Mostly they bought or founded studios that didn’t produce a product. They bought the Killer Instinct devs, Double Helix, who mostly have now left and formed Quarter Up Games, working on the new Invincible Vs game. They put out a hero shooter called Crucible that launched and was quickly shut down. Their biggest success has been New World, which is a moderately successful MMO. They also forked CryEngine into Lumberyard, which found some favor in the market. Other than that, they’ve got some co-publishing deals, including for an upcoming Tomb Raider game, which may now be in jeopardy.
As one Reddit commenter put it: “I thought Capcom organised this circuit as a marketing tool for the game. Makes no sense to charge viewers to watch it. And esports is, unfortunately, still way too niche for that to be profitable.”
It’s shooting themselves in the foot, not their audience. Their audience has plenty of Street Fighter tournaments to watch.
They’re charging for it because the Japanese audience will pay for it, and I guess they don’t want to handle it differently abroad. Fighting games, at least up to this point, have been sustainable in a way that the rest of e-sports have not. The rest of e-sports was predicated on future growth, and fighting games have only grown as fast as the money coming in, in general. (2XKO is putting out $50k in pot bonuses for a game that doesn’t look to be earning that much, and the Saudis now own SNK and treat Fatal Fury and Art of Fighting like they’re Call of Duty.)
He’s right. It’s despicable. Trading card games, too. The thing with Valve is that, outside of this monetization of online games, they’ve unquestionably had an enormous positive impact on all sorts of things in this medium just by way of sheer market forces. They’ve done a lot of great open source work, and they’ve helped create a viable exit ramp from Windows. Despite claims of monopoly on PC, they’ve created more market competition than we could have ever hoped to see otherwise. A lot of what they do is informed by what they would want to pay for if they were the customers. That stuff can be true, and at the same time, they have directed their online games in a data-driven way toward whatever creates the best results, and that result is legalized (mostly, for now) gambling for children and other addiction-driven spending behavior via battle passes. The worst part is that if they ever arrived here by accident, they’re not remorseful enough to stop, since it makes so much money.
Rejecting monetization strategies that look, function, and feel a lot like gambling doesn’t mean players will always appreciate their alternatives, however. Hall said that even he is frustrated by the “Paradox model” of paid expansion and DLC packs his studio RocketWerkz chose for its survival game Icarus after moving away from a free-to-play scheme.
It’s been years, and I still scoff at the criticism. The Paradox model is to ask a price for a good that they produced. If you don’t feel it’s worth it, you don’t buy it. They don’t obfuscate the details of what’s in the expansion; they don’t make things available for a limited time only; they ask what they feel is a fair price for a product. It’s the only method of monetizing a video game that doesn’t feel scummy to me. If Hall doesn’t like monetizing Icarus that way, he needs to scope his projects down so they can put a bow on the last one and move on to the next one more quickly.
There was a ballot proposition in my state some years back to build a local casino. I’m not a gambler, but we all have our vices, and it’s possible it could stimulate the local economy, so I looked into it. Of the research I could find, the best-case scenario seemed to be that it maybe had no ill effects on the local populace. The worst case was that people susceptible to gambling addiction were now exposed to it when they otherwise wouldn’t have been, and that was devastating on those people’s lives. Not only is online gambling accessible to us anywhere, which is proving to be systemically problematic in things like sports betting apps now, Valve skirts current regulations to make it available to those under 21.
It’s confirmed: the next xbox will be a Windows PC box. It sounds very interesting that this will also be backwards compatible with Xbox games, including 360/One/Series games. I wonder if it’s just emulation, and how well that will work
Indeed, the Xbox Ally and Xbox Ally X, with its Xbox Full Screen Experience, is essentially what the next Xbox will look like. It’s not dissimilar to the SteamOS interface and Big Picture Mode, which allows you to exit out into full Linux at will.
A big difference here, and something that it sounds like the FSE did not nail, is that SteamOS doesn’t just boot into Big Picture Mode; it intercepts how popups and game windows are drawn to the screen so that you never lose focus of the game window. It doesn’t force you to get out a keyboard or use the touch screen to enter a login password or PIN. It’s got those important considerations for the ways a game machine differs from any other personal computer. Microsoft, with all its wealth and the code base of Windows in its control, can make those same changes, but maybe they didn’t plan for it in their code base that now surely goes back almost 30 years at this point. Best of luck to those engineers.
New technology Microsoft is developing, alongside the “fixed” nature of the hardware, should eliminate a lot of the inconveniences that sometimes come with PC gaming. Things like compiling shaders, etc, shouldn’t be an issue on the new Xbox, for example.
I don’t know if it’s actually new technology, but what Valve does for the Steam Deck is to either handle this server side or to have people with a Steam Deck essentially upload their completed shaders back to the server to be distributed to everyone else’s Steam Deck, sort of like BitTorrent. This is what I expect Microsoft will do.
Right now, I’m told the current plan is for the next Xbox specifically to have no paywall for multiplayer.
It’s insane that they’ve kept that paywall for so long when it would be the easiest way to make their console more enticing than PlayStation, before they did this pivot of theirs. If the goal was Game Pass anyway, make online free and make that library on Game Pass attractive. The reason online is free on PC is because your store purchases are supporting the infrastructure that someone like Valve provides, and we crossed the threshold on consoles where digital purchases are the majority some time ago.
Where the Xbox Ally is disadvantaged, at least for Xbox console users, is the lack of the Xbox console library. There are more Xbox Play Anywhere (dual-license PC and console Xbox games) than ever, but most AAA publishers aren’t on board with this ecosystem just yet. Increasingly, though, it’ll become the default ecosystem for publishers, particularly if they want to support a PC gaming universe where they get 88% of the revenue rather than 70%.
This is a delusional paragraph in the wake of the Epic Games Store.
As far as I know, this same advantage isn’t granted to anything other than Steam Deck. On desktop, you often have a Vulkan shader step before the game boots that I rarely see on Deck. I could be wrong though.
Background processes can spawn pop-ups, update reminders, notifications, etc. If you listen to Dan and Bakalar’s chat on the Bombcast, even with Bakalar on the proper FSE like he’s supposed to be, you’ll hear examples of the controller inputs just not working the way they’re supposed to, often because something else spawned on top of it. You can hear the same in this GameSpot review of the Xbox Ally X from Tamoor Hussain. And I can tell you from experience, this happens on desktop Linux distros on handhelds as well.
If you’re fine with just Big Picture Mode rather than what SteamOS or Bazzite are doing at a lower level, more power to you, but for a lot of us, it makes a huge difference in the experience, and it sounds like Microsoft’s FSE hasn’t gotten all the way there yet.
When Microsoft can’t do it on their FSE, it certainly feels special. But no, it’s a bit more than deciding to close something or not. Do you have a Steam Deck or a machine running Bazzite? In gaming mode, check out a game that has one of those stupid pre-launch launchers on it, like most of 2K’s games, and note how it handles that differently from a desktop OS.
Indeed, the Xbox Ally and Xbox Ally X, with its Xbox Full Screen Experience, is essentially what the next Xbox will look like. It’s not dissimilar to the SteamOS interface and Big Picture Mode, which allows you to exit out into full Linux at will. Similarly, the Xbox Full Screen Experience will allow you to exit out to full Windows if you want to, and run competing stores like Steam, Epic Games Store, Microsoft’s own Battle.net, the Riot Client, and indeed anything else you want. Indeed, you could run Adobe CC or Microsoft Office on the next Xbox, if you so choose.
I’ll grant you that there’s room to interpret this paragraph another way, but it certainly reads to me as though this is it. It can get improvements between now and then for sure, but I think it’s out.
Hosting servers isn’t free. Someone, somewhere, is paying for it. It’s easy to forget that that someone used to be advertisers via GameSpy for so many games. Now, on PC, you’re paying for it via digital purchases on the same store that hosts the servers.
It wasn’t always worth it back then, hence why it was supported with ads or a subscription. Did you ever patch your game back then? Even that was subsidized by ads; the devs didn’t host the patch files themselves in most cases. Live services, which are unfortunately all too often synonymous with online games, host their own servers, and you’re paying for them with microtransactions. If a game uses the platform’s matchmaking for peer to peer multiplayer, which was just about all of them on Xbox Live in its early days, then you’re using the servers your subscription was paying for. Even today, many still use these features. But you’re correct that the ones not using these features are still locked behind that subscription on consoles unless they’re free to play.
There were actually good, written gags in that game, too. Plus the general “Indy found himself in a place where needed to improvise and punch some Nazis” sort of gameplay that the game did so well. I can’t even recall a single bug from my playthrough.
In Borderlands 4, there’s a side quest to cure someone of being a psycho. You need to get a handful of macguffins and plug them into this elaborate machine. There’s a lot of whirring and build-up, and then the machine essentially zaps the psycho and makes him explode. “He’s cured!” It got me, lol.
I was a big fan of Uncharted 2 and 3, but Uncharted 4 stopped giving me control of the action and started making it barely interactive or just a cut-scene, and I found The Great Circle to be an excellent counter to that, personally. Even if you saw a T-pose, it doesn’t seem right to call it a typical Bethesda thing. There’s a big difference between Bethesda, the developer of Elder Scrolls, and Machine Games, the developer of Wolfenstein and Indiana Jones; they don’t even use the same engine between them.
Your source is from a game from two years ago when it was new; not only does Proton get big updates all the time, but it’s far more mature in general now than it was two years ago. You lose access to Windows store, but Amazon, Epic, and GOG work through Heroic. Maybe EA and Ubisoft are a problem for some people, but those also might work through Lutris. I haven’t shopped with either in over a decade, so I’m not the best candidate to check.
New games pushing technology features will always lag slightly before they make it to Proton. It’s the nature of reverse engineering. On Kubuntu, on AMD, the only crashes I can name are for The Alters, which I knew from Proton DB ahead of time to expect some chop.
The gaming experience on Windows is to get interrupted by updates constantly, less gracefully handle sleep and resume, and sometimes lose control over the game window when popups come up such that you need to be rescued by a keyboard or the touch screen. Those aren’t just my experiences but also captured in the reviews for this very device. What you gain is compatibility with live service games with invasive anti-cheat and Game Pass. For some people that will be enough, but this isn’t even the first handheld gaming device to show a performance delta in Linux’s favor when tested. I don’t think many people are experiencing this stability problem you are, as it doesn’t reflect in many reviews, and a two year old forum post for a game running on technology that moves this fast doesn’t mean that it’s still happening.
I started a new run of Baldur’s Gate II to see if I can actually be good at it this time.
Of more recent releases, I’ve also been going through Citizen Sleeper 2: Starward Vector and The Alters, both being very good resource management games in space.
It’s only the campaign, despite the fact that the competitive multiplayer was just as responsible for this game’s success back in the day. Split-screen is only supported on consoles and not on PC for some reason that I definitely cannot understand. And while it’s got online play, it surely won’t support LAN…in Halo…a game known for LAN parties.
I don’t know if they couldn’t figure it out or if they intended it this way, but I like the look. The 3D environments look like the bottom-most layer of an old-fashioned cartoon, where it’s painted and clearly not going to move.
Really looking forward to this one. I loved that last game and really appreciated how much they did with a little, leading to a much-appreciated brevity that helped its pacing. ACG had some reservations with the opening area, but we’ll see how I feel about it when I get around to it.
Dragon Age was last year. Kingdom Come: Deliverance II, Citizen Sleeper 2: Starward Vector, and Fatal Fury: City of the Wolves are all great. Avowed kind of counts, and I’d recommend that one, too. I didn’t like Hades, but Hades fans sure are enjoying Hades II. And maybe I’ll get to Hollow Knight: Silksong before the end of the year, which people seem to largely be into.
“For quality games media, I continue to believe that the best form of stability is dedicated reader bases to remove reliance on funds, and a hybrid of direct reader funding and advertisements. If people want to keep reading quality content from full time professionals, they need to support it or lose it. That’s never been...
I listen to podcasts featuring people who used to score games in that separated way for Gamespot, and it frequently led to scores that were out of sync with what the content of the review actually said. Plus, who’s to say if the visuals of Clair Obscur are better or worse than Hades II when they’ve got very different goals and art styles? And does it matter how high the visuals score for Bye, Sweet Carole is if they’re leaving a subpar review for the puzzles? That’s what the content of the review is for.
How grindy a game is or how it’s monetized often makes its way into a review. Publishers can get slimy around it though and turn the knobs to be more nefarious after the review period, which people can call them out for, but much like how lies spread faster than the truth, updates spread slower than initial reviews. What I’d personally like to see make its way into reviews are how much ownership the game actually grants. So many multiplayer modes are not designed to last, and no one, often times not even the people updating the features list on the Steam store page, care to mention if a game supports offline multiplayer like LAN. Some games blur the line, like Hitman, on just how offline their game and its content can be. That’s what I’m missing from review outlets.
But all of this has only been about reviews, and games media also breaks news. Real change has been happening by way of reporting on unionization and crunch. Harassers are being taken to court or otherwise removed from their position of power in their companies. Sometimes we can actually get real confirmation that absolutely nothing is happening with Bloodborne and no one should get their hopes up for anything anytime soon. All of that is valuable, too.
It would be difficult to measure if that was the case, but what does seem to be the case is that the old revenue model these outlets relied on just paid less and less over the years.
The most I’ve heard about reviewers getting extra help is that they have a small tip sheet for the trickiest parts, and only sometimes. If they need extra help beyond that, they’re messaging their colleagues on Discord who are also under embargo.
Embargoes exist to prevent that race. Your fighting game problem has been solved by assigning fighting game reviews to the “fighting game guy” on hand, which is why you’ll see the same byline on games in the same genre from major outlets.
Games media worked under an ad-supported model for about 20 years though. As those in that business will tell you, the payouts from advertisers have fallen dramatically. The ones keeping themselves afloat now have pivoted to your first, third, and fifth bullet points, as well as ads on the free content that subscribers typically get to opt out of.
It’s a symbiotic relationship that advances goals for each, but no, they’re not paid ads, and it’s been debunked over and over again. Some game reviews higher than someone feels it should, and they conclude it only could have been paid off, but it wasn’t. Here are a few things that do happen that influence review scores though:
Publishers know which outlets review their games well, and they prioritize giving advance copies to those outlets and not others; this is why you’ll see the average score drop by a few points after the game’s official release.
The person on staff who liked the last game in the series, or other games in the same genre, tends to keep reviewing them, because they enjoy the work more, and that review better serves the overall audience. This can explain why a genre-defying game like Death Stranding reviews in the low 80s, but then the sequel is reviewed by people who tended to appreciate the first game, and the sequel reviews higher.
Publishers know which version of their game is best, and they’ll send review copies of that version. That means they send the PC version of Cyberpunk 2077 when the console version is broken, and they send the console version when the PC optimization sucks.
When a game is online-only, publishers like to host on-site, curated review sessions with optimal network conditions in a space where all the reviewers definitely have someone to play with. Review outlets have become skeptical of reviewing games this way, and you’ll more often see “reviews in progress” of games where they want the servers to “settle” first. I was surprised to see MS Flight Simulator 2024 actually held to account over its broken online infrastructure, as you’re correct that, historically, they’re not held accountable, but that’s because of this change that review outlets have made in how they cover games like this.
Reviews will typically mention which version they were, but in general, there are very few differences between them these days, unlike back in the 6th gen or early 7th gen. Games like Cyberpunk are outliers.
Starfield is not a bad game. In a lot of ways, it’s a very good one. My biggest complaints with it, personally, are all the ways that it should have been modernized but refused to, falling back on what worked over a decade before it came out without turning an eye toward its contemporaries and the improvements they’ve made to the same formula. I find Steam reviews to be a valuable data point among plenty of other data points, but user reviews being that much lower than the critic average doesn’t mean the critic score is a problem.
For an example of a game where critics reviewed it less favorably than the user score, see Mad Max or Days Gone, which might be explained as games where the initial sales weren’t strong, and people who found it later, often at a discounted price, were pleasantly surprised compared to its reputation. There’s also the likes of SkillUp’s review of Ghost of Yotei. That game has largely reviewed very well by other outlets, but he found his review to be out of sync with his audience. If you’re a reviewer who plays dozens of games per year, your opinion of a formulaic open world game might be very different from someone who plays 3 games per year and hasn’t gotten sick of it. Both are valid points of view.
That’s often a matter of resources. Staff sizes are only getting smaller at these outlets, and there are more games released each year than ever before; and they’re trending toward being longer on top of that. Being able to get multiple people to review a single game is a luxury, one that Digital Foundry can afford when they just need to benchmark a typical scene in the game.
I gotta say, I don’t see it. I did start reading the NY Times toward the end of the election cycle, but it seems to me that hardly a day goes by without showing the awful things Israel’s doing; Bret Stephens has his own opinions, but they’re in the opinion column. Of what I’ve seen, I think they reported Biden’s administration accurately, and if that fucked him over, it’s not really their job to withhold that. That’s how I see it, anyway.
Also, they may not have hard quotas there but the writers are paid to make articles and content to fill the site (it is like how best buy did not do commission vs future shop but where both the same company and fired those that did not make sales regardless).
The incentives are very different when the writers own the company and are largely paid by monthly subscribers.
There is also a big “citation needed” part that should have set off a editor.
How would you have cited “declining quality of writing” as an inciting factor? How would you measure it? And why did it just become a problem in the past few years rather than any of the problems that are listed in the article?
I know you were talking about another part of the article, but you had a similarly uncited reason for the shrinking games media work force. I don’t care if you don’t like VGC, but I really don’t see a time when the writing was better, and I wanted to see what you were expecting.
Take the reviews for example, VGC’s coverage on Borderlands 4 Does not even address the games broken state but gives it 4/5 stars
That’s because it’s not broken; it performs poorly relative to its visuals. It’s an excellent game.
You’ve done little to convince me that “mistrust” of games media is any more than people getting upset that reviewers have different opinions than they do. I can tell you right now, for instance, that Jordan Middler loves Pokemon, so it’s no surprise to me when VGC gives good reviews to Pokemon games. I’ve got a friend who really gelled with Suicide Squad as well, so I know it’s possible for people to really enjoy that game. In this very thread, you can see people who are convinced that reviewers are paid off or playing difficult games on extra easy modes, neither of which are true, because they just can’t reconcile that anyone could possibly enjoy a game that they didn’t enjoy or weren’t interested in.
Its a non functioning product at launch, something that should be called out in a review.
It literally functions. I’ve played it at launch and will continue playing it. Watch Austin’s review on SkillUp, who had the benefit of releasing his review some time after launch but started during the embargo period, to see why a reviewer would not call it out.
The Suicide Squad was a bad game, someone liking it does not justify a dishonest or lazy review
The quality of a game, and the evaluation of it in a review, is entirely subjective.
Neither of which are true is a bold statement that needs more then a “trust me” level of response.
Try looking right under the comment where someone who has been a paid reviewer called it out as nonsense. Or ask literally anyone in the industry. It’s come up on podcasts like Friends Per Second and Giant Bomb over the years enough times. If this was all a big marketing stunt where reviews were bought and paid for, someone would have blown the whistle by now.
You seem to be pushing the idea that its the audience is wrong and desperately assuming that people don’t like the media state due to an inability to reconcile their own preferences with the articles (wild and odd).
And yet you’re doing it right now. I can see why you would distrust a review if you don’t understand what a review is.
Amazon cutting thousands of corporate roles [including video games] (www.gamedeveloper.com) angielski
Oh, and turns out New World, Amazon’s one reasonably-sized success in gaming, is shutting down in 2026, and development is ending imminently.
Capcom doubles down on its decision to go pay-per-view during the Street Fighter League despite the fact that nobody really likes it (www.pcgamer.com) angielski
'Valve does not get anywhere near enough criticism': DayZ creator Dean Hall says the 'gambling mechanics' of Valve's monetization strategy 'have absolutely no place' in videogames (www.pcgamer.com) angielski
Microsoft's ambitious new Xbox: Your entire Xbox console library, the full power of Windows PC gaming, and no multiplayer paywall (www.windowscentral.com) angielski
It’s confirmed: the next xbox will be a Windows PC box. It sounds very interesting that this will also be backwards compatible with Xbox games, including 360/One/Series games. I wonder if it’s just emulation, and how well that will work
When was the last time you actually laughed while playing a game? angielski
cross-posted from: lemmy.world/post/37932218...
ROG Xbox Ally runs better on Linux than the Windows it ships with — new test shows up to 32% higher FPS (www.tomshardware.com) angielski
Ex-PlayStation boss says the games industry is "littered" with Fortnite clones and "people trying to do Overwatch with different skins," but keep dreaming if you're just trying to get "big sacks of money" (www.gamesradar.com) angielski
Rise of the Tomb Raider -SteamDeck angielski
What you guys playing this weekend?
Halo: Campaign Evolved | The Silent Cartographer Trailer (www.youtube.com) angielski
Krafton is now an 'AI-first company,' will spend $70 million on a GPU cluster to 'serve as the foundation for accelerating the implementation of agentic AI' (www.pcgamer.com) angielski
MOUSE: P.I. For Hire | Official Release Date Trailer [March 19, 2026] (www.youtube.com) angielski
The Outer Worlds 2 | Review Thread angielski
Game Information...
Microsoft Pushes Xbox Division to Hit Higher Profit Margins (www.bloomberg.com) angielski
More than 1,200 games journalists have left the media in the last two years | VGC (www.videogameschronicle.com) angielski
“For quality games media, I continue to believe that the best form of stability is dedicated reader bases to remove reliance on funds, and a hybrid of direct reader funding and advertisements. If people want to keep reading quality content from full time professionals, they need to support it or lose it. That’s never been...