Supporting it can be extra work; hosting the old versions costs the platform holder more money. It’s not automatic, but I really want them to figure it out. USF4 definitely required a ton of work for their edition select, but what I’m asking for is much closer to the boot menu of StarCraft/Brood War rather than picking the exact balance patch from a list of dozens, lol.
I’m quickly arriving at the desire to at least have these games lock in at the end of a season. They typically don’t make big changes during a season anyway. For as much as people were tired of buying Super, Ultra, Arcade, and Revelator releases of a game they already have, surely in the DLC era we can just treat them as expansion packs and still go back and play the old versions if we want to. However, due to skins and such, there’s an incentive for them to not keep the old version around. I really liked Guilty Gear Strive season 1 and didn’t care much for season 2. I would have loved to keep playing season 1 instead at the time, but it was gone. A lot of Dragon Ball FighterZ fans are mourning the game that they loved that isn’t accessible anymore.
There’s a correlation to how many reviews a thing gets in a given marketplace compared to how many of it were sold. This was a mostly unscientific number shared among devs once the user privacy settings changed for Steam and we could no longer count on SteamSpy for copies sold metrics. At one point years ago, the multiple passed around was as high as 77. Here’s a slightly more scientific accounting of it.
Not only that, but using the typical back of the napkin math based on the number of reviews (you can usually multiply the number of reviews by 55 to find the number of copies sold, and I omitted the reviews they’ve gotten in the past 48 hours that they asked for), they’ve brought in over $30M for their unfinished game.
Very true. Though at the same time, you probably could have found that context you were looking for by typing a couple of those words into your favorite search engine or Wikipedia.
Grubb’s got an excellent morning news show that he’ll be back to doing this coming week if you wanted to poke your head in and check it out. They’ve also got a number of shows that are a good laugh, like Blight Club, where they take turns playing awful video games all the way to credits.
A boss several steps up the chain decided to make changes to how the site operates that were incompatible with what Giant Bomb is, namely that they wanted an advertiser-friendly, “brand-safe” image with less swearing and streaming. This led to a number of key people leaving, at which point, the name Giant Bomb isn’t really worth anything to anyone. It’s been covered in tons of gaming circles this week alongside the similar destruction of Polygon, so I didn’t think it needed to be stated yet again as I was summarizing bullet points from a live stream.
Which Jeff? Jeff, Jeff, or Jeff? Jeff and Jeff are now co-owners, and Jeff has his own solo thing, being a family man, which seems to be how he wants to live his life these days.
Kinda Funny did exactly that, and IGN still stands taller. But I think that just speaks to how many competitors can possibly follow that same model, because they’re driven by ad revenue and SEO.
For IGN, probably indefinitely. They do real journalism and real criticism over there, but their site is also a horrendous challenge to navigate due to ads, and there’s more Star Wars and Marvel on the front page than there are video games. Gamespot follows a similar model, and they’re still under Fandom, and that will probably work out…fine…ish…compared to trying to make Giant Bomb work under that banner.
And GamesBeat, and Aftermath, and NextLander. I think this is the only way game media survives. The corporate ownership doesn’t appear to work for anything other than the IGNs of the world.
It can be both. It was impressive when Oblivion had 7 different interlocking systems but none of them were particularly good, but these days, I think we expect at least one or two of them to be significantly better.
The problems with Starfield aren’t so much the bugs as they are fundamental, often dated, design issues. Here’s a sort of Let’s Play from a podcast I follow with one guy who loves trying to bend sandbox simulations to the point of breaking and a gal who writes comedy. Around the 10m mark, you can start to see where this sandbox should have accounted for this kind of play. If you can’t simultaneously do that while making a galaxy with 1000 planets, then you should probably scope down until you can. Starfield is not a terrible game, but Bethesda needs to evolve.