Risk of Rain 2 is developed by just 8 people. It’s a game that I don’t regret buying early access because the early access till 1.0 is the smoothest sailing i’ve ever seen for a game. I have a pretty old pc that’s low spec even back then, the game just run smoothly.
And of course a multibillion company is the one messing thing up.
Yeah I know, still not interested in any battlepasses, never was. I usually quit as soon as any game start their “Season of the…” crap and return to my evergreen Guild Wars 2.
I also got me a decent looking outfit already and the stats fit my playstyle, so I’m pretty much playing the game for fun now with no interest in any additional unlocks besides stratagems and ship upgrades.
Ah I get you. Just so you know, the battlepasses are more like level unlocks than typical battlepasses, but you probably know that. Also, old battlepasses that you didn’t finish or even start will stay in the game permanently, so don’t feel like there’s a rush to finish them.
Premium currency is freely available on missions and it’s not hard to accrue enough to make frequent buys in the money store without spending a cent. The problem becomes the amount of time I spend in game, which doesn’t feel like a problem.
This pushes games further toward kernel level software that has complete control over your computer so it can scan your hardware to make sure you aren’t using a cheating tool like this monitor.
Are you new to Bethesda games or it has just been a while? 🙂
I remember starting Skyrim for the first time and making it as far as the character selection screen (well, after spending a few hours fixing the no-voices bug) at which point I went wtf is this crap and went looking for mods.
The original vanilla Skyrim was pretty terrible. Don’t get me wrong it was playable but it was a very forgettable and unimpressive game. The low quality assets, the bugs, the half-assed talent trees, the uninspired and unfinished quest lines, the dumb AI, the barren ugly towns and landscapes etc. Just think about all the things you have to fix nowadays with mods to play it properly, nevermind adding new stuff.
But it is facts In talking about. Nobody in their right mind will pretend there weren’t bugs, or that the quests or talent trees or crafting or alchemy were well made, or that the AI was good etc.
All you’re saying is that you liked the game in spite of all that — either that or you can’t even remember how bad it was before the mods.
Skyrim’s greatest virtue will always be how moddable it is. But that still doesn’t mean that Bethesda put out a great game in 2011.
Nobody’s said the game was flawless, but I, at least, never experienced any bugs or design issues that detracted from the overall incredible experience.
Nobody in their right mind will pretend there weren’t bugs, or that the quests or talent trees or crafting or alchemy were well made
You’re conflating facts with opinion. I thought the quests and perk trees were, for the most part, very well made.
Someone yesterday said they don’t buy Bethesda games because they’re good at launch, instead they buy them because the modding community is so prolific.
Paying $60-70 for a game that requires teams of unpaid volunteers to make it playable after launch.
Mods exist now and have since day one. They’ve already made the game much better, but you are right they arent great yet cause they dont have the GECK. I do like to have a sort of “vanilla” playthrough before super mods. I didn’t clarify that.
Yeah kinda. I bought it to play the stock game with a few tweaks. But when creation kit comes out I’ll be back. And then again. And again.
People have thousands of hours into skyrim. You think that game has more than 100 hours of content? It’s years of going back and enjoying mods and the community surrounding them.
Yeah Bethesda profits off it. But you’d be surprised how many people pirated the game, eventually just buying the “goty” edition on sale.
Tbf vanilla Skyrim had more than 100 hours of content, just not story driven. Back when it came out I played well over that on PS3 in a single save with no mods. I explored every dragon shrine and collected all the priest masks in that playthrough. I did loot every damm vase though and inventory mgmt was slow. I got crafting up to 100 naturally, etc. Then made new characters eventually. Im sure I spent more than 300 hours over the years before I went to PC and installed mods
Modders generally only make mods for games that they are enthausiastic for. Its not a given that Starfield will have a modding scene on par with Skyrim.
No, not a given you are right. But regardless whether its on par with skyrim I’m interested in what they do the same way I was with fallout 4 despite not thinking that game was particularly good myself.
How did you get around how empty the game is? I played a few hours but it is just so empty. Being in a city just means either quick travelling or walking through 100s of meters without any interesting npc or anything at all. I felt skyrim did it much better.
Most people have talked about how empty things are by talking about the planets. I feel like that part feels too full if anything. They aren’t empty enough to give it character. The same goes for almost every other locations. They’re so full of junk that they’re empty of character.
I am waiting for official mod support to make it into a real game. There are so many awesome mods and I’ve tried a few but I’m too lazy to manually install them. Also I’m so not going to go through the storyline amount 9 times…
Factorio has a mod manager built in. It can browse, download, install mods all right there. It even syncs mods to save files and checks for updates. Factorio mods have better support than most games do. I really wish some other developers would put that kind of effort into mods. Just think of what, say, Minecraft could be if it had that.
Likewise the Paradox launcher has pretty good mod support. I think you have to add mods externally, but you can create profiles and things where one profile could be for The World of Darkness games and another could be for Game of Thrones, or whatever. You can easily swap between them without any trouble.
Somewhere in the vast chasm between “these are the best gameplay element ever conceived” and “this crap cannot be enjoyable with these left in” lies the actual description of their impact for a normal person.
They are perhaps marginally tedious. It bothered one modder enough that he modded them out with a mod that has about 7600 unique downloads. It bothered millions of others so little that they…just played the game anyway.
Patents are not intellectual property and they are regulated by the patent office. Intellectual property is not regulated and cannot be blanket dismissed.
As I understand it, there’s not currently a PSN restriction on Helldivers 2. Valve themselves blocked it because Sony was making no promises that it would continue to be a legal and playable purchase in outside countries.
I would guess Sony may still have to convince Valve to increase the game’s availability. To sell a product that will remain usable, Valve needs a better commitment/promise than “We’we so sowwy consumews, we pwomise we won’t do it again.” Probably some kind of contract.
To my understanding that’s not valves responsibility (i dont have a source). It wouldnt make sense for valve to be required to make those changes themselves, the publisher would be responsible for making those edits.
I could only imagine all the problems if Valve accidentally restricted/allowed certain regions and got constant sued over it.
You’re browsing Steam. You find “ULTIMATE Inchworm Arena”, a strange but fun-looking online multiplayer arena. You buy it, and download it. The game then says “Welcome to Inchworm Arena! To certify yourself for online play, you must provide One MoistCoin, a cryptocurrency obtainable only in the Republic of Kongo!” None of this was clear from the Steam store page. The developer support response is less than helpful.
Would you continue protesting the developers, or would you blame Valve for presenting this obvious worthless scam game as an offering on Steam? By putting it on their store, Steam asserts some level of responsibility that the game in question is actually playable, and doesn’t contain critical bugs; like failing to start up, or having a user license agreement that its lawyers did not think through.
When this happened for Helldivers, it was Valve that restricted their access because Sony didn’t even know what they were doing on the PC store, and hadn’t thought through that players had no legal avenue to play in some countries. Valve does not want to be put through more cases of user customer support complaining to them, and wants to ensure certain behavior from their game vendors to ensure that doesn’t happen.
It shouldn’t be, but here’s the thing. Valve isn’t distributing games out of the goodness of their own heart. They don’t want to have to process refunds for every person who buys it and realizes they aren’t allowed to play it. That’s just a waste of time and money for them. And Sony hasn’t invested in a launcher and store of their own on PC, so they’ve got no choice but to obey whatever conditions Valve puts on the sale of their games, unless they want to pause until they get a storefront up.
Valve does not limit you in where your game is sold, the publisher of the game has to set this and the publisher for Helldivers 2 is PlayStation Publishing LLC.
Valve absolutely limits the sale of people’s games.
Usually, this would come in the case of “Hey, this game doesn’t work, we’re taking it out of sale everywhere.” But with Helldivers 2 being so popular and high profile, that wouldn’t have been a good look for Valve. Instead, they limited the zone of sale to prevent customer support complaints.
Sony was limiting where you could legally sign up for PSN and thus play the game, not where you could buy it off Steam. That was a conflict of their own mismanagement and inexperience selling on PCs. Had they been smarter, they would have restricted regions to begin with and there might have been less outcry, but poor planning caused Valve’s parental slap.
Nah, fuck them. They thought they could get away with this predatory debt-trap system that was marketed at children and they are clearly salty that they got caught. Not to mention the whole idea of not even owning your own PC or the data within which would set a bad precedent for everyone everywhere.
There are so many competitors in the industry NZXT operates in; it would be very easy to avoid ever buying their stuff again. And I intend to do just that. Get bankrupted, you pieces of shit.
The technology was created to replace voice actors. That’s the actual purpose. Its very existence hurts their profession and benefits studios. You can not be a studio, use this technology, and claim to care about ethics, anymore than Amazon can claim to care about the workers as it invests in the machines to replace them.
No one is holding a gun to their head forcing them to us AI. They made a choice. There is no “ethical” way to cripple the livelihood of working class people for the benefit of your business. Just stop using the word.
It doesn’t matter if you compensate or get their approval, because the fact is the existence of the technology in the industry effectively compels all voice actors to agree to let it use their voice, or they can’t get work. It becomes a false choice.
If there was no financial benefit, if it truly made no difference in how much a studio pays in labor or the amount the artists make, there would be no reason for studios to want to use it.
Voiced characters that use generative AI in real time instead of prerecorded lines and a dialogue tree come to mind as an obvious use. How cool would that be, to be playing an RPG and ask any character any question you want and get an actual verbal answer? No way you can do that with voice actors.
Ever seen the game Vaudeville? It’s a fairly basic detective game but all the characters have their own LLM and AI voices. I bought it for the reason you described. I just had to see the technology in action and I can definitely see a future with generative text/voices in games.
It’s not perfect by any means but I think it’s a very cool approach to a detective game. There have been updates to it since I played that address most of the problems I had with it like characters forgetting past conversations and giving conflicting info.
I had spitballed an idea similar to this a few months back. Build the characters, world, and situations, and give the AI that information. Pick a few specific pieces of info the AI would have to tell you at specific times, basically to act as guide rails. Then, let the AI and the player just… Interact.
That’s pretty much Vaudeville. The only things you can do is click on locations and talk to people, each of whom has some bit of information you need to figure out.
It’s basically an experiment to see what works and what doesn’t with the idea. I appreciate that they kept the scope small (no quests, no WASD movement) and have been implementing changes as they discover the shortfalls (like the ones I’ve mentioned). If it ever does get released as a finished game, it’ll be more like a proof of concept for other games to build off of.
I find it to be very off putting that Baldur’s Gate 3 doesn’t have voice actors for the main character.
There are so many different races that would have different voices and different accents that it wouldn’t be financially viable to do that with voice actors either.
The only real ethical concern is around the training data. If all voices are compensated / actively consent to be used in an AI program, then this is just a tool. People losing jobs doesn’t really matter to an individual company. Industries change and technology advances.
So the real problem is they are using these types of tools, built of the skill of other voice actors, without properly compensating them or getting their consent.
What’s the point of bringing up “ethics?” The job only existed in the first place because of technology, and now people want to argue that there is a right or wrong aspect to it?
How about the poor candle makers or buggy whip manufacturers? Should we keep downgrading society just to keep a few “artists” happy?
Luddites were not anti-technology. They saw the progress of technology IN a primitive capitalist system and understood that technology would never benefit them, and always be used to subjugate them more.
If technology only benefits 0.1% of the world, and leads to the world dying, does it benefit humanity at all?
That’s kind of the point though isn’t it? It’s not the car’s fault we can’t afford the gas. We need to stop arguing about the ethics of using AI and start arguing about the ethics of the people using it unethically.
There is a person in that studio that suggested using AI, there is a person who gave the go ahead to do it. Those people need to be the problem, not the toy they decided to play with.
That's a very naive perspective though. We're not blaming the guns for gun violence, it's the people, but restricting access to guns is still the proven way to reduce gun incidents. One day when everyone is enlightened enough to not need such restrictions then we can lift them but we're very far from that point, and the same goes for tools like "AI".
Very easy time if it's about commercial use (well, at least outside of china). Companies need to have licenses for the software they use, they have to obey copyright laws and trademarks, have contracts and permissions for anything they use in their day to day work. It's the same reason why no serious company wants to even touch any competitor's leaked source code when it appears online.
Just because AI tech bros live in a bubble of their own, thinking they can just take and repurpose anything they need, doesn't mean it should be like that - for the most case it isn't and in this case, the law just hasn't caught up with the tech yet.
It’d be dead easy, actually. Don’t even have to actually ban it: For image generating models, every artist whose work is included in the training data becomes entitled to 5 cents per image in the training data every time a model generates an image, so an artist with 20 works in the model is entitled to a dollar per generated image. Companies offering image generating neural networks would near instantly incur such huge liabilities that it simply wouldn’t be worth it anymore. Same thing could apply to text and voice generating models, just per word instead of per image.
That said, this choice wasn’t actually a problem right?
I mean this game doesn’t use voice actors normally. If they used ai voice actors for this update only to represent the ai characters… isn’t that just appropriate?
Previously all characters in this game were represented only by text, so literally nobody is being replaced here.
Another way to think about it would be via representation. We get worked up when an ethnic character on screen is played by a different ethnicity, an actor in blackface for example. And in that vein using ai for organic characters could be seen as offensive, but using ai for ai characters would not. In contrast could we see using human voices for ai characters to be insensitive? That may sound far fetched, but this is sci-fi, the ai characters in the game are fully sentient and in their fictional universe would have rights, the whole point is to make the player think about what that means.
Well I guess I have my takeaway, I may consider boycotting any game that uses human actors for ai characters. Just get an ai actor… seriously.
Honestly, I’d argue that that’s exactly what AI should be for. Either being used by that one guy to give voices to his passion project because he can’t afford to hire voice actors, or to add a touch of the uncanny to an AI character.
Yes, as long as people keep focusing on fighting the technology instead of fighting capitalism, this is true.
So we can fight the technology and definitely lose, only to see our efforts subverted to further entrench capitalism and subjugate us harder (hint: regulation on this kind of thing disproportionately affects individuals while corporations carve out exceptions for themselves because ‘it helps the economy’)…
Or we can embrace the technology and try to use it to fight capitalism, at which point there’s at least a chance we might win, since the technology really does have the potential to overcome capitalism if and only if we can spread it far enough and fast enough that it can’t be controlled or contained to serve only the rich and powerful.
And I don’t make my own paints either when doing art. I still agree with the basic original point:
It is disappointing that we’re currently automating creativity far faster than manual labour. I’m angry that my art is getting automated away faster than my folding of laundry.
yea, see i just don’t like how we first automated creativity instead of like, idk, manual labor???
emphasis mine, but this is just incorrect. Technology has been reducing the need for manual labour (or rather increasing the amount of useful work done with manual labour) since the wheel and the plow.
It’s not; you’re just looking at the beginning of automating creativity when labor automation has been going on for over a hundred years. The introduction of new tech is always more disruptive than refining established tech. Besides which, VA is particularly sensitive to disruption because every VA does essentially the same job- one AI can be programmed to speak in thousands (millions?) of different voices, whereas one manual labor job doesn’t necessarily require the same actions as another.
Also it’s funny you complain about laundry, given how much doing laundry has been automated.
I have an idea for the practice that could help us better explore practical uses. Basically, a company may train an AI off an actor’s voice, but that actor retains full non-transferable ownership/control of any voices generated from that AI.
So, if a game is premiering a new game mode that needs 15 new lines from a character, but their actor is busy drinking Captain Morgan in their pool, the company can generate those 15 lines from AI, but MUST have a communication with the actor where they approve the lines, and agree on a price for them.
It would allow for dynamic voice moments in a small capacity, and keep actors in business. It would still need some degree of regulation to ensure no one pushes gross incentives.
Is this a sponsored post by a bought-and-paid-for shill, or is the writer just so worn down by microtransactions over the years that they’re Stockholm-Syndromed into thinking this is somehow OK?
I think this is just what happens when an art gets big and becomes an industry. Film buffs don’t get (too) wound up at every new formulaic action movie, soulless remake, or low-brow comedy (and all the money-grabbing tie-ins that come with them); maybe we should all just chill out and stop worrying about the mass-market blockbusters when there’s still a wealth of great stuff to play.
Yeah, I think this is a great take. It’s pretty easy to avoid all the mercenary practices that tend to plague most “AAA” titles these days— mostly by not buying the games at launch; eventually they all come around as giveaways, or at least at a deep discount. And as you say, there are a plethora of small developers putting out amazing games all the time. I’ve been getting a ton of mileage the last couple of months out of Vagrus and Dredge.
Preaching to the choir mate, I run freegames@feddit.uk, I acquire recent-but-not-brand-new AA-but-not-AAA games faster than I can play them! It’s still a great experience to be a patient gamer.
Maybe you are right but it is a bit like when search engines are flooded with crap: super annoying. I would any day prefer fewer options of mid to high quality stuff to whatever this is.
I mean Skull & Bones, the $70 always-online piratey piece of shit from Ubisoft, has an ad in the game for the Premium Edition - which, I shit you not, the first line of the description says “premium edition gives you access to the Full Game.”
Like, fuck any form of modern gaming whatsoever after this point. I bought the Arkham games cause they’re on a huge sale on steam (literally $10 for the whole trilogy, and Origins is currently $5) and have been having a fucking blast replaying those amazing games.
I made a coupleof posts recently about how it doesn’t really matter that there’s all this money-grabbing because we’re so spoiled for choice from the past few decades. My conclusion was that there’s no point in worrying when I’ve got a big pile of great games to play already!
Diablo 4, a full priced game, has microtransactions that are as expensive as the game itself, and skins that cost as much as 30 USD, when a game doesn’t fuck the people as hard it draws attention.
Because I’ve worked with the marketing assholes who lead to these decisions, and if you don’t get why they make them and how to get them fired for those decisions, you’ll never change anything.
That’s the difference between being a child, and being effective.
These careers are everything to them, they will gladly fuck whoever they need to to survive, but if you make them more afraid of the community then they’ll actually try to listen.
There was a brief period back in the late 2000s/early 2010s when Google listened to people.
That died by the time I joined, but I worked with people from before and they clearly didn’t give a shit about the customers anymore, it was all internal politics for promotions, you’d never get in trouble for pissing off customers.
Make them afraid of you, make them fear doing anything to piss you off, otherwise they’ll sell you out for their bosses and shareholders every time.
I'd say it started on at least Nintendo 64. The original Japan-only Animal Crossing game for N64 had playable, emulated Famicom (NES) games. Nintendo even ran a special offer to get an N64 Controller Pak with Ice Climber pre-loaded which you could plug into your controller like a game cartridge and play inside Animal Crossing.
Despite the best efforts of major publishers including Activision, Electronic Arts, Rockstar, Bethesda, and others, not to mention the far better deal offered to developers by Epic, Steam is more dominant than ever—and in the end, they all came crawlin’ back.
They’re all crawling back because they did not give it their best effort. They just wanted the full 100% of the sale revenue without doing the hard parts. To be fair to EA, for the first few years, it looked like they were actually going to try.
its more or less that yes. they saw the money but not the time and effort to get users to use your platform.
and its not like impossible, as long as you can create games people will play and stay at itll work (e.g Riot), but they legit put such little effort in the launchers that it was creating a negative user experience, and never put in the money to make it better.
Eh, it’s so easy to hop between streaming services that I don’t have the same hangup there. You subscribe for a month, watch what you want to watch, cancel, and then go to the next one. You can always resubscribe later. When you buy a game on a given storefront, you’re stuck with their feature set forever.
"I'm extra sorry that our lawyer got back to me and said the previous wording we did around the 'all future DLC inclusion' was legally binding and we'd get the pants sued off of us unless we changed course."
The wild monetary successes of Call of Duty and Fortnite send a clear message: treat unsupervised children as prey and you will earn billions of dollars
Kojima, the driving force of Metal Gear is gone. What is left is a corporate committee who through focus testing and guesswork try to keep the franchise on the road roughly in the same direction it has been going and avoid crashing into stuff.
They will make any new version look and feel as much as possible as the previous games, only deviating for committee-approved reasons of monetization, trend chasing, or marketing appeal.
What they will not and can not do is to strap a rocket to the roof of Metal Gear Solid, take a hard right and drive the car off the road and into the hills and launch it over Mount Everest. They don’t have the will, the auteur ability, or the trust of the fanbase.
Kojima could do that, which is what made the franchise what it is today.
MGS is dead, but Konami owns the pelt. What comes out next is just taxidermy with animatronics.
As far as I’m concerned the series is definitively over. 5 was the final. You don’t really need Kojima for remakes, just a team of good devs who love the series. But I also don’t trust Konami to pull that simple thing off. What is with the really bad “remake” ports from all the game companies in the last few years? Is it that hard to remake a game?
As someone who thinks Metal Gear Rising: Revengeance is the best Metal Gear since Solid 1*, I really do wish it had become an ensemble world. Platinum doing Raiden/Grey Fox. Imagine IOI making an ACTUAL stealth game set in that world. Hell, I could even see a timeline where Arkane made a game where you play as The Cobras. Instead, we just kept going back to the Snake well and had ever increasing dissonance between cutscene, boss, and normal gameplay characterizations.
As for bad remasters/remakes: A lot of that is that this is The COVID Year in terms of releases. These are most of the games that would have had most of their dev cycle during lockdown and were heavily delayed or had massive scope changes to meet release windows. Sometimes that means we get truly amazing games (BG3) and sometimes that means we have shovelware that just needs to avoid sunken cost fallacies.
And the other aspect is that a LOT of studios, particularly Japanese ones, are in the process of upgrading their tech. I loved Like a Dragon: Ishin (and am so excited for Gaiden next week). But that was a VERY small scope/ambition game (a mostly beat for beat remake of one of the lesser PS2 games) that was pretty openly about exploring Unreal Engine. And there have been a lot of games that are less open about “Hey, we are mostly dicking around to see if this tech works for us”.
*: 3 was awesome but very much “Empire Strikes Back”… in a lot of ways including the conspiratorial “So did the Creator actually write this? Because a lot of signs point to ‘no’”. And 5 was an awesome sandbox with no plot or pacing to speak of
I played the main series and never played the side, PSP games like peace walker, so I was completely lost when playing 5. I was wondering what this setting and people were for a while, until I realized I had to go back and read up on peace walker.
Having played Portable Ops (fine), Peace Walker (fine), and Acid 1 and 2 (FUCK YEAH): 5 was still mostly nonsense.
All you get from PW/PO (since PW largely felt like a redo of PO and PW was a prototype for the format of TPP):
This random lesbian was in love with The Boss but ended up fucking Huey and is Otacon’s mom. And somehow that is the least problematic portion of her arc.
Paz is basically the jailbait version of EVA in that she is a spy who betrays you but also everyone wants to fuck her but her true love is, and always will be, Big Boss. And don’t ask how old she is because nobody wants to know that.
Chico is your loveable sidekick that you never really gave a shit about but he is like 12
Big Boss has either stopped or started using Big Boss as a title for the umpteenth time because we can’t play as someone not called “Snake” and has something that may or may not be Outer Heaven built on an oil rig.
Don’t think too hard about why Skullface is basically just Hot Coldman but more of an edgelord.
A friend summed it up perfectly: Ground Zeroes works a LOT better if you pretend that Peace Walker didn’t exist and this is just “the adventures of Naked Snake”. Similar to how we never really know what Solid and Otacon did as an NGO before they became international terrorists in MGS2.
I hate it when developers make what they say are side games in a series essential to canon, especially when they don’t tell you they’re doing it or when they go into the side game not planning to make it canon and then decide it’s canon during or after development.
Or I should say, I hate it when developers make the next main series game assuming you’ve played the essential “side” game and leave out or half-ass their catch-up for people who haven’t played it. I call it “Chain of Memories syndrome” after when Kingdom Hearts made Chain of Memories essential to fully understanding KH2.
What they need to do is take whoever the next director of the game is going to be, strap them to a chair Clockwork Orange style and mix the entire Criterion Collection and Evangelion for about a year or two.
Then just for good measure have them write a page of names and slap them anytime a name nears anything of normal.
Then, and only then, should they be allowed to start working.
try to keep the franchise on the road roughly in the same direction it has been going and avoid crashing into stuff.
Based on their last attempt they couldn’t even manage that. Have we already forgotten that as soon as Kojima left the company, Metal Gear Survive came out?
PS, Kojima has a really cool Instagram where he posts his thoughts and stuff he likes, if anyone is a big fan and wants to sub to him. Dude has some radical tastes lol
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