deliver that, we’ve been able to slowly build a team. We’re not in that sort of acquisition stage where we’re pumping hundreds of thousands into titles and we need to double [the business]. It’s not where we are or what we enjoy doing. We’re 40 titles and two product managers. We have our family obligation, our HQ. And then we have our titles that we like and can support.”
MORE HEROES It’s only in the last year or two, says Melton, that Marvelous Europe feels that it has found the right partners to take it forward. “Primary [Game Studios] who do Mandragora have been doing work-for-hire for 20 years, for Riot for example. Vile Monarch, who did Weedcraft and worked with Devolver, they’re good people, who we thought we could add value to what they want to do.” Melton includes the sole Japanese
developer of Ninja or Die to the list, who received support through the Marvelous Indie Incubator program as another that he hopes will become a long- term beneficiary and supporter of what the company is trying to establish. “If someone comes along and says ‘I’ve got a game,
can you launch it next month?’ Or ‘I don’t need any investment or input, I just need the cash. Can we get it on Steam?” It doesn’t really interest us, because we’re not really adding any value, and there are better parties that are suited to that. It’s just not where we play.”
THE SQUIRMY FINISH One gets the impression from talking to Melton and the team that while they are keen to get across that the Marvelous Europe of 2022 is a very different outfit from the one that was established a decade ago, they are equally keen to not have to shout about it, and to let their actions and the rather more subdued voices of those they work with do the talking for them. Equally, they seem to accept, rather begrudgingly, that these days you have to talk the talk to get others to notice if you walk the walk. “There a lot of guff in the industry, but we genuinely
try and live it,” says Melton. “The ambition is really to be the sexiest unsexy publisher, because we want to do the basics properly.” Melton admits to being a tony bit cynical when he hears of similar efforts from other publishers to be more open to diverse people, identities and ideas, but only because he wants to see change rather than it be announced. “We want to be the publisher that people say ‘We really recommend those guys. They might not be for you, but they’re good people who know what they’re doing. They have the expertise and can help you.’ You need publishing you can trust and can add value and I hope that’s what you will hear more of.” Assuming, that is, everyone else can keep the noise down.
48 | MCV/DEVELOP October/November 2022
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