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Video game industry thread: Trogdor commands you to use the new thread
So nudity is almost always gross giggling sexual stuff, except when it's tastefully and maturely done, but if a game company does it tastefully you know that they're still secretly doing it for non-tasteful purposes, or somehow it's not actually tasteful at all because the fact that they're using nudity means they're not mature after all, or something?
Seems awfully meta. I'd rather take it at face value. Movies and games are equally capable of showing nude bodies in a tasteful, respectful way, and I don't think it matters who does it if the end result treats the subject with care.
Completely agree with you Sporky. If it is in fact being done tastefully then yeah, it is mature. It doesn't matter what the f'n logo is on the box.
Hell, most people here don't seem to know that Rockstar aren't even developing LA Noire.
Also agree entirely. This is some weird triumvirate of agreement, right here.
Some of the best money I've spent was Burnout Paradise. I have spent hundreds of hours wasting time in Paradise City with friends online just being silly, racing, and randomly crashing into each other. Some of the best value ever.
This was actually the best example in my mind but someone had brought up Uncharted
I felt straight-up awful that it was so cheap
I think I made up for it though, by buying it twice on each system
Just Cause 2 is some of the best value for me. Bought it for £10 and have put in more hours than any long-winded RPG I've got lost in.
with around half of used game sales for the PlayStation 2. The average age of a used product purchased is three years. There is "no material evidence" that Project Ten Dollar and similar initiatives are having an impact.
I completely agree. I don't buy a used game unless it's just not available as new anymore.
Some of the best money I've spent was Burnout Paradise. I have spent hundreds of hours wasting time in Paradise City with friends online just being silly, racing, and randomly crashing into each other. Some of the best value ever.
This was actually the best example in my mind but someone had brought up Uncharted
I felt straight-up awful that it was so cheap
I think I made up for it though, by buying it twice on each system
Just Cause 2 is some of the best value for me. Bought it for £10 and have put in more hours than any long-winded RPG I've got lost in.
Yes! I've put around 90 hours into Just Cause 2 and there's still tons of things for me to do.
I dunno if that's fair, Nintendo are practically the only company that puts out high quality platformers on shiny plastic discs, but I think 2010 was probably the best year for platformers ever, and most of them weren't from Nintendo.
We still don't have a port of that Simpsons arcade game.
Weirdly enough the iPhone has it.
At any rate, Ubisoft's success with dance games has caused them to lose their goddamn minds.
Ubisoft is to release an all new rhythm action game dubbed Rocksmith, featuring a fully-functioning electric guitar and songs by big names such as David Bowie, Nirvana and The Rolling Stones.
The announcement – as broken by The Hollywood Reporter – comes just over a month after Activision pulled the plug on the Guitar Hero series, and in a climate where the music genre is generally believed to be struggling.
Rocksmith, however, looks to position itself differently to the competition. "Guitar Hero is a party game," said Ubisoft's senior VP of marketing Tony Key, "Rocksmith is a music experience."
Ubisoft is believed to be looking to partner with Gibson and other guitar manufacturers to create an experience that's more geared towards learning how to play the instrument. Harmonix's Rock Band 3, which released last year, took a similar approach with its full-priced, full-sized and fully functioning Fender Stratocaster guitar peripheral, though Rocksmith looks to have trumped it with its ability to support "most" electric guitars thanks to an input jack that's plugged into the console.
"The dream of playing guitar compared to how many follow through -- there's a big gap," Key said in Rocksmith's defence. "We will create a new generation of guitar players."
Rocksmith is looking to launch this September, and is said to feature songs not available on either RockBand or Guitar Hero.
I dunno if that's fair, Nintendo are practically the only company that puts out high quality platformers on shiny plastic discs, but I think 2010 was probably the best year for platformers ever, and most of them weren't from Nintendo.
Good point. I was indeed talking about retail releases. Between XBLA and WiiWare/VC I have had a pretty awesome year for downloadable platformers.
orry Cloud, everything you know is wrong
Black is white, up is down, short is long
I was driving on the freeway in the fast lane
With a rabid wolverine in my underwear
When suddenly a guy behind me in the back seat
Popped right up and cupped his hands across my eyes
I guessed, "Is it Uncle Frank or Cousin Louie?"
"Is it Bob or Joe or Walter?"
"Could it be Bill or Jim or Ed or Bernie or Steve?"
I probably would have kept on guessing
But about that time we crashed into the truck
At any rate Jaffe does his Jaffe thing. Long, but interesting.
IGN: The games industry is a lot different nowadays compared to when Twisted Metal first launched in the 90s. It seems that car-combat style of gameplay really isn't relevant anymore. It's more about first-person shooters with deathmatch in games like Call of Duty and Halo. How is Twisted Metal still relevant today?
Jaffe: The gut answer is: I don't care. We think Twisted Metal is really cool and fun. We know we have an audience out there but we don't know how big that audience is. Whenever you make a game it's a huge investment of money and time, and you have to make something that you are passionate about. You've got to find something that at least the key people, or most of the people, on the team are excited about.
Maybe the reason I don't care is because I don't agree with the statement. If I agreed that it's irrelevant I'd care very much. I want to make a hit; we all want to make a hit. Look, I love cars; [Eat Sleep Play Co-Founder] Scott Campbell loves cars. The idea of guns with flamethrowers, guys with grenades and Uzis leaning out the window, and helicopters crashing through suburbs; I think that's always fun. What we've done with this one, because we're online now, is built a lot more cool, deep team modes into it.
I would agree with you if what you were saying or suggesting is that basically it's the same game we made back in 2001 or 1996 in terms if it hadn't evolved. Our vehicles are almost class-based in terms of the different functionalities they bring that are designed specifically for the game modes, like Nuke and Team-Deathmatch.
I like first-person shooter multiplayer a lot, but at the same time I don't like the real fast deaths.
I don't know, I'm struggling to answer your question because the things you're implying by saying first-person shooters are relevant, I don't really like as much as other people do. I've said this before to the press, and I don't want to bore your readers. I like first-person shooter multiplayer a lot, but at the same time I don't like the real fast deaths, or the fact I can't form relationships with my teammates or with my enemies where it's like a couple steps out of a bunker you get shot in the head and you're dead. I miss the days of gameplay sitting on the couch with your friends where you can actually have a tug-of-war and a back-and-fourth where I'm about to die but I get the health at the last minute and I turn the tables on you.
For me it's almost like bringing back what we loved about multiplayer shooters that we feel has gotten lost in today's sort of massive-mega-online-shooters that feel exciting and visceral, but also feel very chaotic. It's a really good question because I know where it's coming from, but I guess I just don't really agree with it. To me [Twisted Metal] is like Chess and Uno mixed with Unreal Tournament and Quake Arena. I think it's very relevant, deep and exciting. I'm a big fan; I wouldn't be making it if I wasn't.
...
IGN: There's such a big risk nowadays in development considering the size of these budgets and teams. Has it been more difficult for you to make this Twisted Metal given the expectations and marketing budget compared to the past games?
Jaffe: This Twisted Metal started as a PSN game. Sony is the one that came to us and said they wanted more; they liked what they were seeing and wanted to make it into a full retail product. We actually went from PSN-only, and then we were going to be like Warhawk and SOCOM Confrontation in terms of it was going to be a $39 product that was multi-player only, and then Sony's like "No no, they want the stories" and Marketing's like "Yeah, you guys don't realize how many fans love the Twisted Metal universe, you gotta give us the stories." We weren't going back to Sony begging for more money to make this bigger. They wanted it bigger and of course we wanted to do that. Sony is a very smart company; they've done their market research to see if there are enough Twisted Metal fans to merit rolling the dice. It has a great legacy for Sony and SCEA, and I think everybody was on board.
But we're not delusional, we understand the market has shifted and we understand that if you're going to greenlight a first-party game, there's a difference between what you would spend and get on making say God of War 3 or God of War 4 or 5 or whatever and making Twisted Metal. You gauge the risk accordingly and you budget appropriately based on those risks.
In terms of a bigger team, making games is always hard. Scott Campbell is he guy who's actually in the trenches every day up in Utah with the team managing. We're still a small team of guys and women who have been on this title from the very first one. We're like 36 people. Every game's a challenge. But it hasn't been a super hard thing for Sony to get behind. They were behind it before we were.
...
What's great about these smaller iPhone and iPad games is that, as a designer, it's the purity of play and interactivity. It's the essence of what makes this medium so special. I do feel that on the AAA console games a lot of times, for all kinds of reasons, a lot of that purity that I think is so important has kind of got muted. Now there are all these cutscenes and graphics, and the spectacle and set pieces. All of that's great and exciting and important. But I think the essence is that when you're playing a great game, you know it, and that great game can cost $60 or $.99. For me, I'm very called to these smaller games. But then I started reading about The Elder Scrolls V: Skyrim earlier and got excited, and started to think the next game I want to do has this big, giant universe. So I'm all over the place. You kind of just take it one step at a time and it's important not to get overwhelmed by the choices, and just go silent and listen to your gut of where you want to go next with your creativity.
...
IGN: There's a big trend of game studios moving to be independent. Eat Sleep Play is independent, Bungie went independent years back, Respawn formed independently. There's a push it seems to be independent and own your intellectual property and sign a publishing deal. Why is this happening a lot more now? Are developers getting smarter with their IP?
Jaffe: I think the desire has always been there, anybody who goes into a business is going to want to own as much as they create as they can. Look, I don't begrudge Sony for owning Twisted Metal. They paid for it. It's theirs; I don't own Twisted Metal.
I think it's two reasons. It is the Wild West in the very best way. There's a clichéd philosophy when you have the kind of disruption that we're seeing in the market with all these smaller games and Facebook games. You can either go "oh my god this is terrible the sky is falling" or you can say "holy sh*t this is awesome!" And I think a lot of developers are saying "holy sh*t this is awesome!" because we can get in the market, get funding and make our own game that we don't have to go out and get publisher money for. If you get a hit, suddenly you have the next Angry Birds. You're holding onto a very valuable piece of property. That's fueling a lot of it.
There is also awareness that when you do work on something, since games are reaching so many more people now on a cultural level, like Halo. I imagine those guys at Bungie must have been like "holy sh*t, look at all this influence we had and all this money we made." I'm not suggesting they have any right to be mad at Microsoft, you sign the deal you sign, you man up and accept it. With God of War, I left because I was looking to have more of an ownership, but I never resented Sony for it. But I do think there becomes a point where you go independent because you're like "well sh*t, if we did it once, maybe we can do it again, and this time lets have more of an ownership stake."
But look, when we started Eat Sleep Play, we put a "For Sale" sign on the website day one. When we started it we wanted to sell it. We'd love to make some hit games for a publisher and have them pull us in. That would be awesome.
...
IGN: What's a bigger threat to the games industry right now, piracy or used games?
Jaffe: I don't have the numbers, but they're both big threats. But whenever I say this I'm going to have at least 50 percent of your readers saying "Jaffe is an assh*le." I'm not against used games. I'm not against discount games. I'm not against renting games. And I'm not against the customer getting the best deal they can get. I grew up with very little money. Even when I have more money now as an adult, I get the value of a dollar. But at the same time, sh*t's not free. I think the customer shouldn't suffer, but I don't think it's unreasonable for the publisher and the developer to ask for a cut from the retailer of the used games market or at least make a deal like where they have to wait 3 months after we've had our initial run, for example. A lot of the people who argue against that say "you're just greedy," but it's like, how many sales are retailers getting off a single game?
I don't think it's unreasonable for the publisher and the developer to ask for a cut from the retailer of the used games market.
The reality is, the people who are making the product aren't getting paid. The people who you should be wanting to pay if you like their products are getting shut out. So if you should be mad at anybody and talk about greed, how about talking about the retailers that don't cut the people who actually make the product into the deal at all. I think there's a problem there. But instead we kind of get the sh*t end of it from the readers because they think we're just greedy. It's not that. Think about this, for a game that sold 300,000 copies on PlayStation 3, it wouldn't surprise me if that game had sold 850,000 without the used game market. I think 850,000 people are playing the game still; it's just that you're not seeing the sales for that. If you don't see the sales from that, how are you supposed to fund your next game?
...
(On how he believes the current $60 model is "broken")
I think there will be another console cycle. I think there will be really big f*cking games for them. I'm just guessing, but I think the next generation of consoles will be the last of that current form of console, where you go to a store and buy your $60 games. I think you're always going to have these big epics; these Naughty Dog operas that blow everyone's minds or stuff like Gears of War from Epic Games. Those aren't going away and they shouldn't go away. Those are amazing mainstays that make our medium so proud.
When you play a game, you get one of two things or both. You either get amazing gameplay, amazing experience and immersion, or you get both. The gameplay, which is the most important thing, the consumers have shown they don't care where they get it. They'll get it on their iPhone, on their old mobile phone playing Snake, World of Warcraft, or Call of Duty. Gameplay travels very easily. The spectacle doesn't, you have to be on the high-end consoles for those.
I think if you're a publisher and unless you're going to play the game that the Uncharted 3s and God of War 3s are playing, I think it makes sense to ask yourself, "Why would we want to put ourselves on a disc? Why would we commit ourselves to a price point that forces us to make the game not as good as it could be?" A lot of games don't need to be $60. I'm playing Dead Space 2 right now and I love it, but I wish I was done. It's one of my favorite games this year. It's fantastic. But 3-4 hours in, I'm done. I think I've seen most of what I need to see. That doesn't mean there isn't better content down the line, but do I think if EA could have budgeted and built a game like that to be a smaller, 3 or 4-hour experience - not a cheapy little game - and had a business model that could support that. Do I think Dead Space 2 would be an even better game than it is now? Absolutely.
I think we've just gotten conditioned to think that games have to be a certain length and that's coming from the business model. But I think that business model, with the exception of a certain few games, needs to go away. And I think it'll happen, I just don't know when. But I would say, yes, 'Xbox 720,' 'PlayStation 4' I think we're done after that.
There's a whole hell of a lot more, including much, much more of his potty mouth, here:
I dunno if that's fair, Nintendo are practically the only company that puts out high quality platformers on shiny plastic discs, but I think 2010 was probably the best year for platformers ever, and most of them weren't from Nintendo.
Good point. I was indeed talking about retail releases. Between XBLA and WiiWare/VC I have had a pretty awesome year for downloadable platformers.
Edit: lolUbisoft.
Meatboy is awesome.
XBLA and PSN. 2 reasons why I'm extremely glad this generation keeps going. Torchlight just had its highest sales day thanks to XBLA and Double Fine has been creating new IPs left and right.
Old EA and Activision have showed why it is a good idea to keep your IP if you can as a developer. And as I said in my previous post about XBLA and Double Fine, I think that going the independent route and developing your IP through things like XBLA, app stores, and Facebook is a great thing about this generation.
Jaffe started the new Twisted Metal with the idea of it being a PSN game and eventually they were given the money to make a full release. Now obviously it is a little different because it is an established property but that is exactly what we want to see from some of these download only developers. We want to see them come up with a great idea, establish that great idea, and then get funding to make a full 60 dollar game.
All while keeping their IP to themselves so it can't be abused by those trying to appease the stock holders.
At any rate, Ubisoft's success with dance games has caused them to lose their goddamn minds.
Ubisoft is to release an all new rhythm action game dubbed Rocksmith, featuring a fully-functioning electric guitar and songs by big names such as David Bowie, Nirvana and The Rolling Stones.
The announcement – as broken by The Hollywood Reporter – comes just over a month after Activision pulled the plug on the Guitar Hero series, and in a climate where the music genre is generally believed to be struggling.
Rocksmith, however, looks to position itself differently to the competition. "Guitar Hero is a party game," said Ubisoft's senior VP of marketing Tony Key, "Rocksmith is a music experience."
Ubisoft is believed to be looking to partner with Gibson and other guitar manufacturers to create an experience that's more geared towards learning how to play the instrument. Harmonix's Rock Band 3, which released last year, took a similar approach with its full-priced, full-sized and fully functioning Fender Stratocaster guitar peripheral, though Rocksmith looks to have trumped it with its ability to support "most" electric guitars thanks to an input jack that's plugged into the console.
"The dream of playing guitar compared to how many follow through -- there's a big gap," Key said in Rocksmith's defence. "We will create a new generation of guitar players."
Rocksmith is looking to launch this September, and is said to feature songs not available on either RockBand or Guitar Hero.
All is for the best in the best of all possible generations.
It was the best of generations, it was the worst of generations, it was the age of new video game innovations, it was the age of lame-ass sequels, it was the epoch of suspension of belief, it was the epoch of annoying layers of menus, it was the season of Light, it was the season of nonsensical RPGs with plots that go light dark light light dark light dark dark dark light nobodies, it was the spring of looking forward to great new games, it was the winter of great developers getting pink slips, we had every console before us, we had none of those formats we hate for some reason before us, we were all going direct to Outer Heaven, we were all going direct to some gore-soaked knee-jerk reimagining of Dante's Inferno - in short, the generation was so far like the present generation, that some of its noisiest, graphics-est, explosionest games insisted on its being received, for good or for evil, in a Metacritic average of no less than 80 percent.
...I warned you I have useless English degrees.
Wordherder on
Why the crap did I ever make my original name "cloudeagle?"
All is for the best in the best of all possible generations.
It was the best of generations, it was the worst of generations, it was the age of new video game innovations, it was the age of lame-ass sequels, it was the epoch of suspension of belief, it was the epoch of annoying layers of menus, it was the season of Light, it was the season of nonsensical RPGs with plots that go light dark light light dark light dark dark dark light nobodies, it was the spring of looking forward to great new games, it was the winter of great developers getting pink slips, we had every console before us, we had none of those formats we hate for some reason before us, we were all going direct to Outer Heaven, we were all going direct to some gore-soaked knee-jerk reimagining of Dante's Inferno - in short, the generation was so far like the present generation, that some of its noisiest, graphics-est, explosionest games insisted on its being received, for good or for evil, in a Metacritic average of no less than 80 percent.
All is for the best in the best of all possible generations.
It was the best of generations, it was the worst of generations, it was the age of new video game innovations, it was the age of lame-ass sequels, it was the epoch of suspension of belief, it was the epoch of annoying layers of menus, it was the season of Light, it was the season of nonsensical RPGs with plots that go light dark light light dark light dark dark dark light nobodies, it was the spring of looking forward to great new games, it was the winter of great developers getting pink slips, we had every console before us, we had none of those formats we hate for some reason before us, we were all going direct to Outer Heaven, we were all going direct to some gore-soaked knee-jerk reimagining of Dante's Inferno - in short, the generation was so far like the present generation, that some of its noisiest, graphics-est, explosionest games insisted on its being received, for good or for evil, in a Metacritic average of no less than 80 percent.
...I warned you I have useless English degrees.
The man with the golden keyboard.
Jobless Anarchist on
0
HalfmexI mock your value systemYou also appear foolish in the eyes of othersRegistered Userregular
with around half of used game sales for the PlayStation 2. The average age of a used product purchased is three years. There is "no material evidence" that Project Ten Dollar and similar initiatives are having an impact.
I completely agree. I don't buy a used game unless it's just not available as new anymore.
I did that with Banjo Kazooie: Nuts & Bolts.
It felt horrible, especially since Rare needs all the credit it can get.
I don't know, if I finished Dead Space 2 in 3 hours 30 minutes after paying $60 for it, I'd be pretty pissed.
How about after paying, say, $20 for it?
The point of that section is that there's no reason that games should always be calibrated for $60 worth of value. Consumers are just trained to expect that price; the fact that you misunderstood what he was saying just shows how ingrained the idea has gotten.
with around half of used game sales for the PlayStation 2. The average age of a used product purchased is three years. There is "no material evidence" that Project Ten Dollar and similar initiatives are having an impact.
I completely agree. I don't buy a used game unless it's just not available as new anymore.
I did that with Banjo Kazooie: Nuts & Bolts.
It felt horrible, especially since Rare needs all the credit it can get.
I don't know, if I finished Dead Space 2 in 3 hours 30 minutes after paying $60 for it, I'd be pretty pissed.
How about after paying, say, $20 for it?
The point of that section is that there's no reason that games should always be calibrated for $60 worth of value. Consumers are just trained to expect that price; the fact that you misunderstood what he was saying just shows how ingrained the idea has gotten.
It reads more to me like he's got a short attention span. By saying he's "done", it doesn't mean he's finished the game, just that he's bored and wished it was shorter, and that the price would be cheaper consequently. As a model in general, I can see some appeal in that. For Dead Space 2 specifically, that's the first time I've heard anyone whine that it was too long. David Jaffecakes.
Yeah, I know several games that I think would have been better if they were shorter. And if making them shorter means that they can cut the price drastically as well, that's even better.
Take Dead Space 2, take the best parts, remove the filler, condense it into an experience you can play in a single night, add various modes and a score system for high replay value, and sell it for $20? Sounds good to me.
Yeah, I know several games that I think would have been better if they were shorter. And if making them shorter means that they can cut the price drastically as well, that's even better.
Take Dead Space 2, take the best parts, remove the filler, condense it into an experience you can play in a single night, add various modes and a score system for high replay value, and sell it for $20? Sounds good to me.
To the degree that the parts you want cut out are filler added specifically to pad out out playtime without needing many more art assets then making the game cheaper wouldn't lower the costs of making it by much.
lowlylowlycook on
(Please do not gift. My game bank is already full.)
No way im buying a short game when i can just rent it and finish it in a few sittings. Especially since at my job we have a free rental system.
A reasonable point. Does anyone have any thoughts on how developers could appropriately profit from games that can be beaten in the span of a rental? Not making them at all certainly isn't the best solution for anyone, and suing companies that provide rentals out of business is almost as bad.
Posts
Also agree entirely. This is some weird triumvirate of agreement, right here.
If this is to do with Prey 2, they've said it's not using id Tech 5. Sadly.
Just Cause 2 is some of the best value for me. Bought it for £10 and have put in more hours than any long-winded RPG I've got lost in.
Alright, Kanye.
The voice of this generation also doesn't know how to pronounce most words and thinks punctuation is a tooth disease.
edit: BUGGER ME, TYPING GODS
I completely agree. I don't buy a used game unless it's just not available as new anymore.
PSN: Beltaine-77 | Steam: beltane77 | Battle.net BadHaggis#1433
Nintendo Network ID - Brainiac_8
PSN - Brainiac_8
Steam - http://steamcommunity.com/id/BRAINIAC8/
Add me!
Yes! I've put around 90 hours into Just Cause 2 and there's still tons of things for me to do.
Me too.
And all this discussion about tits and nobody thought to link this:
http://www.youtube.com/watch?v=3aVAPzj5d-M&feature=related
Not id Tech 5. Reportedly id was still working out 5 when Prey 2 started development.
http://www.eurogamer.net/articles/2011-03-15-prey-2-doesnt-use-id-tech-5
http://www.gamesindustry.biz/
I write about video games and stuff. It is fun. Sometimes.
From the SNES to PS1 to PS2, I had so many wonderful platformers to play, it was grand.
Nowadays, Nintendo is practically the only company that still puts out high quality platformers. I love them for it.
Also, up yours activision for ruining Spyro. (I
Nintendo Network ID - Brainiac_8
PSN - Brainiac_8
Steam - http://steamcommunity.com/id/BRAINIAC8/
Add me!
Weirdly enough the iPhone has it.
At any rate, Ubisoft's success with dance games has caused them to lose their goddamn minds.
http://xbox360.ign.com/articles/115/1155636p1.html
....how could ANYONE think that's a good idea at this point? Hell, I'm a huge Rock Band fan but I seriously doubt there will ever be a RB4.
Good point. I was indeed talking about retail releases. Between XBLA and WiiWare/VC I have had a pretty awesome year for downloadable platformers.
Edit: lolUbisoft.
Nintendo Network ID - Brainiac_8
PSN - Brainiac_8
Steam - http://steamcommunity.com/id/BRAINIAC8/
Add me!
Nope. Not the same game. It's a cheap imitation.
Eh, I liked it and thought it was fairly well done, myself.
Sorry Cloud, everything you know is wrong
Black is white, up is down, short is long
Nintendo Network ID - Brainiac_8
PSN - Brainiac_8
Steam - http://steamcommunity.com/id/BRAINIAC8/
Add me!
I was driving on the freeway in the fast lane
With a rabid wolverine in my underwear
When suddenly a guy behind me in the back seat
Popped right up and cupped his hands across my eyes
I guessed, "Is it Uncle Frank or Cousin Louie?"
"Is it Bob or Joe or Walter?"
"Could it be Bill or Jim or Ed or Bernie or Steve?"
I probably would have kept on guessing
But about that time we crashed into the truck
At any rate Jaffe does his Jaffe thing. Long, but interesting.
There's a whole hell of a lot more, including much, much more of his potty mouth, here:
http://ps3.ign.com/articles/115/1155383p1.html
Meatboy is awesome.
XBLA and PSN. 2 reasons why I'm extremely glad this generation keeps going. Torchlight just had its highest sales day thanks to XBLA and Double Fine has been creating new IPs left and right.
I agree.
I agree with everything he said.
Old EA and Activision have showed why it is a good idea to keep your IP if you can as a developer. And as I said in my previous post about XBLA and Double Fine, I think that going the independent route and developing your IP through things like XBLA, app stores, and Facebook is a great thing about this generation.
Jaffe started the new Twisted Metal with the idea of it being a PSN game and eventually they were given the money to make a full release. Now obviously it is a little different because it is an established property but that is exactly what we want to see from some of these download only developers. We want to see them come up with a great idea, establish that great idea, and then get funding to make a full 60 dollar game.
All while keeping their IP to themselves so it can't be abused by those trying to appease the stock holders.
Win/win.
So I can play using one of my pre existing electric guitars? There's one copy sold.
Beat me on 360: Raybies666
I remember when I had time to be good at games.
All is for the best in the best of all possible generations.
Do not engage the Watermelons.
It was the best of generations, it was the worst of generations, it was the age of new video game innovations, it was the age of lame-ass sequels, it was the epoch of suspension of belief, it was the epoch of annoying layers of menus, it was the season of Light, it was the season of nonsensical RPGs with plots that go light dark light light dark light dark dark dark light nobodies, it was the spring of looking forward to great new games, it was the winter of great developers getting pink slips, we had every console before us, we had none of those formats we hate for some reason before us, we were all going direct to Outer Heaven, we were all going direct to some gore-soaked knee-jerk reimagining of Dante's Inferno - in short, the generation was so far like the present generation, that some of its noisiest, graphics-est, explosionest games insisted on its being received, for good or for evil, in a Metacritic average of no less than 80 percent.
...I warned you I have useless English degrees.
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Now you're being obtuse.
The man with the golden keyboard.
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Primarly known for Fallout and one of Troikas Heads.
I did that with Banjo Kazooie: Nuts & Bolts.
It felt horrible, especially since Rare needs all the credit it can get.
How about after paying, say, $20 for it?
The point of that section is that there's no reason that games should always be calibrated for $60 worth of value. Consumers are just trained to expect that price; the fact that you misunderstood what he was saying just shows how ingrained the idea has gotten.
It reads more to me like he's got a short attention span. By saying he's "done", it doesn't mean he's finished the game, just that he's bored and wished it was shorter, and that the price would be cheaper consequently. As a model in general, I can see some appeal in that. For Dead Space 2 specifically, that's the first time I've heard anyone whine that it was too long. David Jaffecakes.
Take Dead Space 2, take the best parts, remove the filler, condense it into an experience you can play in a single night, add various modes and a score system for high replay value, and sell it for $20? Sounds good to me.
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To the degree that the parts you want cut out are filler added specifically to pad out out playtime without needing many more art assets then making the game cheaper wouldn't lower the costs of making it by much.
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I'm not sure that is sustainable...
That's why I said to add features to increase replayability.
Steam ID : rwb36, Twitter : Werezompire,
A reasonable point. Does anyone have any thoughts on how developers could appropriately profit from games that can be beaten in the span of a rental? Not making them at all certainly isn't the best solution for anyone, and suing companies that provide rentals out of business is almost as bad.