Neither are their developers or any of the individuals we see on streams and in interviews. Nintendo’s value as a brand goes up and down according to what they do. While branding is often given to the visual design and flavour of a company or a product, everyone knows branding is a lot more. If not consciously, then through unconscious osmosis of simple consumption of products. Brand goes hand-in-hand with reputation and the perceived value of the product produced by the company. Naturally, the product’s perceived value colours the value of the company.
It is extremely easy to make your product to look bland, and once you’ve made that misstep, it’s hard to recovered. Mass Effect Andromeda is extremely bland bland game and thus its perceived value is low. Patches only help so much, and PR is what the publisher must do in order to recover from the failure. It’s even worse if the fans lose their perceived value on the game, and that takes some effort to do. Like making your characters hold guns in reverse and essentially making it inferior to the first title in the series. Much like other AAA video game titles, it’s a very bland, very grey product.
What brings colour into a product is disruption. Nintendo has a history of heating up the Blue Ocean and disrupt the market with coloured products, though they have a history doing very grey products that wallow in the Red Ocean as well. The Switch, as it is currently, is about disruption in the video game industry. Unlike Sony and Microsoft, Nintendo went with what probably is the future of console gaming and created a hybrid system.
To use car industry as an example, Volvo’s brand is security and safety. Their cars are not the most exciting things in the world, but they are very trustworthy overall and suit the best for everyone. Until somewhat recently you couldn’t find a car that would move away from this branding from their main lineup. This is because Volvo has begun to change this somewhat bland yet trustworthy brand image of theirs with premium cars that offer more exciting cars. Their image is not safety, but the content with the car and the options you can have.
Nintendo’s brand has been perceived similarly as kid’s and family’s console to play. A Nintendo console usually has a good variety of games for everyone to play, whereas Xbox is a first-person shooting game wet dream in console form (though that has been severely diminished with the lacklustre recent Halo titles) while Sony is that black console cool kids who like hardcore games go for. The original PlayStation followed Nintendo’s branding as a whole family’s future generation console, but at the same time used Sega’s not-just-for-children approach. While the PlayStation had games that kids enjoyed, it also had titles like WipeOut that hit the cultural club scene if the latter 1990’s. The N64 on the other hand wasn’t everybody’s console due to the sheer shit tier library it had. Saturn was ever successful in Japan and was mostly staying within then-passed arcade port title. As much as it hurts Saturn and Dreamcast fans, arcade ports didn’t cut it any more at that point, and arcades themselves were starting to die out.
People don’t just buy what companies are selling. They buy the perceived product the company is selling. Shit in a can isn’t perceived valuable, but when an artist does it and sells it as art, the perceived value among certain crowd skyrockets.
Nintendo Switch currently has a highly regarded perceived value because of The Legend of Zelda: Breath of the Wild. No other title is driving its sales as much. 1-2 Switch is a joke, though the new Bomberman seems to have gone through a rise in perceived value after the latest patch. The Switch is currently the prime example how game industry and the Red Ocean consumers don’t get the market worth jack shit. As I’ve mentioned before, the Switch was proclaim dead on arrival and that its weak hardware wouldn’t be able to do anything. Yet, BotW alone is driving Switch’s sales. This is what a Zelda game is capable of when it is allowed to be true to the series rather than just a puzzle-dungeon game. Less Aonuma there is with Zelda, the better it gets.
It doesn’t matter if you personally think that these people who bought Switch and are enjoying its games are normies or have shit taste. They are not the deviation of the form, but the rule. The AAA game industry might shove millions into a game production and barely make even with the Red Ocean consumer, who seems to be easier consumer to please and pull money from as the Red Ocean is filled with competition. Developing and releasing games and consoles is hard work, and while it can be understood why Red Ocean developers want to stick where they’re most comfortable at (of course, with no expanded life experiences outside games, how could you even imagine developing game for the Blue Ocean consumer? Shoving an agenda to the player’s view is the last thing they want) and this is why even 10% drop in sequel game’s sales will put alarms on. Despite millions being in play, even the slightest change will throw the finely tuned balance off.
While video game industry is creative, it is service industry. If you want to use this sort of comparison, video game developer is on the same level as a burger flipper. Developers’ job is to serve the consumer and their needs, it is the consumer who ultimately decides whether or not your product is good enough to be purchased. You can work your burger however well, but if the consumer doesn’t want it, the onus is on you. Not on the consumer.
Nintendo’s last three home consoles show how their disruption coloured their brand. The Wii , as much as the Red Ocean hates it, was a massive success because Nintendo didn’t stay with the comfortable Red Ocean market. The Wii U was made for the Red Ocean, and it succeeded worth jack shit. Hell, it was pulled from the stores to make room for the Switch, which again has disrupted the industry and hopefully will continue to do so with both low- and high-end software aimed for everybody.