Mortal Kombat 9, also known as “Mortal Kombat” or “Mortal Kombat (2011)” is where the modern canon starts. It’s also delisted from sale, so you’ll need to find a used copy for consoles or pirate it for PC. It’s a soft reboot of the story and also establishes the bar for what fighting game story modes should be. It’s campy and leans into it, and that’s the tone that MK always has when it’s at its best.
Mortal Kombat X and Mortal Kombat 11 are sequels to that, and they escalate the ridiculousness. These are direct sequels, so while they make efforts to ensure you can understand what’s happening even if you haven’t played the games before, MKX is best enjoyed after playing MK9, and MK11 is best enjoyed after playing MKX.
Mortal Kombat 1 is another soft reboot, but (slight spoiler) it also does this while preserving the canon of, and sequeling, MK9, MKX, and MK11.
MK9 is a throwback to your favorite characters with modern (at the time) mechanics.
MKX brings back the run button and tries to keep all of the different versions of each character over the years in the same game via its “variation” system.
MK11 tries to do away with some superfluous features of MKX while adding more defensive options.
MK1 introduces “kameos”, which is like a Marvel vs. Capcom 1 style assist system.
There’s reason to believe that the next Xbox will just be a PC with a coat of paint, the same way that the Steam Deck is, and so this preservation team would, in that case, probably be built to legitimately emulate the Xbox 360 on PC, because that’s where the biggest compatibility gap is.
No. As others have said, there’s just a lack of information about what’s coming out. Basically starting last year, companies got fed up with announcing release dates that they can’t meet, which has a tangible marketing expense on their side, among other problems. So now we basically only hear about games’ release dates when they’re imminent. This year, we’ve gotten:
Arzette: The Jewel of Faramore
Balatro
Final Fantasy VII Rebirth
Like a Dragon: Infinite Wealth
Penny’s Big Breakaway
Prince of Persia: The Lost Crown
Tekken 8
The Thaumaturge
Under Night In-Birth II Sys:Celes
…and while it’s divisive, I quite liked Alone in the Dark.
We’ve got the likes of Palworld and Enshrouded in early access, with No Rest for the Wicked to join them shortly.
There are a couple of games from smaller developers and publishers I’ve got my eye on with likely or confirmed 2024 release dates. They may have a wide spread in quality when reviews hit, but some of them could be winners, especially since they’re in genres currently underrepresented by the wider market:
Aero GPX
Agent 64: Spies Never Die
Big Boy Boxing
Broken Roads
Conscript
Commandos: Origins
Core Decay
Fallen Aces
Kingmakers
Phantom Fury
The Plucky Squire
Streets of Rogue 2
Tempest Rising
Titan Quest II
V Rising (1.0 release)
Warside
Then some other noteworthy games that are likely going to be very good and have a real shot at releasing this year:
Avowed
Elden Ring: Shadow of the Erdtree
Dragon Age: Dreadwolf
Gears 6
Hollow Knight: Silksong
Indiana Jones and the Great Circle
Judas
Mina the Hollower
The Rise of the Golden Idol
What this year doesn’t have, at least so far, is a clear front runner like Baldur’s Gate 3 or God of War, but there’s more than half of the year left.
Epic Games has been clear about seeing Steam as a direct competitor, and has done everything from giving away free games to paying for timed exclusives to entice players.
Yup, that’s everything. Those are their only options. Yup. Nothing else to be done. It’s an unsolvable problem if those things don’t work.
This is supposed to be how competition in the marketplace works
In case the above sarcasm wasn’t clear, no, this is not how competition in the marketplace is supposed to work.
If you want a preview of an uncaring and anti-consumer Valve, look no further than the company’s efforts on Mac.
This is an example of Apple making life difficult for its customers, not Valve.
There’s no excuse for Steam on Mac to be a far worse experience than on other platforms, though.
There is, because Apple wanted to control their entire hardware pipeline, which meant breaking compatibility with the entire history of PC gaming when they did so. If this is your smoking gun, author, try harder.
Eventually, the bomb will go off, and the full ‘enshittification’ of Steam will commence.
I hate this enshittification term so much, because all it means is that they got complacent, and competitors can pick up the slack. You just spend your money elsewhere, whether it’s Xbox vs. PlayStation or Steam vs. GOG. It is a problem that Steam has so much control of the marketplace, but they got there because their competitors aren’t truly competing. I finally found a reason to shop on GOG again, despite the fact that they don’t support their Linux customers as well as their Windows customers, and definitely not as well as Valve treats them, but DRM-free is a compelling argument for me. Epic does not make a compelling argument for the consumer, which is why that meme, pasted in the middle of the article, exists.
Is it perhaps a slow, laggy mess because Apple decided to break from the same convention that everyone else uses and has used for decades and now has to emulate a different processor architecture? Apple is the one who made gaming shittier on Macs, and they’re going to point to Death Stranding and Resident Evil 4, expecting the flood gates to be open, and now everyone’s going to port their games to Mac. Except they’re not. Apple won’t understand why not, but once again, as they’ve always done, breaking from convention and establishing your own standard that doesn’t play nice with what everyone else is building around is bad for developers. Before this, they were still making developers’ lives harder by not supporting certain graphics APIs. Valve made a Vulkan translation layer to Apple’s Metal, since Apple wouldn’t officially allow for Vulkan, and that was shortly before the architecture change.
It is an excuse for Valve, because their business is selling thousands of games that do not have ARM-native builds. No action of Valve’s made Steam worse for Mac users. An action of Apple’s did that. At some point, it’s not worth it for Valve to update their application to be better for a platform that’s actively hostile to its business partners.
You can only throw away hundreds of millions of dollars on Avengers and Suicide Squad so many times before they decide to come up with something people are willing to pay for.
True. There would also be even more layoffs in this industry if they threw out years of work and hundreds of millions of dollars at the finish line because they decided not to release a game that didn’t turn out to be as good as they’d hoped.
I was being facetious. If your development timeline is 7 years, you have no idea how it’s going to turn out at the end, but they all set out to make a good product, especially when it takes that much time and money to make. Guardians of the Galaxy was supposedly a very good game that bombed horribly, for instance. There’s a lot of risk when your game is that expensive to make, because there are only so many customers out there, and they’re already playing other big expensive games. Even Sony is finding that their marquis titles aren’t bringing in as many customers as they expected anymore, so they can’t keep spending more on games and expect them to be profitable.
What do you mean? It’s already profitable for them. I’m far more concerned with Nintendo’s online subscription than Microsoft’s. Nintendo’s already crossed the line, and Microsoft still stands to make more money by offering games for sale on Steam than to make them only available via a subscription that isn’t doing well with regards to acquiring more customers.
So if they only make 2.7 billion and spend more than a billion a year with some games costing $200 million….
How is it profitable?
$2,700,000,000 -$1,000,000,000 = $1,700,000,000
If the rest of their expenditures are less than $1.7B, then it’s profitable for the year. Since we’ve already accounted for the line item where they’re licensing products for their service that they don’t own, I’d be surprised if they had $1.7B worth of other operating expenses left to pay for, unless you can share a source stating otherwise. But what I see is this stating that it is profitable.
They are being intentionally vague and not releasing intimation as it would show they are doing very illegal things.
The burden of proof is on you if you think they’re doing something illegal. It’s not difficult at all to believe that they’re doing everything by the book, have a profitable service, and also found a plateau in how many customers are interested in using such a subscription.
Critical thinking: $200M game budgets are not “per year”. They’re 5+ year development timelines. Microsoft’s output was only a few games. Starfield had a $200M budget over the course of 5 years. Forza wouldn’t surprise me if it had about that for its own budget, even though it reuses a lot of legacy code and assets to get there for cheaper than building it from scratch. But that’s not $200M per year for those games. How much do you think Hi-Fi Rush cost? We’re talking 8 figures for that one, not 9, and that’s over the course of 4 years.
they could also spend more than 10 billion, but they omit that specific information. Why? Because it would show the lie….
They could omit all kinds of things that they didn’t do from their financial reports, sure. Why didn’t they say that they spent $10B? Perhaps because they didn’t spend $10B…
Your link, which I have seen before, refers to how much games are estimated to cost to come to Game Pass, some of which happened and some of which they turned down because they were too expensive. They famously low-balled the impact BG3 would have on the industry and how much it would take to secure that game for Game Pass…if they were interested in doing so.
In the link that you provided, which I have seen before, you can see that they turned down games for hundreds of millions of dollars but estimated that that’s what they would cost to get on Game Pass when they launch. Have you noticed that games often leave Game Pass as well? That’s because they have to keep paying those people for those games, and they don’t see any value in continuing to do so. If they were spending 10x on licensing what they reported to investors, that would have come out in these leaks, especially since the licensees would be able to do some back of the napkin math when they can see what was spent to license their competitors. But that didn’t happen. I’m sorry to disappoint you, but there’s no conspiracy here. Microsoft just has a profitable service.
In fact lots are claiming the opposite since this leak came out and they started looking at the numbers and taking directly to devs involved.
Then please link that instead of their estimates, because if they were lying, publishers calling out bad math is exactly what I’d expect to happen. What I see on this list though are a bunch of costs that can be spread out over several years, not paid out all at the same time. Jedi Survivor, Suicide Squad, and Mortal Kombat account for $800M of this list, and none of them came to Game Pass, meaning Microsoft did not opt to spend that money.
Games leave gamepass since when it comes to renewal they don’t want to since streaming cannablizes sales and leads to lower revenue (already said this) so it’s not Microsoft deciding it’s not profitable, it’s the game wanting control back.
You are misplacing cause and effect. It’s more expensive for Microsoft to get someone else’s game on Game Pass right at launch than it is after launch, because if it’s a game people are already excited for, it will eat sales, as opposed to something like Descenders where most people never even heard of it, so it would serve as a form of marketing. In that case, Microsoft and the other company are essentially making a bet with regards to how much the game would make if it’s not on Game Pass, and Microsoft pays them a guaranteed sum up front, which reduces risk but also reduces reward. When a game leaves Game Pass, it’s not because they saw their sales tanking and wanted to “take back control”. It’s that Microsoft isn’t offering them enough to make up for the sales they’d expect to otherwise make for the next leasing period. Microsoft doesn’t offer them as much for the next period, because they don’t expect that keeping that game on the service keeps more people subscribed.
If you can produce that link that demonstrates what you’re claiming, I’ll read it, but otherwise, this sure looks like you’d rather believe in some boogeyman conspiracy theory than a simple truth.
It’s the “complaining when they end” thing that I’m interested in, for sure. Especially if a government listens, which he’s aiming to make happen here.
I take issue with the requirement being “when it’s no longer supported” for similar reasons. I can foresee an argument where a company advocates for some scenario where they’re going out of business and can’t do it, and some 75-year-old judge who hasn’t played a video game since Tetris lets it slide. Still, this is the shot we have, and we need to take it.
Ignoring the lack of updates if the game is buggy, games back then were also more focused on quality and make gamers replay the game with unlockable features based on skills, not money. I can’t count the number of times I played Metal Gear Solid games over and over to unlock new features playing the hardest difficulty and with...
This is selection bias. You remember Metal Gear Solid, but do you remember Iron & Blood: Warriors of Ravenloft? Do you remember Mortal Kombat Mythologies: Sub-Zero? Bubsy 3D? The million-and-one licensed games that were churned out like baseball cards back then?
and make gamers replay the game with unlockable features based on skills, not money
If we’re going to say that a full-price game today costs $70, Metal Gear Solid would have cost the equivalent of $95. Not only that, but that was very much the Blockbuster and strategy guide era. Games would often have one of their best levels up front so that you can see what makes the game good, but then level 2 or 3 would hit a huge difficulty spike…just enough to make you have to rent the game multiple times or to cave in and buy it when you couldn’t beat it in a weekend. Or you’d have something like Final Fantasy VII, which I just finished for the first time recently, and let me tell you: games that big were designed to sell strategy guides (or hint hotlines) as a revenue stream. There would be some esoteric riddle, or some obscure corner of the map that you need to happen upon in order to progress the game forward. The business model always, at every step of the medium’s history, affects the game design.
“Value” is going to be a very subjective thing, but for better or worse, the equivalent game today is far more packed full of “stuff” to do, even when you discount the ones that get there just by adding grinding. There are things I miss about the old days too, but try to keep it in perspective.
Cosmetic DLC feels like it’s for chumps too, but it’s lucrative. The best example is going to be Simon’s Quest, without a doubt. The strategy guide was in an issue of Nintendo Power. I’m sure they were also happy to let social pressures on the playground either sell the strategy guides or the game just by word of mouth as kids discussed how to progress in the game. A Link to the Past is full of this stuff too. The game grinds to a halt at several points until you happen to find a macguffin that the game doesn’t even tell you that you need. Without the strategy guide, you could end up finding those things by spending tons of hours exploring every corner of the map, but by today’s standards, we’d call that padding.
That’s commonly said but ignores other economic factors such as income, unspent money, and cost-of-living.
Inflation is derived by indexing all of those things. Some things are far more expensive or far cheaper relative to each other, but we approximate the buying power of a dollar by looking at all of it.
If memory serves, Valve got the idea for the loot boxes from Korean free to play games. As far as I know though, they did invent the battle pass with Dota 2.
I don’t see how the amount of “completeness” can even be measured. Is it really so much worse that you can buy extra fighters for the Street Fighter 6 that you already own rather than buying Super, Turbo, and then Super Turbo at full price every time? Or that you can choose to buy just the stuff you want for Cities: Skylines for half the price instead of paying twice as much to get stuff that don’t care about along with it? Plus, expansions like Phantom Liberty and Shadow of the Erdtree are bigger than most entire video games from the 90s.
There is if they’re interested in competing with Steam. Epic made some very competitive offerings for the supply side of things and then provided very little reason for customers to ever shop there, which it turns out is just as, if not more important.
My expectation was that they were spending money that they mostly already had, but I was very excited to see a company picking up the pieces that the biggest publishers left behind. No one was going to make a new Outcast game before this, for instance. Game publishers used to put out dozens of games of all types per year, and now they might put out 5. They hinged it all on debt that they couldn’t afford though, so they’re ruining the chances of us returning to sustainable normalcy instead of what AAA has been doing for a decade.
Canada-based studio Relic Entertainment, which recently released Company of Heroes 3, did receive some good news in the midst of these layoffs. The company announced on X (formerly Twitter) that it is becoming an independent studio thanks to the help of “an external investor” who went unnamed.
The investor has a stake in the company, so they share in the successes and take on the risk of failure, but they provide capital to make this purchase from the parent company in the first place.
Of those three, the one I bought was Three Kingdoms, and I was certainly not forced to buy more than the base game. Paradox’s DLC strategy is a-okay by me. Neither company puts a gun to my head to buy their DLC. Pretty sure blood is a DLC to get away with a lower age rating.
It’s a play for the consumer’s money, and when the consumer has better options than the traditional console model, the console model breaks down. They’ve got at least one more Xbox in them, whether or not that next Xbox is just a PC with different branding.
I wasn’t cheering for subscription services. I was cheering that this exclusivity model of walled gardens no longer makes economic sense, while open platforms are on the rise. Microsoft is hoping that their pivot will result in more subscribers to their subscription service, but all signs are pointing to them having a rough time of growing beyond where they stand now, for all sorts of reasons.
I’m really excited to hear that the narrative Lego concept is working. It makes a lot of sense on paper, but there are a lot of ways it could go wrong. We won’t really know until the game is out, but this could potentially be revolutionary for the medium, both from the customer’s side and the business side of things.
The enemies ignored both of them. Allegedly, anyway. I know when I played The Last of Us at launch, there were times that enemies saw me when I thought I was perfectly hidden while Ellie was out in the middle of no man’s land. In both cases, the enemy AI ignored these other characters because A) escort missions have never been fun, and B) it slowly builds a reason for you, the player, to grow attached to these characters when they help you. You feel the resource deficit in Infinite when Ellie’s not there to throw them to you. Both games did basically come up with the same gimmick in the same year.
How long until you get out of the section with mimic enemies? Because when that game launched, that was all I saw in footage of the opening hours, and I wasn’t interested in that.
If people can run pirate MMO servers, then they can run private Helldivers 2 servers. It’s very conveniently impractical for private servers to be distributed when the game has microtransaction revenue streams, because private servers would inevitably provide opportunities to sidestep them. They’d still make plenty of money though, because most people would choose to play on official servers regardless, but they see it as a threat to their business model, which is why they don’t do it.
It still stands in the way of preservation, and it’s not good enough to release private servers after the game is sunset, because there’s no guarantee while the game is still supported that it’s going to happen to keep the game alive. Plus, even in a best case scenario, private servers are necessary to get around server downtime, DDOS attacks, queues when the servers are at capacity, or just the ability to play with some friends if you’re in a cabin in the woods.
You may as well say the same thing about DRM-free games then, since this is effectively just a gimmick to disguise DRM. You don’t provide the server to endorse piracy. You do it because anything less is giving your customer an inferior product. Even if the preservation aspect of this didn’t upset me, I’d still have a hard time buying a game like Helldivers 2 because it comes across as phenomenally poor value compared to buying a game that’s built to last.
Which Mortal Kombat games across the years should I start with? angielski
NOTE: I have the very first one for the Sega Genesis but any will do.
EXCLUSIVE: Xbox President Sarah Bond has set up a new team dedicated to game preservation and forward compatibility (www.windowscentral.com) angielski
Feel like a weak year for games?
Seems like not a lot of stuff has come out this year, not sure if it’s just me or what....
Steam is a ticking time bomb (www.spacebar.news) angielski
If AAA is No Longer Profitable... Make Smaller Games | A16Z Games (10:11) (www.youtube.com)
The largest campaign ever to stop publishers destroying games [Accursed Farms] (www.youtube.com) angielski
Actionable steps provided, especially if you ever bought The Crew! www.stopkillinggames.com
Gameplay mechanics were also a lot better with more replayability. (lemmy.world) angielski
Ignoring the lack of updates if the game is buggy, games back then were also more focused on quality and make gamers replay the game with unlockable features based on skills, not money. I can’t count the number of times I played Metal Gear Solid games over and over to unlock new features playing the hardest difficulty and with...
Embracer CEO says it's "way too early" for the company to "start talking about" acquiring new studios (www.eurogamer.net) angielski
'The gold rush is over:' Slay the Spire and Darkest Dungeon devs say that big Game Pass and Epic exclusive deals have dried up for indie devs (www.pcgamer.com) angielski
Embracer sells Borderlands maker Gearbox to Take-Two Interactive for $460 million (www.gamedeveloper.com) angielski
In today’s episode of “watch Embracer crash in slow motion”
Sega sells off Relic Entertainment, will axe 240 jobs (www.gamedeveloper.com) angielski
Canada-based studio Relic Entertainment, which recently released Company of Heroes 3, did receive some good news in the midst of these layoffs. The company announced on X (formerly Twitter) that it is becoming an independent studio thanks to the help of “an external investor” who went unnamed.
Phil Spencer wants Epic Games Store and others on Xbox consoles (www.polygon.com) angielski
Judas First Details: How Ken Levine Is Building on BioShock With 'Narrative LEGOs' (www.ign.com) angielski
'Make a private hosted version of your game': Knockout City dev's top tip for studios shutting down a live service game is to give players the keys (www.pcgamer.com) angielski
How are CD Projekt's side quests so good? Cyberpunk quest designer says they reject 'over 90%' of their pitches (www.pcgamer.com) angielski
Dragons dogma 2 controversy over the DLC on steam ( and optimisation and denuvo ) angielski
Sooo it might be controversial but i think its kinda overblown. Particulary the DLC part....