We don’t know, contract work can be hell with clients being really picky and uncooperative.
Not to mention that they may have picked them despite the fact that they are not a good fit but were available. We can’t assume that they are good with more scripted rollercoaster rides when they are mainly known for systemic games.
It can be hell but if your product consistently is subpar even with client meddling then that’s not a problem with bad contracts and bad clients, that’s a problem with you. And it’s not like Marvel is known for being hands off so…
As a consumer, their work is literally the only metric we have to judge them by. No one is reading quarterly reports for developers or researching into whether or not their contract went well with some publisher or IP owner. If you are consistently releasing mediocre to sub-par products then you’re going to be rightfully judged on that.
Fun fact, in the latest edition of the game, you can actually stop blue shells with the pow like horn thing. It’s tricky to time, but man is it a surprise to your player two!
Prey 2017 was one of the best immersive sims ever made. It wasn’t what people were expecting which led to a flop that nearly destroyed the studio. If you get the chance please please don’t sleep on it.
There was an unfounded rumor (now discredited) that it was supposed to be called Neuroshock. If it had been called that then players would have had a better idea what kind of game it is.
It’s a spiritual successor to System Shock 2, which was a pleasant surprise. Definitely agree that Neuroshock would have been a more fitting title. Probably publisher or C suite meddling.
I used to be the type of person to change names every week, but honestly i feel like starbrite fits me If you manage to find evidence of my old old gamertag i will be genuinely shocked
I never really figured this game out, and the only thing I really remember is that while playing I was listening to a video about the “trying to trademark reaction youtube” debacle.
lemmy.world
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