61–70 of 202 posts
I can not understand how it is legal to dismiss a worker with less than 14 days notice. Those are great workers rights! Thanks god we still have some of them here in Spain (although some have already been diminished).
How fungible are game dev skills? At least folks are getting released into a hot tech market.
I can not understand how it is legal to dismiss a worker with less than 14 days notice. Those are great workers rights! Thanks god we still have some of them here in Spain (although some have already been diminished).
If the company ceases to exist, then many of its usual responsibilities don’t exist either
"years of nonstop crunch culture, toxic management, and frustration from developers who believed the company’s refusal to diversify gameplay had led to creative stagnation" I don't understand why the people who were let go didn't leave in the first place...
> I don't understand why the people who were let go didn't leave in the first place... I feel the same way. One often hears the statistic that the games industry revenue (~36 Billion) exceeds that of the film (hollywood) industry. It makes me wonder, given that there's probably fewer workers in games, who is making the lionshare of the money? Is it just a tiny sliver of investors? How did it get that way? One would t…
Earlier quoted context omitted.
It seems to work for most AAA games.. In fact they usually dont even bother changing IP eg. assassins creed series, farcry series, call of duty series, madden series, etc. etc. Look at the ridiculously popular battle-royale games like fortnight.. They are pretty much clones of each other, and that gameplay has been done (better) decades ago.
Yeah but in those you have some mechanics to use. Telltalle took the adventure game formula, which is mostly exploration and puzzles, and dumbed it down until you were left with linear exploration and kindergarten puzzles. I stopped looking at their titles ages ago because while I grew up with adventure games, the Telltale titles ain't that any more. Edit: also, games made after a movie license (or a game license, Mi…
Weren't most of Telltale's stories original? I didn't play any of the others, but I know the Borderlands and Batman ones were.
Earlier quoted context omitted.
It seems to work for most AAA games.. In fact they usually dont even bother changing IP eg. assassins creed series, farcry series, call of duty series, madden series, etc. etc. Look at the ridiculously popular battle-royale games like fortnight.. They are pretty much clones of each other, and that gameplay has been done (better) decades ago.
Yeah but in those you have some mechanics to use. Telltalle took the adventure game formula, which is mostly exploration and puzzles, and dumbed it down until you were left with linear exploration and kindergarten puzzles. I stopped looking at their titles ages ago because while I grew up with adventure games, the Telltale titles ain't that any more. Edit: also, games made after a movie license (or a game license, Mi…
Earlier quoted context omitted.
If the company ceases to exist, then many of its usual responsibilities don’t exist either
The company didn't cease to exist; they still had (have?) employees finishing existing contracts. They also tried to raise money to staff back up and finish off the Walking Dead games.
I don’t excuse management for a second; they must have known the coffers were bare while they were still hiring.
Earlier quoted context omitted.
Apparently making the same game over and over (with different intellectual property to tie it up) does not pay off.
Can someone explain more about "making the same game over and over"? I don't know anything about these games. Were they all similar, despite being different franchises?
Usually the events were cutscenes or QTEs (timed button presses) that you either pass or get a gameover if you fail too many.
Now this wouldn't be an issue if the games were marketed as such but instead they tried to present them with the taglines "Your choices have consequences" while it was clearly not the case. You could run the same game twice making completely opposite choices and the end results were always the same; sometimes a character would die but at most that just resulted in some extra dialogue since those characters were designed to be non essential.
Here is an example of what I mean: Alice is a fugitive on the run and needs a car so she can:
1)Go to her friend Bob and have him drive the car after asking him 2)Threaten Bob to drive her around
In the end Bob is always driving the car and his opinion of you doesn't matter outside a throwaway line where he says "Hey, you owe me!" or "Hey, you're a jerk!"
The illusion of choice is very apparent at times even DURING the game since the events occurring are just too limiting.
It didn't help that Life is Strange and the Witcher 3 came out and had more in depth consequences and exploration of these systems.
"years of nonstop crunch culture, toxic management, and frustration from developers who believed the company’s refusal to diversify gameplay had led to creative stagnation" I don't understand why the people who were let go didn't leave in the first place...
> I don't understand why the people who were let go didn't leave in the first place... I feel the same way. One often hears the statistic that the games industry revenue (~36 Billion) exceeds that of the film (hollywood) industry. It makes me wonder, given that there's probably fewer workers in games, who is making the lionshare of the money? Is it just a tiny sliver of investors? How did it get that way? One would t…
Most game studios produce games on behalf of established publishers like EA with licenses from companies like Disney and I would assume they know to take a pretty piece of the cake.
I also have a feeling that the culture in the games industry have been rotting for a while and talent being "abused" has become the norm.
You can be a "rockstar" coder or coding "Wizard" all you want, but you'll probably never reach the paycheck of a good actor.
Earlier quoted context omitted.
The gaming press is more press than gaming; they're often people with writing degrees who are disproportionately fond of "literary" games compared to the buying public.
This is very true. Gaming journos have very little influence inside the gaming community. Many of them do not quite get that "fun" is the most central reason for playing a game. Their articles often read like someone who is hoping for a regular media house to notice and hire them, rather than a gamer writing for other gamers. Gaming's biggest personalities are on YouTube and Twitch. ACG, Angry Joe, TB (rip), Dunkey h…