You can’t look at it and say Funk/RnB music is a niche market targetting a specific public. There’s room. Even for the non-dead non-king ones.

Look at the last.fm statistics of one of the most listened “rock” band in the world:

Red Hot Chili Peppers: 108,435,122 plays (1,944,790 listeners)

It’s better than Metallica, Muse, U2, Queen, Pink Floyd or even the Beatles. This band always had a foot in the Funk. They got produced by George Clinton himself, they have some incredible powerful funk tunes (Sir Psycho!!) and they have the GROOVE. People tend to forget it pretending RHCP is a rock band because culturally speaking the groove is not a “marketable white” thing. Meh.

After observing that the 2000’s music successes were always having some funky parts in them, I think it’s time to get down for real, and use these plastic instruments for other stuffs that power trios, no offense.

From a patterns point of view a lot of Funk/RnB artists old and new could perform well or even insanely well in regards of some infectious songs architectures. The 4 C’s of gamedesign (ppt) are intrinsically embedded in this music.

So Harmonix, if you need (and I guess you do) to extend your games for example to the funkiness, if you need an expertise on this vast music fun fest, we totally should do business together. I’m the funkiest game developer, game audio designer on earth, here’s my playlist and here’s some of my bass playing if you think I’m faking the funk.

Also, follow Bootzilla and Dr Funkenstein on Twitter. They may have something to say like “Harmonix you need to get on the 0ne..”