Now that it’s launched, might you be interested in a GOG version? I’ve got this game on my radar, but I won’t be able to get around to it at least until I finish a few other long games I’m working through.
The word was they cancelled their marketing, which doesn’t mean a delay is definite. When Concord wasn’t going well, they just put it out and hoped for the best despite a beta with terrible metrics, and…that’s an option again, where they’re not throwing good money after bad.
Those “What’s New” updates are so easily abused. If you played multiple games in a series, every single one of them will post an update about the latest game, so you’ll see the same update like 5 times. Or, if you’re Street Fighter, you’ll pretend that it matters which one of your fictional characters currently has a birthday, and that will litter the feed until you click on “show less”.
Close! That was Agent Under Fire, not Nightfire. It’s one of my favorite multiplayer shooters, specifically with nonsense like the Q Claw, Q Jet, and moon gravity turned on. Nightfire really pared back on the stuff that made Agent Under Fire ridiculous, and it was good for different reasons.
I’m questioning if there’s ever been a good D&D video game adaptation that wasn’t trying its best to just replicate the tabletop experience, and then I’d ask if it’s worth trying when you could just continue to make good replications of the tabletop experience.
From the press releases at the time, it appears the new owners only have the studio and the Hi-Fi Rush IP, not their other IPs like Ghostwire or Evil Within. If they had to be choosy, Hi-Fi Rush was the one worth getting.
I think I’m kind of done with Supergiant regardless. In both Bastion and Transistor, it felt like they had two out of three components to their gameplay loop but were missing something to prevent it from feeling repetitive; despite short runtimes, both very much did feel repetitive. I didn’t even try Pyre, and I have little faith it would be for me. I do love roguelikes and can enjoy -lites from time to time as well, and Hades got a lot of buzz. However, I actually quite disliked worlds 3 and 4, and the level generation is among the worst I’ve seen in the genre. I get the sense that Hades is probably most responsible for people who claim they want “handcrafted levels” as opposed to procedural generation, because perhaps those people haven’t seen it done well if they’ve only ever played Hades, a game with level generation so monotonous that the voice actor will call out a room we all recognize.
Well, The Witcher 1 and 2 weren’t open world, and those turned out pretty well, especially 2. There’s something to be said about what a game from them might gain by doing more in a smaller world.
That oxygen is in a different room. The person who only plays Fortnite probably never heard of MindsEye or Concord. At some point, I wonder why games media even covers certain companies anymore. Sure, EA and Ubisoft made games we all liked 20-25 years ago, but they don’t really make games for those same customers anymore, largely.
It’s not speculation with MindsEye. Everywhere was shown off first, and it’s still happening. That studio was funded with VC money, and VCs want “the next big thing”. That thing at the time was “metaverse”. MindsEye seems to be the smaller project they can get out in the meantime and, charitably, is one of a number of things they’ll churn out that all comes from a similar process flow and builds on each other (they hope).
As to boycotts, your individual purchases always matter; not just with what you don’t buy but also what you do buy.
That led into the used market, I suppose (a boogeyman for the games industry that birthed lots of the worst monetization today). I never really had that problem, outside of outliers like Pokemon Snap that were unusually short. In the 00s, it was pretty common to get 8-15 hours for an action game that you paid $50-$60 for, often times with multiplayer modes alongside the single player modes, and that felt like great value to me at the time.
There was a podcast that Irrational did before putting out BioShock Infinite that would interview game developers and other creatives, and they had one that interviewed the BioWare doctors. BioWare was always set up to be a multi project studio, and Irrational was a single project studio. At that time in the industry, lots of companies were pivoting from the former to the latter, due to how many more hands on deck a 7th gen console AAA game took to make. BioWare was set up the way it was so that one underperforming game could easily be carried by another reasonably successful one. By the end of that interview, I thought you’d have to be nuts to employ that many people and only work on one game at a time. Sure enough, Irrational buckled under that weight right after shipping BioShock Infinite’s DLC, and modern, single-project BioWare is looking worse for wear.