- The next instalment of Class of ’09 isn’t planned for a launch on mobile even though the last entry did
- We spoke to Max Field, SBN3 founder, about the decision
- Alongside that, we also learned more about what to expect from the upcoming game
As a seasoned gamer and critic with over two decades of experience under my belt, I must say that Class of ’09 is a breath of fresh air in today’s monotonous gaming landscape. This game, unlike many others, tackles real-life issues faced by teenage girls with maturity and grace, which makes it stand out among the crowd.
It may seem unexpected for a mobile gaming platform to conduct an interview about games that aren’t designed for smartphones. However, the topic is fascinating and relevant, especially considering potential adaptations for mobile devices. Games like visual novels, turn-based RPGs, and puzzlers have proven to work well with touchscreen controls, making it a logical step to consider porting them to mobile platforms. Isn’t it tempting just to hit that ‘port to mobile’ button and expand the gaming experience?
Just like in life, situations are rarely straightforward, and there are numerous aspects that developers must take into account beyond whether their game would function identically with touchscreen controls or be compatible with a smaller screen. For instance, the Class of ’09 developer SBN3 opted not to launch the subsequent installment on smartphones, despite having done so in the past. I’m curious to know what led them to this decision and also explore some other related questions.
Can you introduce yourself and your role on Class of ‘09?
Hi there! I’m Max and I head up SBN3 Multimedia Studio, initially a diverse channel on YouTube. As the founder and lead, I wear multiple hats in our productions – scriptwriter, producer, voice director, sound designer, occasional actor, and chief designer for the Class of ’09 game series, with three announcements so far. I also assume those roles for the Class of ’09 anime project, which is currently crowdfunding for an 11-minute pilot episode, in addition to a 3-minute episode that’s already available on YouTube.
Essentially, all franchise-related activities such as merchandising and promotions are managed by me.
For those unfamiliar, what’s the elevator pitch for Class of ‘09 and what makes it stand out from other visual novels our readers might have played?
As a passionate fan, I’d like to share an intriguing twist we used in our marketing strategy back in 2020-2021: “It’s not about dating; it’s all about rejection!” This unconventional approach caught the attention of many, even though the game was more of a visual novel with branching storylines, rather than a full-fledged dating sim. Interestingly, our unique tagline propelled us into one of the 50 most popular games on Itch.io for several weeks in 2020.
Currently, I find it more fitting to label it as an interactive sitcom, given that there’s absolutely no trace of visual novel writing style. Instead, I combined my years of honing a comedic tone across various projects with the aim of creating a marketable product. To achieve this, I infused elements reflective of authentic American culture (such as mental health issues, fast food culture, truancy) which were inspired by real-life experiences and encounters, both online and in my upbringing in the DC Beltway.
Where did the idea of creating an ‘anti-visual novel’ come from? Was it born partly from a love of the genre?
In previous attempts to satirize the visual novel genre, particularly referencing Doki Doki Literature Club as a notable example, comedic subversions often resulted in annoying outcomes that merely mocked the genre without any deeper purpose. However, Class of ’09 distinguishes itself by being a comedy game penned by someone with a background in comedy and screenwriting, which gives it a more polished and humorous touch compared to its predecessors.
In essence, Class of ’09 stands apart from other subversive visual novels in a unique way. Regardless if it redefines the genre or not, its distinction is vital when marketing it, as most players tend to avoid this type of game, regardless of what psychologists might suggest about their preferences.
As a devoted visual novel fan, I must admit that I share the general disdain towards subversive visual novels. It’s not because I think they’re exploiting the genre, but rather, it’s often the humor in these games that leaves me cold. The jokes, unfortunately, seem to lack depth and development beyond their initial pitch. However, Class of ’09 stands out as an exception. This game has become one of the most memorably funny video games I’ve ever played, judging by its popularity on TikTok.
To put it simply, I’ve never fully experienced a visual novel from start to finish, not even one of my own creation. I sought a means to narrate the tales I’d amassed over the first 25 years of my life without incurring financial losses. My initial choice was filmmaking, but I believe I honed my skills there. However, streaming services have significantly impacted the independent film market by making it expected for content to be available on preferred platforms or even free on YouTube.
Independent creators can still earn substantial income from developing PC and console games, as consumers are accustomed to purchasing individual releases rather than subscribing to platform services that are often controlled by executives.
There are some fantastic voice actors in the game’s cast. How crucial is this to Class of ‘09’s success, and how does it elevate the experience?
In a production, it’s essential to have skilled actors to allow for effective direction, and quality direction is key for actors to harmonize well together. My YouTube series titled “How To Be An Online Voice Actor,” launched in 2015, earned me recognition from numerous voice actors who discovered the craft through my videos and eventually landed roles in major games and official anime dubs over the years. This professional network proved valuable when I was selecting talent for the first Class of ’09 as many connections with whom I had strong working relationships were able to recommend candidates for auditions, helping me find the perfect fit for our game.
While I would like to answer the question simply and say “good actor = good noise, yay” it’s more complicated than that. I didn’t realize what a craft voice direction was until I started trying to direct voice actors for comedy skits back in 2013. I learned how crucial delivery was for a joke down to the very phonetic nature of each syllable.
Initiated a significant phase of understanding how to identify issues in line delivery, whether through descriptive words, specific dialogue, or providing alternative readings. Providing alternative readings as guidance to actors is generally discouraged by industry experts who believe it contradicts the creative approach required for the projects they’re involved with. Voice artists from the post-1985 generation are often passionate about anime, video games, and cartoons… However, these interests hold no appeal to the girls of the Class of ’09.
As a devoted fan, I’d confidently wager that if another anime studio took on directing and casting for this script, “Class of ’09” might have become one of the least impressive games ever produced. It’s the unique auteurship at every stage that elevates intricate projects like this to success.
Having previously released the previous chapters on mobile, you aren’t doing that this time. How did the team reach that decision?
Although it’s unlikely that Class of ’09 will return to mobile development permanently, there’s minimal motivation to do so due to factors such as:
Consider Apple’s App Store as an example; they declined to host Class of ’09 due to its contentious themes. In contrast, you may find GTA San Andreas on the App Store… However, I’m not part of a massive corporate entity, so rules do indeed apply to me. It’s intriguing that a game where one can use a shotgun to brutally kill a character is perceived as less objectionable than a game where high school girls discuss the genuine struggles they encounter in their daily lives.
As mobile players, we often look at certain games and think, why not release this on mobile? For example, on paper, a visual novel should translate perfectly well to phones. So, could you tell us some of the considerations we might not know about? Whether that’s surprising costs, time, or porting not being as simple as we think.
Based on my findings, it appears that the mobile gaming industry generally prefers the freemium approach over the classic one-time purchase model. However, at SBN3, we don’t subscribe to the freemium concept. Instead, we focus on creating a high-quality product that can stand independently, regardless of any additional power-ups or in-app purchases.
If a Chinese firm proposes paying me millions to license Class of ’09 for a gacha game, I’d likely accept, as I wouldn’t have to deal with the game’s development or potential negative reviews linked to this conversation.
Do you have any insights or theories as to why Class of ‘09 has proven more popular on PC compared to mobile?
Apart from the points I discussed before, streaming the game to Twitch or sharing it with friends on Discord is likely more practical if you’re playing it on your computer. Additionally, Steam stands out as an excellent platform for selling indie games, even those that might seem insignificant. We were quite satisfied with our sales figures during the 2021 Winter Sale. To provide some context, a Class of ’09 game on Steam was largely overlooked until June 2023.
What’s next for SBN3?
At present, we’re working diligently on our third and concluding Visual Novel game titled The Flip Side, as well as an 11-minute pilot episode for the Class of ’09 Anime. This anime pilot was successfully crowdfunded on Kickstarter back in January 2024. While we’re incubating more game concepts, they will be unveiled at a future date.
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2024-08-06 14:49