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Trailmakers’ Journey: Flashbulb Games’ Path from Microsoft to Creative Freedom
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Few games capture the spirit of boundless creativity quite like Trailmakers,the acclaimed title from Denmark-based Flashbulb Games. This game empowers players to construct everything from spacecraft and airplanes to steamers and submarines, exploring a vast open world that spans from the depths of the ocean to the reaches of outer space. But the creative freedom enjoyed by players is a reflection of the journey of Flashbulb Games itself, a studio that has navigated the complexities of independence, acquisition, and ultimately, a return to its creative roots. The story of Flashbulb Games, formerly known as Press Play, is one of navigating the turbulent waters of the gaming industry, balancing creative vision with the realities of business, and ultimately finding liberation in independence.
Ole Teglbjærg, co-founder of Flashbulb Games, has been a constant presence throughout this evolution. his journey began unconventionally, starting with journalism studies at Roskilde University before switching to programming. This pivot led him to meet Rune Dittmer and Mikkel Thorsted, who would later establish Press Play after thier university days.
From University Beginnings to Microsoft’s Embrace
Press Play initially focused on multimedia projects, including internet advertising and contract work. Teglbjærg recalled his initial reservations about self-employment, stating, If this is the case, then I don’t want to be a self-employed person. I might potentially be my own boss, but that won’t make me happy at all.
The studio’s trajectory shifted when they secured a deal with DR (Denmark National Public Service Broadcasting corporation) to develop online games for children. This partnership proved pivotal, laying the groundwork for their breakthrough title, Max & the Magic Marker.
Released in 2010, Max & the Magic Marker, a creative platformer, emphasized freedom and creativity, allowing players to draw objects like platforms and traps using magic crayons to aid Max in his adventure. The game’s success paved the way for a sequel, Max: The Curse of Brotherhood, which launched alongside Microsoft’s Xbox One. This was no coincidence, as Press Play was acquired by the Seattle-based tech giant.
The initial connection with Microsoft stemmed from a meeting at gamescom, where Microsoft sought developers for Windows Phone and Kinect games. Press Play’s capabilities aligned well with this vision, leading to contract work. In 2011, the relationship deepened, providing much-needed stability for the Danish studio.
Teglbjærg recounted the acquisition: At this point, Press Play wasn’t that smooth, so we advised Microsoft that we could probably reach an agreement for three or more games without having to reach
Trailblazing Through the Game industry: An Exclusive Interview with Flashbulb games’ Ole Teglbjærg
Is the journey of an self-reliant game studio truly a reflection of the creative freedom found within it’s games? Flashbulb Games’ remarkable path from humble beginnings to Microsoft acquisition and back to independence proves it just might be.
Editor: Ole, welcome! Your studio’s story, from Press Play’s early days to the success of Trailmakers, is truly inspiring. can you walk us through the initial spark that ignited Press Play?
Ole Teglbjærg: It all started rather unconventionally.I actually began with journalism studies, a far cry from game development! However, a shift towards programming led me to meet Rune dittmer and Mikkel Thorsted, and together, we founded Press Play after university. our initial focus was on diverse multimedia projects,including internet advertising and contract work. Initially, I even harbored reservations about self-employment, confessing at the time, “If this is the case, then I don’t want to be a self-employed person. I might potentially be my own boss, but that won’t make me happy at all.”
editor: That’s a captivating insight into the early days. How did you transition from multimedia projects to the creative powerhouse behind max & the Magic Marker?
Ole Teglbjærg: A pivotal moment came with a partnership with DR, the Danish National Public Service Broadcasting corporation. We secured a deal to develop online games for children. This experience was crucial – it provided the framework and valuable lessons for our future endeavors and ultimately laid the groundwork for Max & the Magic Marker. This title, released in 2010, truly captured our vision: a creative platformer emphasizing player agency and freedom of expression.
Editor: Max & the Magic Marker was a significant success. How did that lead to the acquisition by Microsoft?
Ole Teglbjærg: The success of Max & the Magic Marker, followed by its sequel Max: The Curse of Brotherhood, which launched alongside the xbox One, naturally attracted significant attention. Our initial contact with Microsoft stemmed from a meeting at gamescom where they sought developers for Windows Phone and Kinect games. Our capabilities clearly aligned with their vision, initiating contract work that eventually culminated in acquisition in 2011. This provided much needed stability. We had some very open and honest conversations with Microsoft about our long-term strategy in which we established a multi-title agreement which greatly benefitted our independence.
Editor: the acquisition by a major tech giant must have presented both opportunities and challenges. How did Flashbulb Games navigate this period?
Ole Teglbjærg: The acquisition offered stability and resources which allowed us to focus greatly on creative development and the refinement of our developmental goals. Ultimately, it was the right choice for the business side, but creatively we needed to return to our independent roots. It was a process of finding the right balance. After the sale, Microsoft proved supportive.That support ultimately gave us the room to thrive and gave birth to Trailmakers.
Editor: And the return to independence. What key lessons did you learn during your journey, from independent studio, to acquisition by Microsoft, and back to independence again?
Ole teglbjærg: The journey taught us the importance of maintaining our creative core. The acquisition by Microsoft was a great learning experience though, in many ways, it highlighted the essential value and creative freedom afforded to smaller development teams, especially teams such as ours that have developed such a strong ethos for development. Ultimately it reinforced our belief in the importance of creative control and the power of a clear artistic vision. The path to building a accomplished game design studio is a marathon, not a sprint. Strategic partnerships and a clear understanding of your creative goals are essential for longevity and success. This holds true, regardless of whether you are independent or partnered with a larger company.
Editor: Ole, thank you for sharing your insights. This interview offers invaluable lessons for aspiring game developers. We wish you continued success with Flashbulb Games! Please share your thoughts and experiences in the comments below, and don’t forget to share this interview via social media!