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.
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.
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.
Scaling content means there’s little power scaling variety, viable builds are very narrow so there’s not much build variety, the leveling curve is punishingly slow because they are trying to live service it, and seasons have lame rewards and boring features so far. Dungeon variety is nearly non-existent and poorly randomized with time wasting objective design.
Also it’s a Diablo game where none of the endgame content takes place in Hell.
TL;DR: Designing games as a live service means designing around time wasting and anti-player choices.
And yet I can’t help thinking that a lot of the extreme side character content could have been aided significantly by AI.
The main 80% of the voice acting is outstanding.
But particularly in Act 3 there’s something disconcerting about every other pedestrian you can talk to who spouts a quip using roughly the same voice with mediocre delivery.
It’s a perfect use case for the AI voice tech available today. The main parts and actual side characters should still have been bespoke acting and mocap, but the random pedestrian in the city might have been notably improved with using generated voices to broaden the variety.
BG3 has been very strong evidence to me that hybrid approaches integrating AI for filling in background content are going to be the standard by the end of the current console generation.