Blah blah blah. Shove that copyright-maximalist take. You own things, god dammit. Even if you only own your copy of a book, it’s not somehow an ink-and-paper license to a copy, it is your copy. That’s what ownership means.
If you don’t know the difference between individual property and intellectual property, stop spitting at people who do.
On the contrary, I’d expect individual NPCs to be refined first. Like if the cast of Baldur’s Gate 3 was mostly improvising. Or if you had a halfway genuine friendship with your buddy Superfly.
Or lean into that passive-aggressive vibe the actress took. She got assigned to some half-naked cat who stumbled into town smelling like an execution, five minutes after he killed a creature of legend. There’s a bit of Commander Kiff in that “I am sworn to carry your burdens.”
On the other hand - I don’t do tagalongs. I sat her ass in Breezehome as it got larger, fancier, and piled high with obscenely rare weaponry. It was kinda sad every time she stands up like we’re gonna go somewhere. Lydia, honey - this is your house. I use the chests, the bookshelves, and the gratuitous enchanting table that might actually be a mod. Go hook up with Farkas in one sense or other. I should come in and find you drunk on mead, out in some dungeon, or improvising whatever a sock on the doorknob is for a culture that has neither.
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.
‘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.
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?
‘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?’
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.
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.
Jitter when the camera slides left and right means he should keep it in one spot and offset the screen. I.e., don’t move the camera - move the graphics. Have some X/Y value that gets added to all block positions, that frame. Then any visible gaps between tiles would at least stay put.
The artistic solution to those gaps is to make hidden faces the same color as the top face. Anywhere a cube touches a cube, the sides that meet should not be shaded.
The artistic non-solution is to give each top face an outline so that all looks like a deliberate grid. Like the surface is tiled the way a kitchen is tiled.
An artistic abuse is that blocks could be oriented freely. Any 1x1 pillar of cubes can be stacked funny. Especially if the engine makes non-grid-aligned tiles cheap. Then you could do a ziggurat where every level spirals upward. Admittedly, that would make collision a pain. Even player movement seems to be gridded.
“They say the old caretaker of this place went absolutely crazy. Chopped up his entire staff. Of robots. All of them robots. They say at night you can still hear the screams. Of their replicas. All of them functionally indistinguishable from the originals. No memory of the incident. Nobody knows what they’re screaming about. Absolutely terrifying. Though obviously not paranormal in any meaningful way.”
A similar move I’d like to see, instead of some shrunken emulator gizmo, is a straight re-release of the GBC or GBA. They’re low-bullshit entertainment, with the distinction of being standalone portable devices. And like the 2600 (and to a lesser extent 7800) people still make new games for them. Hell, I made one last month.
CD Projekt have formally commented on the presence of references to the Russia-Ukraine war in Cyberpunk 2077's recently added Ukrainian localisation, apologising for dialogue lines "that can be considered offensive by Russian gamers", while reiterating their support for Ukraine....
Anything negative about the Russian government is probably accurate and deserved. Extending that to the Russian people is iffy at best.
And remember this game is rather explicitly fifty years in the future, so anything current will be as relevant as Vietnam references are today. Not even counting the alternate history and corporatocracy of the setting.
Whose fault is that, guys? Were those numbers placed on you by a witch’s curse? No. You spent $100M on one game, it made $300M, so you spend $200M on the next game. Games didn’t get twice as hard to make, between those decisions. They didn’t require twice as many people or twice as much time. You’re just treating them like a factory where more capital in means more revenue out.
The original Doom was made in nine months by a team that fits in an elevator. Yeah, it’s simpler than modern games, but they had to make the nearly-unprecedented engine and all their own tools as they went. It’s not like anything’s harder, now. People have basically recreated that seminal title as solo one-week game jam projects. A modern handful of professional computer nerds can pick from a handful of modern high-end toolchains and start banging out content, today.
If the market for video games only supported six-digit budgets - there would still be video games. Big ones, fancy ones, creative ones, whatever. Would they be the spectacles that currently get advertised to death? Nope. But they also wouldn’t produce as many unstable bug-fests as those sprawling mega-projects. Nor would they be announced in 1999, previewed in 2006, delayed in 2017, and launched to middling reviews in 2025.
Studios that aren’t injected with obscene capital and forced to deliver “AAA” money-trees tend to shoot their shot and move on to the next game. That’s how they survived and grew as plucky little private affairs, before some publishers swallowed them whole and turned them into a sequel factory for their breakout hit.
If your games cost too much money to fail, stop giving them more money.
That’s not damning. That’s how franchises work. Sequels come with an audience built-in, so they can pull a bigger budget on expected sales and spend less of it on marketing.
How recently was this not true?
Seriously. Ten-ish years ago, the big releases were Halo, Elder Scrolls, GTA, Bioshock, Deus Ex, Xcom, Zelda. If not all ten years old at that point - spiritual successors to much older games. Twenty years ago, the big releases were Tony Hawk, Mario Kart, Prince of Persia, Ninja Gaiden, Sonic… Elder Scrolls, GTA, Zelda. Thirty years ago, when home video games were just barely fifteen years old, half the big names were either direct sequels or media adaptations, and most would become long-running franchises. Shockingly, one title was already a decade-old franchise: Super Bomberman.
Now consider the games he’s talking about, today. Halo’s not on that list anymore. It’s there. But it’s not big. Deus Ex is dead again. The specific aforementioned Tony Hawk game killed Tony Hawk games. Prince of Persia and Ninja Gaiden came and went. GTA and the Elder Scrolls haven’t released a game since, technically speaking.
Meanwhile the last two Zelda games are a more radical departure than anything since that awkward NES sidescroller. FromSoft keeps doing FromSoft stuff, but that’s more of a genre than a franchise. Baldur’s Gate III is a sequel twenty-three years later, in a genre that was niche then and niche-er since. There’s big-budget remakes of stuff from the PS1 / PS2 era, but they’re practically brand-new games. Tony Hawk, ironically, less so.
Some of the big-ass games ten years from now will be surprise hits and slow-burn successes from the last few years. Some games will get a quality-bump sequel that takes off, and then if we’re being brutally honest, a publisher like Microsoft will squeeze the life out of the studio by forcing them to crank out more of that until they hate everything. And people in 2033 will complain on probably-not-Lemmy that Sea Of Stars V is such a tired rehash after the highs of IV, and why does nothing new ever come along?
From September 2024, any games featuring simulated gambling (such as social casino games) will be rated R18+. R18+ is a legally restricted category in Australia, and games rated R18+ cannot be sold to people under 18....
Valve could take a lot less and it wouldn’t kill them. Or PC gaming. Wouldn’t be whatever frothing insult you pretend it is, either. It’s just… less money. They’d still make a shitload of money. Just… less.
The number can be smaller and the sky wouldn’t fall.
The number right now is obscenely high. It’s the most they think they can get away with. And they can only get away with it because of their de-facto monopoly, which should end.
Your response to criticism of Steam was ‘there’s other services.’
That does absolutely nothing to deflect from criticism of Steam.
Praising their various features comes a little closer, but still doesn’t justify taking an entire third of every game’s revenue. It takes a whole fucking lot of hypothetical work, which you imagine developers would have to do, to amount to the slice Steam takes right off the top.
What Valve offers that makes companies put up with that is their de-facto monopoly presence. They can sell many copies through Steam - or they won’t sell many copies.
Then developers can release games off steam, and some do.
‘There’s other services.’
But steam has many features people want and use that would add development costs if every dev had to make similar tools in house.
’ It takes a whole fucking lot of hypothetical work, which you imagine developers would have to do, to amount to the slice Steam takes right off the top.’
You are asserting without evidence that Valve needs to take all that money. As if they would go broke if they only took a quarter of all the revenue on most PC games.
Valve makes ten billion dollars on Steam, every single year. Their margins are not slim. And being an established de-facto monopoly, people go there because that’s where the products are, and products are there because that’s where the people go. They could slash costs to nothing, do the bare minimum work going forward, and still rake in the money on sheer momentum, for years and years and years.
The only feature that really matters here is adoption. And that’s not a feature you can design. Even Valve didn’t rope people in with a convincing sales pitch. They forced Steam onto everyone who wanted to play Half-Life 2. If you didn’t want to put up with an always-online DRM service aimed to take over PC gaming - you didn’t get to play the most anticipated game of the year. Whatever benefits you ascribe to the service, whatever functionality you argue developers would otherwise budget for, the core was always ‘accept this or pound sand.’
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Personally I’ve played a hell of a lot of HexArena. Just a simple, low intensity game that runs well and is maintained :))...
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via social.panic.com/
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CD Projekt have formally commented on the presence of references to the Russia-Ukraine war in Cyberpunk 2077's recently added Ukrainian localisation, apologising for dialogue lines "that can be considered offensive by Russian gamers", while reiterating their support for Ukraine....
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