Going to need a global wave of union organization to at least get royalties on sales determined for contribution levels. That’s unlikely to be incredible money but anything is better than nothing as you age towards their elder years
Besides that, no real solution. It’s happened to every art industry. It turns out there’s probably been an incredible amount of artistic talent every year throughout the millenniums but it’s just the last couple decades where it didn’t require super levels of luck and financial backing to make it
I believe Gearbox has always done this royalty situation union-less. But that doesn’t spread out sales to other games that need customers. There are still going to be plenty of games that just don’t move a lot of copies because other games suck the oxygen out of the room.
Let’s not toot Gearbox’s horn. While Borderlands 3 was their biggest success when it launched the people working on it got less royalties (per person) than they got for Borderlands 2. Meanwhile Pitchford bargained himself a 12 million bonus before the game was even released. Oh and when people complained about getting less royalties Pitchford said, like the asshole he is, they’re free to quit. Gearbox does royalty situation union-less (as I know 40% of the royalties are split between the employees), but that comes at the cost of having to put to with one the biggest assholes in the industry who will tell you to eat shit if you don’t like something.
It also comes at the cost of being paid less than the industry average, which isn’t high. But it wasn’t so much tooting Gearbox’s horn as it was pointing out that it doesn’t solve the problem stated in the article. It wasn’t about how well the employees at a successful studio are paid but rather how many studios are unsuccessful because of how much competition there is. The industry might generate absurd amounts of money, but a large percentage of that is still just going to a handful of games that gather all the attention rather than being spread around more uniformly, and I don’t think there’s really a way to spread it around.
Absolutely. I agree that royalties aren’t the solution here and I agree with what the problem is. Your previous comment just kinda came across (at least to me) like giving some praise to Gearbox for giving out royalties when IMO it doesn’t really deserve praise when those royalties don’t meet the expectations of the people actually doing the work. Especially when the owners get to set their own special deals with guaranteed payouts.
I’m sure it looked great when they made Borderlands 2, but they also made Battleborne. Borderlands 2 devs still get royalties to this day. And hey, Gearbox still gets some stuff right sometimes. The entire Borderlands series still supports LAN, which even the people who manage the Steam pages don’t seem to care about. They can be good in some ways and shitty in others. Life is rarely so simple.
Veilguard was…okay. But coming out after Baldur’s Gate 3, the series that DA was inspired by, really showed the massive gap in storytelling and character quality. I pirated it and was glad I did, as it was NOT worth anything close to $70.
I’ve only bought one $80 game thus far (And that was during a 30% steam sale so only $55) and from my years of experience of buying games, I can confidently say that my enjoyment in games goes down as price goes up.
Although weirdly all of the $80 games that released so far have been pretty bad so that’s strange.
I predicted KSP2 was going to be eventually abandoned and IG closed around the time of the launch, when the first industry layoffs were starting to happen. The mildest thing I was called for suggesting this was pessimist and it only got worse from that term. I suppose I was half right…so far.
So if I read this correctly, big changes means doubling down on breaking the pve promise and (finally!) decoupling the available characters pool from mtx.
Shovel Knight is one of the most successful indie games ever released. We’re not talking of a “moderately” successful game that sold a few hundred thousand copies, like Hyper Lighr Drifter or CrossCode: SK sold over 2.5m copies back in 2019, and I’d wager at least as much since then. How do you go from there to almost bankruptcy?
They did a lot of extra work on it without charging for it, and it’s been a long time since they put out a hit. California salaries and real estate are expensive.
Paying a bunch of salaries when your revenue streams are Shovel Knight (good but old game that kept getting free DLC and made a lot of its money before release) and… Shovel Knight Dig. They had to go back to Kickstarter for Mina, after all.
If it was one guy or a tiny team, SK’s success would be enough for them to be “set for life”, but a business is more expensive to run than a team is. They probably don’t expect Mina to be a phenomenal income stream either, since (like SK) it’s already mostly done making them money.
Distribution. It’s very easy to put your game on Steam next to Grand Theft Auto. You’ll have a much harder time getting your indie film in theaters or on a streaming service. High quality movies aren’t typically found on someone’s YouTube channel.
The price it costs to make movies and the services that promote them. There are way more new movies than you realize. The market is just as oversaturated. You’re just less likely to see low budget indie movies the same way you prominently see low budget games and music unless you follow cheap horror circles and things like found footage.
Can confirm, my neighbor makes indie films, and I don’t live in Hollywood or anything, just a random town in Utah. There are more than you and I expect.
It still costs more to make an indie or found footage film than it would to make a game or music or other art. I watch a lot of found footage so I’m pretty familiar with the style and do a lot of research on the ones I like. The average on the low end of the price spectrum is around $10,000 although some have been made for around $1,000.
Still there’s a lot of stuff out there. Another thing to consider is that art, music, and games from foreign countriea are way more accessible than movies and shows from abroad.
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