In the DLC, it’s still open world and extremely flexible in how you explore it, but there’s less wasted space.
It’s very tightly knit and the pacing is better as a result.
It’s like Elden Ring was watching masters of their craft cut their teeth on something new, and then the DLC was them applying everything they learned in that process.
Can’t wait for their next game in that same vein (especially not held back by last gen consoles).
In my new video [OC], I recount the rise and fall of E3, and what kind of legacy it has left behind. And then I go through the one time I got to go back in 2001
The new items stuff in particular seems like QoL considerations for “we just added a hundred items to the game for players coming back to it after months away.”
I’ve always thought Superman would be such an interesting game to do right.
A game where you are invincible and OP, but other people aren’t.
Where the weight of impossible decisions pulls you down into the depths of despair.
I think the tech is finally getting to a point where it’d be possible to fill a virtual city with people powered by AI that makes you really care about the individuals in the world. To form relationships and friendships that matter to you. For there to be dynamic characters that put a smile on your face when you see them in your world.
And then to watch many of them die as a result of your failures, as despite being an invincible god among men you can’t beat the impossible.
I really think the gameplay in a Superman game done right can be one of the darkest and most brutal games ever done, with dramatic tension just not typically seen in video games. The juxtaposition of having God mode turned on the entire game but it not mattering to your goals and motivations because it isn’t on for the NPCs would be unlike anything I’ve seen to date.
The level of detail in Helldivers 2 is insane for the type of game and company size.
Deformable terrain and buildings, enemy animations when you shoot off different limbs and they keep moving towards you, your cape burns off more and more as you use your jetpack, etc.
Call of Duty has 3,000 devs working on their titles.
Arrowhead has around 100 employees total.
I very much believe this game took that long with a team that size, and it shows and is a large part of why it’s been so successful.
It’s outstanding, but even right now at its best it still isn’t perfect.
I’m very, very much looking forward to what they can eventually do using UE5 as the base in an era with generative AI to fill out the edges.
When the polish (pun intended) is there, the game is beyond everything else. But when you end up just a bit past the edges of where it holds your hand, it quickly loses the veneer, which is the key difference vs something like a Rockstar open world (but also very different budgets and aims).
There’s a handful of studios I think will adapt especially well to the future of game development, and CDPR is one of them.
Because it is going to be possible to have CP 2077 main scenario style interactions across an entire open world within the next decade. And who better to curate that experience than the people delivering it in a diagonal slice?
In a bad-vibes moment, they’re denying a huge outlet like IGN a review code. No matter what I think of IGN in particular (nothing good tbh), that’s not something I can find a real explanation for other than “We made DC’s Gollum and want to avoid bad press as long as we can”.
See, this is the thing people don’t realize when they think generative AI is going to reduce headcounts overall.
Corporations suck. The entire reason they exist is because of the high transactional costs surrounding labor (there’s a Nobel winning economics essay on this from the turn of the 20th century called “the nature of the firm”).
They will reduce value and increase price as much as possible because they only exist to be a middleman between the consumer and the producer.
But right now there’s no alternative. It’s crazy expensive to make AA and up games so you need to target mass market appeal to get the money for it and usually need to crawl up finance bros’ asses who don’t even play games and look down on those who do.
That’s all about to change dramatically.
Co-op studio structures where employees are owners, smaller teams with large aspirations, franchises with small but dedicated fan bases - these largely died out in the 90s besides remnant very indie groups as transactional costs to produce a game went through the roof and those costs are about to turn around.
Yes, gen AI means less people are needed to make a game. But it doesn’t mean less people will be making games. It means there will be more games, and games coming from people with vision rather than coming from people with a quarterly statement they are trying to maximize.
Hello Games was a team of around a dozen people, and while it was a bumpy road, using procgen allowed them to build an entire universe. Well procgen and a whole host of other tools are about to suck a lot less and be much more accessible to even small studios to make ambitious games.
My hope is that we see things happen rapidly enough that many of the thousands of devs who have lost their jobs at mega-corps will be able to reorganize to take on the Goliaths and win rather than be forced to move on to other industries.
A shakeup is about to happen that’s going to destroy the season pass, micro transaction, soulless meat grinder that’s most large studio/publishers today - it’s just maybe ~3 years out from the inflection point of no return.
But one thing is for certain - most of the largest games companies are woefully unprepared for what’s coming and are about to be stepped all over like Blockbuster or Circuit City.
Okay let me start with two heavy hitters right from the get go and don’t forget these are only personal oppinions and I absolute understand if you like those games. Good for you!...
I know people who like them exist given the sales. But not only do I not play or like sports games - no one that plays games in my social circle does either.
It’s like the Venn diagram for people who play RPGs and those who play sports games is just two circles.
What this is really saying is “you people are insane, please stop writing us about it, we’re aware, and fine, we’re “looking into it” even though we were aware of this for a few years now and already checked with legal that there’s nothing we can do unless the creators really messed up in some way.”
Adding a bit more to the discussion on whether game subscription can be “the future”, it looks like despite the heavy push made in the past decade, subscriptions only make up 10% of total video game spending in the US....
Video on demand works because the content is short and you need a large variety in a pay period as a consumer.
I don’t just watch one show or movie in a month, it’s several. So bundling makes sense.
It’s also fairly commoditized. I will watch what movies are available on Netflix, not like I’m extremely committed to watch a single given movie as long as the general selection is good. Maybe there’s one or two films a year I care about seeing that specific film before it rotates into a subscription service I subscribe to (and if not, meh).
For video games, it’s maybe one title a month that I really care about playing and then I only have time for that one game. But I only really care about setting aside time for that game and a lot of the other options out there you couldn’t pay me to play.
They are very different markets and a subscription model isn’t necessarily the future or even what’s most profitable for a company to offer (as Sony was recently acknowledging).
I think you’re confusing the advantages and strategies of having a subscription and the advantages and strategies of having a loss leader.
Not all subscriptions are designed to be loss leaders, and most of the benefits you see in GamePass (lower or even negative revenue in exchange for increased market share) is seen over and over with loss leaders that aren’t subscriptions.
Yes, I agree that Microsoft has adjusted strategy from a focus on winning console wars to increasing software gatekeeping across PC and now apparently even competitor consoles. And that GamePass plays a large part in that.
But it would be a mistake to assume that subscriptions in games are all going to have the same goals and focus as Microsoft with GamePass.
It’s within literal months that leaps are occurring that defy most expert expectations and predictions.
While yes, creative writing is not part of the target of where models are improving right now (and there are IMO clear mistakes being made with foundational models contributing to that poor performance), we’re probably less than one dev cycle from the best AI outperforming an above average video game writer with institutional integration of the models.
And really, people thinking this is going to put writers out of business are missing the true value add for publishers.
You’ll see the same amount of writers as before. What will change is the amount of writing.
Being able to have a core writing team do the normal work they do of writing out main and side quests and then feeding all that writing into a model spitting out side NPC dialogue fitting in with the events taking place allows developers to make their world come alive in ways previously only accessible to the largest budgets in the industry like RDR2.
This also allows games that are successful to transition into more of a live service product without needing to have a massive audience.
For most live service games, you need as many people as possible playing to justify dedicating resources to continued development, or you need a subscription fee. But niche products with a dedicated fan base which aren’t overly popular are too small to justify continuous content development.
With AI that equation changes. More games have the opportunity to keep players engaged longer for continuing adventures when a smaller team can use generative systems to flesh out the product.
Everyone praises No Man’s Sky for their continued development with a team of about a dozen putting more and more content out, but the other side of the coin is that they can only successfully deliver updates that feel weighty because they are leveraging procgen to extend their efforts.
Imagine the next version of FF online where not only is there a core main story everyone experiences, but there are also individualized stories woven into it that are shaped around your interactions. Where every NPC can be spoken to and any one of them might lead to your next individualized adventure. A world that feels at once epic and shared with millions of other players while also personal and unique just for you.
Even if the individual writing wasn’t as planned out as world event scenario writing from lead writers, I’d sure as hell prefer to spend $16/mo on a world with little repetition and endless adventures than a world that only has a hundred hours of story every year and is mostly running the same things over and over in between waiting for small bursts of content updates.
AI makes perfect sense for any live service provider, and Square Enix has one of the most successful live service products to date. Of course they are going to be investing into it as it rapidly improves.
I’m surprised I don’t see Alan Wake 2 as its own entry in the list so far.
I don’t like horror games, and I didn’t care that much for the first game, or even necessarily Control, but Alan Wake 2 was really impressive. Showcased the power of the format of video games for cinematic narrative in a way that raised the bar even higher than it’d been before, similar to how BG3 and TotK raised the bar in player choice and open ended game design.
It’s less Nintendo and more shitty trademark and IP laws.
If you don’t aggressively go after anyone that is transgressing your IP, you can lose it.
IP really needs major and comprehensive reform. It’s not going to happen anytime soon as too much is built up around the status quo, but it really should be done.
Edit: Also, it’s a bit more complicated in terms of IP, but it is relevant to future works.
For example, fictional characters.
Let’s take Mickey Mouse as an example. Steamboat Willie is entering public domain, so the protections on the character as defined in that work is entering the public domain. But characterization of the figure in works still under copyright that have added unique details are still protected.
But the test for infringement of a fictional character is twofold. (1) Can the figure be copyrighted? (2) Is there infringement of unique characteristics?
That second part becomes much more difficult to enforce if you’ve been allowing millions of variations of your protected character when you initial work defining the character is no longer enforceable.
So if LoZ on the NES enters the public domain making ‘Ganon’ as a pig usable by people, but since that game there’s been tons of spinoffs by others having Ganon as a human before Nintendo had Ganon as depicted in OoT, then they’d have a much harder time enforcing copyright on Ganon being depicted as a human even if Ganon as a pig was no longer under copyright.
No lawyer is going to say “yeah, let 3rd parties use your IP willy nilly, I’m sure it will be fine and not bite us in the ass later on.”
For example:
Copyright protection is effectively never lost, unless explicitly given away or the copyright has expired. However, if you do not actively defend your copyright, there may be broader unauthorized uses than you would like. It is a good idea to pursue enforcement actions as soon as you discover misuse of your copyright protected material.
If you have experienced copyright infringement, you have the right to pursue a lawsuit. However, you only have a limited time frame during which to file a claim. This legal principle is called the “statute of limitations.” Ensuring that you file a claim to enforce your copyright within the statute of limitations is crucial. If you wait too long, you will lose the right to enforce your copyright and obtain your deserved damages.
So a fan project that you don’t enforce against for three years which eventually monetizes as competition without infringement trademarks would be a potential concern.
which are not the norm across the industry for how IP issues are handled…
Go ahead and cite whatever you think the ‘norm’ is then.
Where else do you see publishers turning a blind eye to unlicensed remakes of their games?
The difference isn’t Nintendo being more legal trigger happy, it’s that their stuff is way more often being used in unlicensed ways so they come up more often in stuff like this.
But there’s a ton of examples of the same being the ‘norm’:
Bethesda is owned by Zenimax, and an officially licensed mod scene is completely different.
If you want to run the mods for Bethesda’s games, you need the retail software to do so.
I guarantee that if a group was creating a Morrowind remake that didn’t require owning some Bethesda core game that was being modded to achieve that, Zenimax’s lawyers would be quick to be on top of the issue.
It’s not like there’s not examples where Bethesda’s lawyers caused mods to be shut down where it involved redistribution of Bethesda game assets without needing to buy the game.
Two: Actually, per Petrella v. Metro-Goldwyn-Mayer’s supreme court decision, damages are limited to 3 years prior to the suit being filed with no recovery for earlier infringements.
The Rock, Paper review in particular seemed to resonate a lot with what I suspect I’d end up feeling when it talked about how glad the reviewer was to not have to keep playing the game any longer.
I don’t mind the core elements of Ubi’s design, but they’ve recently been cranking the dial on the repetition to 11 to the point I find myself exhausted by continuing to play their games to the end.
FC3 was the perfect amount of Ubisoft.
I was really hoping for something more like FC3 meets Avatar and not FC6/AC:Valhalla meets Avatar, which looking at the reviews is what they delivered.
Do you really think their media team announced a global release for the trailer on official channels a week ago, had it slated for tomorrow at 9am EST, and then intentionally left leaked their own trailer on Twitter in crap format with “Buy BTC” superimposed on it the day before, suddenly scrambling to release the official trailer but leaving media partners high and dry jumping the official date by less than 24 hours?
At a certain point, skepticism of skepticism is also warranted.
Pretty sure Rockstar didn’t intentionally jump the gun screwing up their media partners on announcing a $1-2 billion media product in order to release it initially in potato quality on Twitter with “Buy BTC” superimposed on it.
It’s almost unbelievable that the graphics are this good.
Rockstar always releases their first trailer a little under 2 years out from the planned release date, so 2025 was no surprise.
Also, they are one of the few developers who release the first trailer where it really looks like the end product, so I know it’s legit, and the hair indicates there’s FSR, so it really does seem like this is what we might see on release - but that’s still kind of mind blowing given the gap between this and what’s been out so far.
BG3 was amazing and is the best RPG of the year hands down. A really outstanding game that deserves all the praise and I’d certainly feel it deserved GotY if it won.
But ToTK was really just beyond expectations with its game design. The open ended puzzle design, the sheer number of “wait, I can actually do that?” The way it continued the BotW reinventing LoZ (NES) trend by reinventing LttP’s dark world…
It’s one of the toughest years I can recall, as BG3 was also beyond expectations and had incredibly nuanced design. But I feel like in a lot of ways it was still more structured by being guided by tabletop, whereas ToTK really just broke the mold all over again for Nintendo.
Aka “we don’t know the engine well enough yet to be aware of bottlenecks during our concepting phase and that’s challenging.”
They haven’t even seriously started on implementation with the engine yet for Cyberpunk. This is somewhat of a nothing article that’s trying to get clicks by making a very normal thing seem like a potential controversy.
I thought that it was overall good fun. The battle system is excellent and the music is great. The characters are cool and generally quite enjoyable. However, the standard ending of the game really annoyed me. It’s totally anti-climactic. I really don’t want to go back and do a bunch of side quests (collectathon in...
Your point about the screenplay reminds me of one of my biggest pet peeves with armchair commenters on AI these days.
Yeah, if you hop on ChatGPT, use the free version, and just ask it to write a story, you’re getting crap. But using that anecdotal experience to extrapolate what the SotA can do in production is a massive mistake.
Do professional writers just sit down at a computer and write out page after page into a final draft?
No. They start with a treatment, build out character arcs, write summaries of scenes, etc. Eventually they have a first draft which goes out to readers and changes are made.
To have an effective generative AI screenplay writer you need to replicate multiple stages and processes.
And you likely wouldn’t be using a chat-instruct fine tuned model, but rather individually fine tuned models for each process.
Video game writing is going to move more into writing pipelines for content generation than it is going to be writing final copy. And my guess is that most writers are going to be very happy when they see the results of what that can achieve, as they’ll be able to create storytelling experiences that are currently regarded as impossible, like where character choices really matter to outcomes and aren’t simply the illusion of choice to prevent fractalizing dialogue trees too much early on.
People are just freaking out thinking the tech is coming to replace them rather than realizing that headcounts are going to remain the same long term but with the technology enhancing their efforts they’ll be creating products beyond what they’ve even imagined.
Like, I really don’t think the average person - possibly even the average person in the industry - really has a grasp of what a game like BG3 with the same sized writing staff is going to look like with the generative AI tech available in just about 2-3 years, even if the current LLM baseline doesn’t advance at all between now and then.
A world where every NPC feels like a fleshed out dynamic individual with backstory, goals, and relationships. Where stories uniquely evolve with the player. These are things that have previously been technically impossible given resource constraints and attempts to even superficially resemble them ate up significant portions of AAA budgets (i.e. RDR2). And by the end of the next console generation, they will have become as normative as things like ray tracing or voiced lines are today.
They largely are going to remain the same. Specific roles may shift around as specific workloads become obsolete, and you will have a handful of companies chasing quarterly returns at the cost of long term returns by trying to downsize keeping the product the same and reducing headcount.
But most labor is supply constrained not demand constrained, and the only way reduced headcounts would remain the status quo across companies is if all companies reduce headcounts without redirecting improved productivity back into the product.
You think a 7x reduction in texturing labor is going to result in the same amount of assets in game but 1/7th the billable hours?
No, that’s not where this is going. Again, a handful of large studios will try to get away with that initially, but as soon as competitors that didn’t go the downsizing route are releasing games with scene complexity and variety that puts their products to shame that’s going to bounce back.
If the market was up to executives, they’d have a single programmer re-releasing Pong for $79 a pop. But the market is not up to executives, it’s up to the people buying the products. And while AI will allow smaller development teams to produce games in line with today’s AAA scale products, tomorrow’s AAA scale products are not going to be possible with significantly reduced headcounts, as they are definitely not going to be the same scale and scope as today’s leading games.
A 10 or even 100 fold increase in worker productivity only means a similar cut in the number of workers as long as the product has hit diminishing returns on productivity investment, and if anything the current state of games development is more dependent on labor resources than ever before, so it doesn’t seem we’ve hit that inflection point or will anytime soon.
Edit: The one and only place I can foresee a significant headcount drop because of AI in game dev is QA. They’re screwed in a few years.
You jest, but yeah, there very likely will be, especially given that there’s already full self-driving cars today on roads. The difference will just be that in ~10 years (by the end of the next console generation) that there will be better full self-driving cars on the road.
One of the big mistakes I see people make in trying to estimate capabilities is thinking of all in one models.
You’ll have one model that plays the game in ways that try a wider range of inputs and approaches to reach goals than what humans would produce (similar to the existing research like OpenAI training models to play Minecraft and mine diamonds off a handful of videos with input data and then a lot of YouTube videos).
Then the outputs generated by that model would be passed though another process that looks specifically for things ranging from sequence breaks to clipping. Some of those like sequence breaks aren’t even detections that need AI, and depending on just what data is generated by the ‘player’ AIs, a fair bit of other issues can be similarly detected with dumb approaches. The bugs that would be difficult for an AI to detect would be things like “I threw item A down 45 minutes ago but this NPC just had dialogue thanking me for bringing it back.” But even things like this are going to be well within the capabilities of multimodal AI within a few years as long as hardware continues to scale such that it doesn’t become cost prohibitive.
The way it’s going to start is that 3rd party companies dedicated to QA start feeding their own data and play tests into models to replicate and extend the behaviors, offering synthetic play testing as a cheap additional service to find low hanging fruit and cut down on human tester hours needed, and over time it will shift more and more towards synthetic testing.
You’ll still have human play testers around broader quality things like “is this fun” - but the QA that’s already being outsourced for bugs is going to almost certainly go the way of AI replacing humans entirely, or just nearly so.
Do you think that same result would have happened if horses had other skills outside of the specific skill set that was automated?
If horses happened to be really good at pulling carts AND really good at driving, for instance, might we not instead have even more horses than we did at the turn of the 19th century, just having shifted from pulling carts to driving them?
I’m not sure the inability of horses to adapt to changing industrialization is the best proxy for what’s going to happen to humans.
The game whose mismanagement still most upsets me.
It had/has the potential to be so incredible, and they screwed it over.
They were one of the first to have VR, then saw low numbers and wrote it off when they were really just too early to the market. Like - if they actually supported a PS5 version and supported PSVR2 with its foveated rendering right now, they’d probably be the bestselling VR game on PSN.
But no, instead, they dropped VR entirely for their poorly developed on foot expansion.
If they actually had resources pouring into the game, just think how amazing the world could be paired up with where generative AI will be within around 12 months. Actually intriguing plot lines playing out in local space voiced by the ship AI. That right there could have been a subscription add on.
But no, instead they just keep shuttering it more and more.
She’s been great for a long time. One of the few people with public comments on the industry that has a really great intuitive grasp on the business side of it.
I’ve been recently been thinking about Arkane Studio’s Prey which is a immersive sim, with a pretty good rogue like dlc, that probably has one of the strongest hooks of any game I’ve played. If you liked Halflife, System Shock, or Deus Ex it’s definitely worth a play....
Uplink - A hacking sim game that’s actually quite addictive in a playthrough. Will make you feel like you’re in the movie Hackers.
Spycraft: The Great Game - An adventure game that had as consultants CIA director William Colby and KGB Major-General Oleg Kalugin.
I don’t know a lot of people that have played these, but they definitely rank up there for me as some of the more interesting and unique games I’ve played over the decades.
The year this was being shown at E3, I got my best friend in as my ‘photographer’ for the show under a press pass, and set up a bunch of private gameplay demos of games (by this point nothing interesting was shown on the show floor anymore).
When we went to our appointment at the Square Enix booth, they immediately ushered us into a room with nothing but two Japanese guys, and were like “ok, go ahead and ask your questions.”
Apparently they thought we’d sat through an earlier gameplay demo which they never set up, and we were suddenly sitting with the game director and their translator for a half hour interview about a title I hadn’t even seen or knew anything about - and an interview conducted through a translator on top of that (and I’d intentionally been trying to avoid ending up in interviews in the first place).
It was one of the more surreal experiences I’ve had in life, and very much reminded me of the times I’d be in a book discussion in high school for a reading assignment I hadn’t done, frantically grabbing on to any thread that seemed legit and running with it.
Elden Ring is "the limit" for From Software project scale, says Miyazaki - multiple, "smaller" games may be the "next stage" (www.rockpapershotgun.com) angielski
Elden Ring – Patch Notes Version 1.13 (en.bandainamcoent.eu) angielski
Remembering E3 and the time I got to go to one (www.youtube.com) angielski
In my new video [OC], I recount the rise and fall of E3, and what kind of legacy it has left behind. And then I go through the one time I got to go back in 2001
Elden Ring: Shadows of the Erdtree will come with a day 1 patch with various improvements angielski
This info comes from the Elden Ring twitter account...
Hypothetical Game Ideas angielski
What game would you create if you had the skills and experience of a veteran game dev? I.e. John Carmack...
Arrowhead initially planned to make Helldivers 2 in 3 years—instead it took 7 years, 11 months, and 26 days (www.pcgamer.com) angielski
Cyberpunk 2077 director thanks fans as the game hits a 95% positive review rating on Steam (www.eurogamer.net) angielski
Putin Orders Russian Tech Companies To Somehow Make Competitive Game Console In 3 Months (www.techdirt.com) angielski
Where's Our Suicide Squad: Kill the Justice League Review? (IGN denied review code) (www.ign.com) angielski
In a bad-vibes moment, they’re denying a huge outlet like IGN a review code. No matter what I think of IGN in particular (nothing good tbh), that’s not something I can find a real explanation for other than “We made DC’s Gollum and want to avoid bad press as long as we can”.
Which games do you dislike, but the rest of the world loves them? angielski
Okay let me start with two heavy hitters right from the get go and don’t forget these are only personal oppinions and I absolute understand if you like those games. Good for you!...
The Pokemon Company releases a statement regarding Palworld: Inquiries Regarding Other Companies’ Games (corporate.pokemon.co.jp) angielski
Here’s a archive link, archive.ph/oT1L6
Your personal Masterpieces angielski
Hello Lemmings!...
Veteran Videogame Analyst: Subscription growth has flattened [in video games] (files.catbox.moe) angielski
Adding a bit more to the discussion on whether game subscription can be “the future”, it looks like despite the heavy push made in the past decade, subscriptions only make up 10% of total video game spending in the US....
Square Enix’s president says it will be ‘aggressive in applying’ AI (www.videogameschronicle.com) angielski
What's your favorite game you played this year? (Doesn't have to be released this year ) angielski
This fan-made HD PC port of Zelda: Link's Awakening is so cool I can't believe Nintendo hasn't taken it down yet (www.pcgamer.com) angielski
Avatar: Frontiers of Pandora - Review Thread angielski
Game Information...
Grand Theft Auto VI Trailer released early by rockstar after it was supposedly leaked (www.youtube.com) angielski
“Our trailer has leaked so please watch the real thing on YouTube” was posted earlier today on Rockstars Twitter
Grand Theft Auto VI Trailer 1 (www.youtube.com) angielski
Grand Theft Auto VI Trailer 1 (www.youtube.com) angielski
Game of the Year | Nominees (thegameawards.com)
CD Projekt quest designer discusses the "challenge" of developing Cyberpunk 2 for Unreal Engine (www.rockpapershotgun.com) angielski
Article based on the interview at by The Neon Arcade at www.youtube.com/watch?v=4b_o5ueZRF0
What did you think of Sea of Stars? angielski
I thought that it was overall good fun. The battle system is excellent and the music is great. The characters are cool and generally quite enjoyable. However, the standard ending of the game really annoyed me. It’s totally anti-climactic. I really don’t want to go back and do a bunch of side quests (collectathon in...
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Sony Defends PS Plus Price Rises - IGN (www.ign.com) angielski
In a new interview, PlayStation’s top business executive defended the decision, insisting the company had to “adjust” to market conditions.
AI in big budget games is inevitable, say dev vets from Assassin's Creed and Everquest 2: 'Developers hate it … the money is still going to drive absolutely everybody to do it' (www.pcgamer.com) angielski
Elite Dangerous studio Frontier Developments announce layoffs and "organisational review" (www.rockpapershotgun.com) angielski
The games industry sucks (www.youtube.com) angielski
Same title as the video. Game dev writer Alanah Pierce offers her POV on the recent layoffs from Epic Games....
What games can you recommend that didn't get the appreciation that they deserved? angielski
I’ve been recently been thinking about Arkane Studio’s Prey which is a immersive sim, with a pretty good rogue like dlc, that probably has one of the strongest hooks of any game I’ve played. If you liked Halflife, System Shock, or Deus Ex it’s definitely worth a play....
SAG-AFTRA members overwhelmingly vote in favour of authorising video game strike (www.eurogamer.net) angielski
Members of the major SAG-AFTRA acting union have overwhelmingly voted in favour of authorising a potential video game strike....