The power creative understands how to engage fans over a long period of time -- "make gamers marry your game, not just date it" -- and how to capitalize on viral phenomena, such as Red Dead Redemption's donkey lady video. Bleszinski noted that Gears of War 3 had been crammed with enough easter eggs to remain a talking point among fans and press for weeks. "If they don't find it, we'll leak it," he said.
Bleszinski's talk urged designers and future power creatives to consider all marketable aspects of their properties, even giving thought to in-game quotes people could cite easily, or logos that make for good tattoos (the iconic "crimson omen" from Gears of War, for instance, regularly finds success on skin). And while this process of ensnaring players via the game's fiction and online play may seem manipulative, Bleszinski believes that players are capable of detecting disingenuous and impersonal efforts immediately.
Ideally, he said, an intellectual property should act as a delivery mechanism for a good gameplay idea, that also reinforces the fiction and shows off new technology. In the case of Gears of War 3, the physically warped "lambent" creatures provide an interesting shooting challenge, push the plot forward and demonstrate Epic's latest modeling and animation techniques. This best represents Bleszinki's proposed intersection between design and sales.
Though the power creative should be integral in both the design and promotion of the game, Bleszinski ascribed great value to maintaining ownership of intellectual property -- the loss of an IP in a publisher-driven deal shouldn't be underestimated. Or, to put it more bluntly: "Are you fucking high? That's the most valuable thing imaginable."