Half the industry by revenue is not coming from half the customers.
That’s why it’s spreading. So long as a fraction of people get sucked in - your non-participation does not matter.
Those victims “voted with their wallets” and their vote counts for ten times more than yours. This is why outright vitriolic boycotts barely made a dent. This is why it can creep into existing games, including ones you already bought. They’ve got your money. They want more.
This business model amounts to a scam. Games make you value arbitrary nonsense - that is what makes them games. There is no ethical form of attaching a real-world price tag to anything inside that make-believe. Convincing you that you need some random imaginary geegaw is half these people’s job.
No kidding nobody should throw money at that.
But I don’t know why anyone defends its continued existence.
‘Why are you ignoring the problem?’ cannot be answered with ‘why are you ignoring not the problem?’ The existence of things outside a growing issue don’t make the issue go away.
This is half the industry, by revenue. ‘But it’s only half!’ is aggressively missing the point.
I’d be fucking thrilled if this all just rolled back of its own accord. But it’s not gonna. Outright boycotts accomplished very little - and then dried up. These companies are throwing millions at this crap because it makes billions.
Some of the alleged “retreat” from wallet siphons with no cover charge are just games that will instead have a cover charge. They’re not changing the part where you can pay real money for fake hats. They’re not changing how much of the game is built around shoving players toward that decision, as often as possible.
Sega’s $70M whoopsie-daisy evidently hasn’t ruined the company. Nor has it seemed to stop their plans for Dreamcast-era nostalgia-bait games with the same abusive business model as their hilariously-late-to-the-party battle royale cancellation.
Games built around this are a gamble, but slapping it on whatever’s already coming out remains cheap, low-risk, and alarmingly popular. It’s in full-price, flagship-franchise titles. It’s in subscription MMOs. There is no sufficient back-pressure against publishers asking, ‘but what if more money?’
Yeah sure, it’s my fault for describing a problem, that’s what really causes the problem. Not a multi-billion industry where an ever-shrinking sliver avoids this psychological manipulation to attach a siphon to people’s wallets.
Pointing a finger at me, personally, will do less than nothing to fight this trend. Do you want to address that objective reality? Or do you want to project more accusations onto the person describing it?
‘Ignore the systemic problem and there is no systemic problem’ is never sound advice.
No kidding there’s always going to be some games that don’t commit this abuse - but anything with marketing and payroll will be tempted, and damn near all of them will go for it, because the downsides are fucking slim. The market brought us here. The market will not magically get us out of here.
Again, not a Netflix problem. This is becoming the entire industry. More big names are using it than avoiding it. There is almost no cost to adding this greedy bullshit.
Metal Gear on MSX2 was a genre that didn’t exist yet, and which sounded boring when he proposed it. The real Metal Gear 2 built on that in ways that would still be noteworthy features in Metal Gear Solid. Snatcher and Policenauts were little more than visual novels, but they were well-executed. That’s largely thanks to Kojima insisting on artist-driven tools for scripting the exact timing of graphics, text, and music.
Metal Gear Solid fucked with the player by constantly breaking the fourth wall. MGS2 cranked that ten times higher, along with prescient comments on memetics and populist narratives. MGS3 was just polished as hell. MGS4 opens with fake commercials starring the voice actors and only gets weirder from there.
MGS5-- calling back to artist-driven tools, I recommend the article about the game’s rendering engine. They developed a little rectangle you can drop into a screenshot, and then however you adjust the screenshot in Photoshop, copy-pasting that little rectangle back into the game will perfectly match whatever you did. Kojima productions have a certain “just solve the problem” vibe behind a lot of their technical direction. MGS 1-3 had too much focus on the minimap radar, so MGS4 has a holographic ring around your feet. Why? How? Who gives a shit, it’s a video game.
P.T. was a horror game demo set entirely in one hallway. And it was terrifying. And weird. And full of promise. So when Kojima handed that gift to Konami, reviving one of their beloved franchises, with several big names on-board thanks to his weird industry connections… and then Konami booted his ass out the door… people noticed.
Death Stranding is the ultimate illustration of why he became well-known and why he remains well-known. It’s a ridiculous product. It forces comically long sequences that are not technically gameplay. Its writing is completely bonkers and longwinded. But every aspect is deliberate. It is that way, on purpose. A premise that sounds boring becomes interesting because it’s well-executed. Balance and stamina aren’t floating UI elements; they’re represented in your character’s movement, so you keep your eyes on your dude.
Basically, Kojima is the sort of lead who can insist on a ten-minute opening cutscene, thirty seconds of actual gameplay, and then another eight minutes of cutscene, and still have people’s attention.
Classic video game franchise. Realistically it’s not going to adapt any particular game. They’ll sample as they please from any previous works and build up their own version of the story.
It’s not often that any video game company gets to turn 50
In no sense is this company 50 years old. Atari was cleaved in half by Warner 40 years ago. One half was purchased and used for branding, right before the new parent company also went out of business… five separate times. The other half did quite well in arcades until those stopped existing. The absolute latest you could say “Atari” lasted was 2003, when Midway Games West ceased operations.
Even the modern company calling itself Atari, formerly Infogrames, has been in and out of bankruptcy, and no longer owns most of the IPs either brand was known for. This company is that shambling wreck.
This brand is such an L factory that their bold new direction is re-releasing the machine that came in third place behind the NES, basically unmodified, and pretending it’s downright archaic 1970s hardware that was brought low by the technical demands of Pac-Man.
And it’s honestly a good idea.
I’m excited to see how it goes. More companies should do it. But acting like this is a victory lap for a titan of industry is a punchline in itself.