I get that to some degree, but also look at it this way.
Developer A spends 10 years and lots of people’s time developing a heartfelt, memorable game, and prices it at $25 - keeping it at that price no matter what changes. Meanwhile, Developer B develops dozens of cheap games chasing crummy junk trends, and charges $60 initially for them, and discounting them down to $10 after two months. Theoretically, Developer A should deserve more of their money. But, many people will often see “83% off” and go for Developer B, even though the game refusing discounts is worth far more of people’s time.
I do think some people only really focus their wallet-voting in one direction. It should be not just avoiding expenditure on bad games, but also volunteering it on good games.
I don’t know if you could call this a positive, but I’ve definitely seen signs that the results of these projects will routinely turn out soulless and flop hard. In the past few years we’ve seen some VERY well-funded projects turn out as total flops. If that’s happening even with human creative input and corrective steering, what should we expect from AI following a straight algorithm?
Any return to turn-based would probably have to be careful about it. Persona 5 managed it well, but it easily reaches criticism of being too much of “Use fire on ice”. Ideally, every decision a player is making in their infinite-time turns should have some form and consequence to it. I have always hated the “solution” wherein you can turn on an Auto-Battling system. It fixes the problem, but doesn’t acknowledge that the problem is battle decisions always being completely unnecessary and routine, which itself is something that can be fixed using more intelligent game design.
It might be a good time to revisit some other long-running series that have managed a very good “reset” after running dry. Some examples that come to mind are Resident Evil 7, God of War, The Legend of Zelda, maybe some others.
At least for RE7 and God of War, it does feel like their overall goal was to reduce the action-packed scope, and focus more closely on something character-focused. RE7 doesn’t have crashing helicopters, and God of War doesn’t have you killing gods in the first 30 minutes. It definitely felt like an overall goal for FF16 was epic, bombastic scope and throwing around their budget, which obviously drove sales…but not as much lingering popularity as they hoped.
(Oh yeah, and plan a Steam release already. The world is not as console-obsessed as Japan)
The specific game that gave me the idea for this post was Freedom Planet 2. I remember getting the original as part of one of the early Humble Bundles, and enjoyed it, but never felt compelled to try the sequel.
Something I’ve been missing is having more game stories with fully “melodramatic” character acting - where character A is gasping in tears over the injuries to character B, and won’t ever forgive ruthless villain Y. That was something I remembered FP1 for, for better or worse, and apparently from reviews they improved their craft a bit for the sequel.
I remember when I had to use my Steam Deck connected with USBC as a “desktop” for a while. It couldn’t remember to put my taskbar on my preferred monitor no matter what I tried doing.
I’m torn, because on the one hand, the logistics of constantly recording new lines for minor stuff is really annoying. Imagine you’re playing a live-service game that really needs a certain balance patch, but that balance patch is reliant on a very slight change to a voice line (for instance, reducing the time it takes for a character to perform a special attack. To take an Overwatch example, maybe a certain archer is voicing his ultimate ability too quietly). Having to call someone in just for that is costly and unproductive.
But, we’re talking about delivering the source of someone’s work and livelihood (as well as all their creative influence, exaggerative tones, and delivery) into an algorithm. The line where it would go beyond convenience into worker-reduction efforts is going to be hard to draw.
I would rather that the voice actor retains the rights to their voice, even if it’s put into an AI algorithm. Thus, if the developers want to make a small change to a voice line, they still need to get approval for some AI-generated correction - and the actor would have the right to say “No, that one sounds terrible. I’m only going to agree to re-delivering this one myself.” Similarly, actors could approve limited sets of explicitly-defined live AI usage, for instance pronouncing the player’s name. Granted, some companies would become annoyed at actors being too inflexible, just like they have disagreements with actors today.
I’m definitely worried about too much signing-over of voice identity. I think it’s very easy to cut humans out of the equation that way, which not only damages the health of the industry, but also reduces creative output.
I just finished Tyrion Cuthbert: Attorney of the Arcane yesterday. Definitely the kind of game that sits on your mind a long time after you’ve finished. It’s almost criminal to refer to it as an “Ace Attorney fan-game”, seeing how many things they get so right so uniquely. They absolutely nail the kind of cathartic, heart-twisting drama of all of these characters that gets you cheering for the ending.
There’s a lot in the soundtrack that I adore, especially the way they build multiple character leitmotifs and a particular track right at the finale of the game, but obviously, their equivalent of the “Pursuit” theme is always going to be a standout.
Alisa is a great horror game that uses pre-rendered backgrounds and plays very much like an old Resident Evil game. It even opens up with a pretty nice FMV intro.
One big difficulty of it is that there’s one finite currency used for buying upgrades, weapons, health, and ammo; and you’ll likely be strained if you avoid buying the latter.
Same, it’s hard to build expectations, but I also felt a little bit of that with Endwalker’s impending release. “Oh, so we go to the moon now?” when the moon was barely before the halfway point.
One thing that can help is if they can invent methods of moving beyond power scaling. The Endsinger’s potential was mostly dictated by “despair for the future”, which is such a vague concept they could likely invent new such challenges without explicitly saying “This thing is stronger than the last thing you fought”. It’s already hard to claim that the cattle at the far edge of Thavnair are stronger than Hades.
I know a lot of people point to resale as a big advantage of physical media, but I really prefer just having a digital environment that encourages frequent sales and price reductions.
If you think about memorable singleplayer games for instance (AAA or indie), they’re really victimized by that mentality of “Well, I guess I’m done with this now”. Even shitty online games, or big open-world games with 80 hours of boring content, usually won’t be re-sold in that way; and each used sale will be a lost New sale for the developer. Never forget that You are the product of GameStop’s used games business.
The funny thing is, I don’t think even this is a right way of looking at it. I think variety in the characters you view makes them more interesting; adult characters can definitely come across as heroic even to kids. It’s not necessarily excluding them as an audience.
Besides the difficulties for players, there’s also the fact that key reselling is an excellent method for credit card pickpockets to launder money quickly.
Someone’s credit card is swiped in the streets, and in the time before it’s reported stolen, the thief buys many copies of expensive games, to be resold on a place like this. The key resellers themselves claim they’re purchased directly, but…I personally have almost no faith in them or their claims.
The judicial decision seemed to be based more around the fact that he was a danger to others, regardless of his own mental limitations. He re-hacked the company using a cell phone and a Fire TV stick when cut off from other devices. What else can they feasibly do? I sympathize with people who have special needs, but that doesn’t mean people should just live in fear of the ones that are a danger.
When the “victim” is lost money and leaked footage, I’m sure there’s limited sympathy, but I feel like these hackers are not so long from deciding to SWAT someone and very possibly getting people killed.