ZIGGING INSTEAD OF ZAGGING In game development, creators rarely have the last word when it comes to the execution of their vision. Too often in large-scale publishing, their concept can be compromised by too many cooks in the kitchen. This can create schisms between the busi-ness and creative camps, such as the Call of Duty creators Vince Zampella and Jason West’s ugly and litigious falling-out with Activision. Relinquishing control of the IP or leaving creators to their own creative devices may be a non-starter for the vast majority of A-tier game publishers, but other media has evolved beyond this para-digm. Many Hollywood studios and record labels understand they don’t need to demand complete control over a project to develop a beneficial relationship. “This is the thing I take from Strauss Zelnick’s playbook,” Worosz says. “He’s been a career entertainment executive who has worked in Hollywood, music, and now video games… What that means practically is no one on the Take-Two management team will ever connect opine on how a game should look, feel, or play. No one’s ever going to tell the people in the studios that we’ve partnered with what a game should look like. That’s for the team on the ground working on that game every day.” Worosz understood that by offering the game development Holy Grail no other publisher was even willing to discuss, let alone sur-render for projects of this scope, Private Division had a great oppor-tunity for attracting top talent to its label. All the developers we spoke with at Panache, Obsidian, V1 Interactive, and The Outsiders said retaining their IP was the most significant factor in signing with Private Division.