118 Things to Know About Running a Game Development Company 10 Figure 1.7. Strategy guides are abig part of licensingrevenue. #104 If you're hiring an entertainment agent, have someone make a realistic assessment of oppor- tunities for your property, devise a strategy for pursuing them, and assess the time and resources it will take to pursue them. You only have so much time to spend chasing opportunities, so beware the agent who blows sunshine up your skirt. #105 Many developers create their own technology and decide not to go to the effort of marketing it for licensing (which has an uncertain return) and instead create it with an eye toward recycling it through three or four games (which is a more predictable return). #106 Be careful if you're making original properties that you realize the potential for licensing into OEM and entertainment. #107 Be proactive if there's a license you really want. Movie companies are interested in your ideas. Your most persuasive pitch will have funding (or bonding) and a publisher behind it. #108 If you want to work with Hollywood, get hip-waders and a damn good lawyer.. #109 If you are releasing a product abroad and don't know the market, get a distributor you can trust. Look at who else they distribute, contact trade associations like the IDGA to see if they've been the subject of an enforcement action. You can also try asking local counsel specializing in the field. #110 Include mod license language and restrictions in the game's end user license agreement as well as with any tool kits. Wireless #111 The lack of standardization in mobile devices is a problem, but not necessarily an expensive one. The main difference is usually re-sizing your graphics, changing the I/O, and porting to the applicable language (like Brew, J2ME, or Simbian). Figure 1.8. The lack of standardization in mobile headsetsmakes wireless gamedevelopment somewhatmore complex.