If this means we’re getting more faction building like we did in Inquisition, then the title change marketing worked on me. That was why I loved that game.
A lot comes down to the cast for me in these types of games, though. I need to want to bug them in camp and do their sidequests or I’m going to feel like I didn’t get a lot of value.
I knew I was going to like this when it was announced, and the demo did not disappoint. There’s a fine line between being too easy and getting too puzzly for me with these games, but seeing the Confidence system is a really good sign that the full game won’t get to the latter. The default setting was too easy for sure, though; the boss fight was almost trivial.
Love the writing, love the absurd concepts at play. This one’s an insta-buy when it comes out.
SQEX did have significant AA-sized development for a long while, although potentially less going forward until their flagship rights itself (or they develop a new one). It’s less risky, and the payoff can still end up highly successful like Life is Strange or Octopath Traveler.
I guess the silver lining for them here is that FF16 had much better management than 13 and 15. It would have been a real disaster if 16 went into the budget overruns those two games did. Being hitched to a low-market-share platform and being released in a crazy year for gaming was also bad luck. Granted, FF16 and Rebirth not being good enough to move PS5 units is its own problem.
We clearly run in different circles. To me, the drip-feed marketing for FF16 felt constant for the months running up to the game. Meanwhile, the very first time I heard of Animal Well was when the reviews started getting posted (and even then I only took notice because they were above average).
It’s tough. A long-standing rule of video games media–even well before web publishing–is that reviews don’t pay the bills. Hype gets clicks, as do guides now that independent guide writing has waned.
I’ve played all of the mainline games over the years, but my only experience with FFXI was a couple of hours of the beta. Tried the marathon as a set of replays several years back and only made it to the start of IX. The load times and the glacial pace of the battles was too much by that point. I think I was planning on skipping XI.
Ahh, the tool change is nice. Functionally, it probably doesn’t actually change the rate of resource collection, but it did feel bad seeing stuff you can’t harvest.
I don’t have experience with their systems, but I had to go back to the store twice for an Acer monitor. First monitor had a dead HDMI port, second had a gap in the chassis at the top. Don’t know why I didn’t just go with a different one after the second replacement; it would end up developing a line of shadowing after about 18 months.
I see the contradiction. And I’m not saying the game was AAA-sized, although live service, multiplayer, or ongoing support are not requirements for the term. It’s a budget classification. Hi-Fi Rush had 1,400 people in its credits.
My comparison to Balatro was more in the line of “Cleopatra lived closer to present day than the era the Great Pyramid was built.” We’re talking about massive gaps in scale, and gaming communities tend to have trouble reconciling that. Balatro is not Hades, Hades is not Hi-Fi Rush, Hi-Fi Rush is not Starfield.
Xbox buys talent, mismanages it in search of impossible scale, and cuts it loose - be that the 20-year experts of Fable, or the battle-scarred makers of Dishonored, or the invigorating new generation behind Hi-Fi Rush.
Talking up the demerits of capitalism in the massive gaming industry has been more common as of late (perhaps especially so on Lemmy), and I do think there is nuance in that conversation.
There’s no reasonable nuance here. Microsoft clearly wants insane return on investment from their studios, and I don’t see how that leaves room for the art of video game design.
There have been a lot of good responses to the studio closures and good articles written, but this is not one of them.
Hi-Fi Rush was not a small project, and putting it in the same bucket as Balatro and Manor Lords is outright bizarre. It’s far closer to AAA budget scale than it would be solo/small indie projects.
Edit to add:
I don’t know how the fact presented here ended up being controversial somehow, but don’t take my word for it. Here’s a quote from John Johanas, Hi-Fi Rush’s director:
It was supposed to be a small project from Tango. And people probably see it as this weird, sort-of AA title. Or people are like, “Oh, they made a nice indie game.” This ain’t no indie game. Obviously, I can’t say how much it cost, but it was not a cheap game to make.
And lead programmer Yuji Nakamura:
For the first two years I would say it was a small project. But what John wanted to make was not a very small thing to do. We needed to get more and more people to help. In my mind, small projects would be maybe 20 to 30 people for two years. We ended up developing for about five; I wouldn’t call it a small project at all.
The first Witcher encapsulates Geralt’s (many) sexual conquests in collectible cards. And almost none of the encounters have any bearing on the plot. Having a hard time not calling that exploitative.
Much of what’s going on, especially lately, is simple xenophobia. There are arbitrary restrictions on what can be sexualized when Asian character designs are used.