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Cake day: March 18th, 2024

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  • I enjoy the Fast & Furious movies. The advantage to them releasing one movie at a time, or in games, one game at a time, is you can more accurately gauge the appetite for the next one, and they don’t have ongoing costs to keep the last one going. The ten F&F movies out there now are not in danger of disappearing if F&F11 bombs. The people who worked on those movies don’t have an expectation for or reliance on employment any longer than the time it takes to make one movie. And outside of Fast X, despite being pulpy and constantly recontextualizing and retconning old events, they all have their own endings with closure. Fast X does have a cliffhanger, and that is a bet that they made with their audience that they’ll be back, but the most likely scenario is that the next one offers closure. In some ways, cliffhangers can be closure themselves, too; I think more highly of Arcane season 1’s ending as closure for the series than I do of season 2, for instance. Meanwhile, the most likely scenario for a live service game is that it doesn’t have an ending or even exist anymore, only a few years in the future.

    And all that said, it also doesn’t mean that I don’t understand your perspective, but I do see eye to eye with the author.










  • Well, AI is largely a solution in search of a problem at this point in time, but I’m very glad that people found ways to make games that got beyond telling stories with colored rectangles, because I don’t think I have it in me to play more than one of those. Fortunately, better tools and options can exist so that there’s not some arbitrary reason to choose to do less when you could have done more. The actual value of gen AI right now is propped up by investments and not actual profitability, so we’ll see where its value falls in the marketplace once gravity pulls it back down. I expect the better option will still often be just the asset store when the dust settles. And this isn’t some total disregard for what art we fill our lives with. There’s art that people care very deeply about in My Summer Car, just not the framed pictures hanging on the wall.


  • I’m not a fan of AI; I’m indifferent to it. What your capabilities are will vary based on which tools you’re using, and that can result in a very different scope of game. The part where it’s collaborating with another artist doesn’t matter to me if I can’t tell the difference, as long as the intellectual property rights of how the AI was trained are handled properly. I won’t be able to tell the difference in something like My Summer Car, because the prop artwork hanging in the room isn’t why I would be playing that game. If it has a tangible effect on the quality of the game, and I can tell the product is sub par because of the use of gen AI, that’s when it was the wrong tool for the job, or that it should have been cut. I personally wouldn’t care about how those scientists in Jurassic World look (there’s more important, attention-grabbing stuff in that game), but seemingly, plenty of people do. The reason I brought up small teams in particular is not just because of cost savings but because you’re less likely to have a specialist who excels at or enjoys every single part that makes up a video game.


  • I think when you’ve got a small enough team making something as multifaceted as a video game, there will be parts of it you find boring and relatively unimportant. If you can make it cheaper, you get that much closer to the possibility of breaking even. Parts of this can scale up to larger projects, but in the end, this is a matter of choosing your battles. There’s an adage that’s something like, “Your game is never done; you just stop working on it,” and the sooner you can stop working on it while still delivering a product that people are interested in, the more sustainable the whole endeavor becomes. Chunks of it will be filler or less important than other chunks, always. It’s why there’s a Unity and Unreal asset store; and why you can hear the same sound library used in Devil May Cry, Soul Calibur, and Dark Souls menus. Those parts of the game were less important to be specifically crafted for these games, and they chose other battles to care more about.


  • The conversation around gen AI seems to go to putting people out of work or replacing tons of human effort, and I’m sure some companies are led by people with those naive dreams, but that My Summer Car example is exactly where my head goes when I think what the future of the technology is. It’s artwork that ought to be there, because the scene demands that there’s art on the walls, but what that artwork is basically doesn’t matter, so if gen AI can get the job done cheaply, it’s probably the right tool for the job. However, I’d have thought that the scientist portraits in Jurassic World Evolution were another prime use case for it too, but people rioted over that one. Even if it’s a good tool for the job, if it’s poison in the marketplace, it’s no longer a good tool to use.




  • ampersandrew@lemmy.worldOPtoGames@lemmy.worldA New Guilty Gear Game Has Been Canceled
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    4 days ago

    The earliest this project could have started was 2018, after they made Dragon Ball FighterZ. Before that, ArcSys was on no one’s radar. The code that Tokon is definitely, without a shadow of a doubt built on debuted in Strive in beta form approximately 1 year ago, meaning that the project was probably not in ArcSys’ hands until after Strive launched, in 2021, at the absolute earliest. Sony had limited partnership arrangements with ArcSys at this point already, with PlayStation themed color palettes for characters in the game. But 2021 is also still likely to be too early, because Dragon Ball was still getting considerable attention, and GranBlue had just launched fresh into a world where it needed to be reworked for rollback immediately, because the market demanded it, eventually resulting in GranBlue Fantasy Versus Rising. So my best bet is that it started development in 2022.






  • That Tainted Grail game that just came out this year is supposedly the indie Elder Scrolls. Maybe you’d argue that’s AA, but that’s still a symptom of how our standards have shifted. Games like Resident Evil are also abundant these days; not so much like Resident Evil 4 in particular, but RE4 was an experiment that split the difference between old Resident Evil and modern third person shooters.


  • Reminds me of this post on Bluesky. These ads were wild at the time, too; even some that predate this era. There was Fear Effect, which was basically marketed entirely on the back of the game featuring lesbians when that was taboo. There was Rayman standing at the urinals with a guy in 9-5 business attire presumably staring at Rayman’s dick. The Neo Geo “You need a pair of these” steel balls “to play one of these” ad. Plus the shockingly racist European white PSP ad; that was a billboard, not a magazine ad, but it had “video game magazine ad energy”, in this case with “(negative)” at the end of it.