Breaking through was not easy. Indeed, Iwiński already had connections among the European players thanks to the demoscene. But it is one thing to know like-minded enthusiasts, and to know the right people in big company, yet another. “The only chance was to show up at the fairs, go to the stand of those big companies and attempt to catch up with the president or another business decision maker. You had no access to their emails yet, LinkedIn was non-existent. On the other hand though, at that time the industry would still give small start-ups a warmer welcome”, recounts Kosman.
What was the greatest problem also turned out to be the most helpful: no one in the world would take the Polish market seriously. Indeed, a new copyright law had been in force since 1994. Still, the snapshots of consecutive police raids seizing boxes and sometimes even the whole pallets of pirate CD with games and programmes would crop up in the media over and over again. And when it comes to the revenues from game sales, the top deck of Jarmark Europa [Europe Bazaar - a bazaar on the top deck of Warsaw's biggest sports stadium] could easily compete with the entire Empik network, Poland's largest network of shops with the press, books and multimedia. And the Polish market knew that. Producers from abroad knew that, too, and they perceived Poland as an exotic chip off the ex-communist world, unworthy of interest.