Indie Games Generate $ Millions with Pay What You Want

For those that think there is no real money in Pay What You Want (PWYW) pricing, the growing success of the Humble Indie Bundle suggests otherwise. Their first four promotions have raised over $6.1MM,** with the last one just ending at $2.2MM [now much more**].  It has been reported that the venture behind these offers has raised $4.7MM in VC funding [now more**]. Their model includes payments to the game developers, the distributor, and charities including EFF.*

EFF has posted a nice summary, observing that "While the record labels, movie studios, and video game producers have not figured out a way to compete with free, others have...as the Humble Bundle has shown us, it is possible, with creators and distributors finding new and exciting ways to compete with free. ... when done right – developers, content providers, and even those who provide the business model can successfully compete with free." Additional details are in a Wikipedia entry.

All of this adds to my suggestion that FairPay (which augments PWYW with feedback processes that incentivise buyers to be fair to sellers, as described on the sidebar) can take this from a promotional tool to a mainstream business model for ongoing use.  Indie games and music are a great place to start, since that Long Tail content is where basic PWYW selling is already gaining traction.***

My previous post, How Indies Can Disrupt the Disruptor - A Disruptive Revenue Model for Music and Games, addresses this in more detail -- suggesting how indie distributors can take on iTunes to change the game, starting with the Long Tail, and moving toward the mainstream.

(*The charitable element is also a notable factor in the Humble Indie Bundle, at two levels. One is true charity, in the form of EFF and others. The other is a charity-like feature, in that the structure of the Humble Bundle revenue is for lightweight (and buyer controllable) contributions to the distributor, such that the significant share to the game creator ("developer"), analogous to the artist, musician, etc., provides a social-benefit motivation to pay -- rewarding the creator, and enabling further creation.  See other charity-related posts.)

Updates:-------------

**[9/21/14:  Wikipedia on Humble Indie Bundle reports this as a total of $30MM, in addition to $20 million to charity, as of 8/23/13.  CrunchBase reports funding of $9.2 million. Check there for further updates.] 

***[1/17/12:  For general insight into real uses and experiments see "Pay What You Want -- Still Crazy After All These Years?," and Wikipedia on PWYW.]

How Indies Can Disrupt the Disruptor - A Disruptive Revenue Model for Music and Games

Having recently heard a fundraising pitch by indie music distributor Nogeno, and looked at competitors like Bandcamp, I was again struck by the potential of FairPay pricing to change the game -- for the music business and/or the game business.

Both music and games are dominated by the Apple iTunes Store, which disrupted the old distribution models.  But there are many chinks in iTunes' armor -- one is that significant numbers of independent bands (and game developers)--and their fans--chafe at the economic constraints of the iTunes Store, and seek better ways to manage the value-exchange with their fans.

• Many indie artists and programmers have found Pay-What-You-Want (PWYW) pricing to be a surprisingly effective way to price, whether in temporary promotions a-la Radiohead, or as ongoing model.
• Indie distributors such as Bandcamp and Nogeno offer creators a range of payment models, including conventional fixed price and PWYW (with or without a minimum floor price).
• Bandcamp reports on their home page that "On name-your-price [PWYW] albums, fans pay an average of 50% more than whatever you set as your minimum."  They offer additional guidance (and more) on using PWYW...and on drawing on the buyer appeal of the larger share they give to the artist.

While PWYW is clearly effective at the margins, there are obvious concerns about its practicality for broad use.

As explained elsewhere in this blog (see sidebar) FairPay adds a structured feedback process to enable a long view of pricing over an ongoing relationship, not just single sales, to make its "Fair Pay What You Want" model work far better and more broadly.  FairPay is offered selectively, as a privilege to those who demonstrate that they pay fairly.  An example of how this applies in the music business was in one of my early posts.

With regard to the indie opportunity there are two points to emphasize:

1. FairPay is especially relevant to indie distributors, because their music (or games) are mostly Long Tail items (less mass-market), where PWYW and FairPay can be especially effective in increasing revenue, and where sellers are willing to take more risk to get wide exposure.  The artists are struggling for recognition (and compensation), and fans feel stronger connection to these struggling artists, and want to compensate them for their creations.
2. FaiPay enables the aggregator/seller to establish an entirely new infomediary role, as keeper of the FairPay Reputation Database that tracks how each of their individual buyers behaves in terms of pricing fairness. That database is much like a credit rating database--offering important data usable by any potential seller. This reputation data is what is used to determine whether a buyer pays fairly and should be entitled to make purchases on a FairPay basis (depending on the risk level implied by their reputation from previous purchases).  The more complete the Reputation Database, the more effectively FairPay prcing works to maximize revenue and minimize risk.

This second point offers distribution aggregators like Bandcamp and Nogeno to create a strategic asset that will differentiate them from competitors and raise a barrier to competition.  Once FairPay gets critical mass, this database will have extensive pricing reputation data on many customers--something that will take time and money for a competitor to duplicate.

The combination of both points offers a path to disrupting the dominance of the iTunes Store (and other mass-market aggregators).

1. The Long Tail focus of the indie market will be especially supportive of the FairPay model, because of the greater willingness of sellers to take a risk on their buyers.
2. The buyers will behave well because they will know they are supporting the creators of the product (artists and/or programmers), not the Apple 30% vig, or the suits in the studios.
3. The initial success that builds will grow a FairPay Reputation Database that will increase the effectiveness of FairPay pricing and enable it to be used with decreasing risk for increasing numbers of products and buyers.
4. That can greatly increase the appeal of the indie distributor, and widen its appeal to increasingly take share from iTunes and other mainstream aggregators.

Of course iTunes can offer FairPay as well, and build its own database.  The indies would still have the advantage of a higher share going to the artist, and thus a better value proposition than the big guys.  

Thus the indies might not take over the world, but--in any case--they could disrupt the current models in a way that makes a better value proposition to consumers and creators, and increases the net opportunity for indies.

Fair Pay-What-You-Want Pricing for Music and Games

FairPay, my radically new spin on Pay What You Want pricing (PWYW), may be especially timely for the music business and the video game business. It offers a way to encourage fair levels of pricing while giving buyers a high degree of freedom to set their own price.

The music business has been turned upside down by the challenges of Internet distribution and related piracy, to the point that the prominent band Radiohead offered its 2007 album for download on a PWYW basis. While a reported 60% downloaders did not pay at all, enough did (paying an average of $8.05 in the US and $4.64 elsewhere), to make that experiment modestly successful, and led to other similar offers by other groups. Downloadable games have also been offered on a PWYW basis, with similar modest success.

As described elsewhere on this blog, and on the Web, my new variation, FairPay (short for Fair Pay What You Want), uses Internet feedback on what buyers pay, in order to develop a reputation for fairness, that gives a strong incentive to pay fairly. A key part of this method is that the seller (or multiple sellers) use this FairPay reputation feedback to decide whether to extend further offers to a user based on how fairly he pays. FairPay does not just rely on innate buyer fairness, but looks over their shoulder to help give that sense of fairness powerful weight.

This creates a dynamically adaptive cycle of offers, prices, feedback, and further offers that rewards those who pay fairly and cuts off those who do not. The method works best for an ongoing series of offers and sales. That may not be very effective for a single music group or game developer who can make only infrequent offers of new products, but can be very effective for a music label or game distributor who has an ongoing library of products to offer for sale.

I suggest that labels and distributors seeking better revenue models should try this, and offer to assist in such an effort. I also suggest that individual artists or game developers who prefer not to work with a conventional label or distributer might seek to band together to create a shared distribution co-operative to achieve the modest critical mass of products needed to enable an effective FairPay feedback process.

The FairPay process for such a business can be quite simple.

• A distributor of music or games offers to let buyers try a few items on an enhanced PWYW basis, with the understanding that the buyer can try the item for a time, see if they like it, and then set whatever price they consider fair (post-sale PWYW).
• The full FairPay process would be explained in detail up front, so buyers understand that future offers will depend on what reputation they develop for paying fairly.
• The buyer tries the items, then sets prices, and can indicate why they paid what they did. For example a buyer might explain that they were disappointed in a product if that is why they decided to pay little or nothing for it. (Of course they can also say the love it, and/or love the band/developer, and want to pay especially well.)
• The seller then assesses the price paid, and the reasons, and decides whether to offer that buyer more items on the same basis.
• Obviously those who pay well will get a continuing stream of further offers (as long as they continue to pay reasonably well). Those who pay well for some, and explain why not for others, might also get a few further offers, effectively on a probationary basis, until it is determined by the seller that they either do or do not pay fairly.
• Those judged by the seller to generally not pay at an acceptable level can be cut off from further FairPay offers, and restricted to conventional, set-price prepaid sales (at least for some time, possibly extending another chance sometime in the future).
• The cycle continues, based on these FairPay reputations.
• Unlike most conventional PWYW offers that are restricted to short-lived special promotions, FairPay can be a long term proposition.

Clearly buyers using this FairPay process will recognize that they cannot pay zero, or very little, and expect to get further FairPay offers (except for occasional cases of explainable dissatisfaction). Instead of a majority of buyers paying little or nothing, we can expect a majority paying a reasonable price. And the longer this process runs, the more meaningful the FairPay fairness reputations of the buyers, and the better able the seller is to manage revenue and risk, by controlling what offers are made to which buyers.

This method might be especially attractive in situations where it is known that the artists or game developers get the dominant share of the revenue. Buyers will be especially motivated to pay at reasonable levels if they know that their payments are going to the artist or developer, rewarding them for a good product, and providing the compensation they need to enable them to continue to produce future products. This can work for studios as well, especially if they position themselves as being very supportive of their artists (or even owned by them, like the old United Artists).

Of course FairPay is also applicable to large recording studios and music and game distributors as well. For example, iTunes or Amazon could easily make similar offers across their entire inventory of downloadable music, or across some subset. They might experiment with some selection of songs or albums. Perhaps they might start with less popular and familiar items that might especially benefit from the try-before-you-set-the-price features of FairPay, to increase sales (and revenue) even if the average unit prices are reduced. Similarly, subscription services like Rhapsody and Pandora could apply FairPay to their subscription offers (much like newspapers or video services, as described in other recent posts).

In summary, FairPay can be a win-win solution for both the artists/developers/distributors, and the consumers:

• Buyers will feel more respected and empowered by the added trust and flexibility.
• Some will pay less than the standard going rate, but some will pay more.
• Many who might not make a conventional purchase might be willing to pay something reasonable for a FairPay service -- added revenue to the seller.
• Sellers can individually and dynamically tune the details of the offers and the process to encourage good payment levels, and to send free-riders back into the hard pay wall of the conventional sale price.