MudMan
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I can’t believe I walked into this comment one hour after it was made in a 9 month old zombie thread. I haven’t even opened this app in days.
Anyway, I do think it’s funny that you said Morrowind when I was comparing it to Oblivion, because it just goes to make my point: this is about age and where specifically you set the focus of your nostalgia goggles.
You give the jank and smaller scope and jank of Morrowind a pass because it’s weird and was advanced at the time, but probably think Oblivion traded visuals for a more boring setting and truncated world, which was the criticism at the time. I think Daggerfall was doing some crazy sci-fi stuff in 1996 and just making a console RPG was a step back for Morrowind, which was the criticism at the time, and I bet plenty of people are more than happy to be nostalgic about Oblivion. People tend to think stuff holds up depending on how into it they were when it came out.
See, that’s the type of justification that doesn’t sit well with me and that the article is doing all over the place.
Is the Steam Deck a very successful handheld PC? Sure. Compared to the boutique stuff sold on Indiegogo by Chinese manufacturers it’s probably an order of magnitude larger.
Except it’s also not priced like one of those (or wasn’t at launch, anyway), it’s priced like a console, with the LCD model (while it lasted) priced right alongside the Switch OLED and a bit cheaper than the Switch 2.
And by that metric it’s done poorly, with best estimates placing it right alongside the PSVita at the absolute best, lifetime. The bar for success on that scale isn’t “selling millions”, it’s selling tens of millions, which the Deck has struggled to do.
So, all fanboyism aside: The Deck did well for a handheld PC, but kinda failed in the attempt to bridge the gap between those and handheld consoles. That, if you’re keeping track, is “reporting, not an opinion piece”.
This?
Valve’s Steam Deck has been a runaway success. While the beloved handheld has sold less than most major console handhelds, it’s become a valuable system for many to take their PC games on the go.
This is an opinion piece.
I’m confused, is that supposed to be good or bad? A lot or a little? That article seems to be making a heck of a lof of excuses. The hard pivot from “the Deck is an unmitigated success!” to immediately, quietly admitting it hasn’t outsold any actual handheld console is… kinda weird.
I like the Deck, and its influence in the market is clearly outsized… but it’s still a fairly niche product, and for the price I’m actually a bit surprised at how not-mainstream it remains.
MGS only made it to Windows in 2000. OoT obviously never did, officially.
Where I was, the games running in demo PCs and net cafés in 98/99 were Quake 3, Unreal and, believe it or not, yeah, Baldur’s Gate. Because BG1 already had pretty much the same MP as BG3 and people would pay per seat to play co-op runs of the original.
For the PC crowd BG1 and Starcraft were on a pretty even playing field in terms of scope perception.
The thing is, at the time counting budgets wasn’t much of a consideration. For one thing, most of them weren’t publicly known at all, beyond the extreme outliers you mention. People took notice when 50 mill were broken because that was such a high water mark for so long, but if AAA was a concept at all (it wasn’t), it certainly had more to do with branding and promotional materials. Having ads on good old normie broadcast TV did more to sell the size of FF7 than how big it was.
Ultimately BG was a major release. It came from a familiar publisher, it had a recognizable license, it had the same gaming magazine coverage as other major releases of the year, and it got a ton of critical praise and buzz across the industry. It didn’t come across as scope-constrained at all. FF7 was on another level entirely, but that was true of pretty much every other game release.
Also, FWIW, OoT wasn’t that big of a deal where I am, and neither was the N64 in general. GoldenEye and Turok drove more attention than OoT, and neither of those were particularly relevant, either. You would have definitely had much more luck getting people to recognize Baldur’s Gate than OoT over here in 1999.
By that metric there were maybe two AAA PC games in all of 1998. BG1 you can make the case (but given that it was an Interplay-published, licensed game meant for relatively performant hardware, it was absolutely in line with AAA PC releases of the day). BG2? Absolutely not. Bordering on eight digits in 2000 was not a small game at all. And of course neither were independent games by definition.
For sure BG3 is absurdly large and the historical comparisons break down a bit in the sheer scale of what that thing is. But nobody in the late 90s was buying a top down D&D CRPG with the production values of BG (or an action RPG in the vein of Diablo the previous year) and thinking they were slumming it in the dregs of small budget gaming.
Well, yes it is.
That is exactly how being things and not being things are.
If you go with “well, it’s not an indie, but it behaves like one in my view” as selection criteria, then the remainder of “AAA” you are left with by that tautological selection process is by definition made up of whatever bad habits you’ve arbitrarily determined to be “bad AAA behavior”.
I’m very happy that the guy jives with CDPR. Good for him. But what he’s found is a AAA studio that works in ways he likes, not a “semi-indie” studio that just happens to own a first party platform (until last week, anyway), make massive games and be publicly owned.
If you define AAA as “studios that do bad things I don’t like” you can’t expect to be taken seriously when you complain about how all AAA studios are doing things you don’t like.
“The games that people are excited about are almost like semi-indie studios,” Chmielarz says, taking the example of The Witcher and Cyberpunk developer CD Projekt Red, which he acknowledges "has shareholders, but behaves and acts as if [it is] independent.
I am screaming internally.
We’ve redefined AAA to mean “games that are in crisis” and then keep shouting “AAA is in crisis” like it’s a shocking revelation.
Honey dear, if CDPR and Cyberpunk are goddamn indie games I don’t know what AAA is. Everybody is running around calling these massive games with nine digit budgets “indie” and pretending that they’re the exception in a “AAA” industry apparently entirely made up of Call of Duty.
At this point this conversation means exactly nothing. I am so exhausted of it.
You can want better. Wanting better is good, actually.
What you can’t do (and expect to be taken seriously, anyway) is to take the best you got and give them crap for stuff that’s not under their control in any way. They don’t own the games getting delisted, so they have zero control over the delisting itself and they have better mitigations for this scenario than anyone else that make the situation actually safe for buyers. They may be “out of stock” of these games going forward, but nobody who bought them has to worry about not getting to keep them, which isn’t true on most other platforms, Steam included.
For the record, I also disagree on how “we’re seeing Valve’s practices get better”. They have their own set of priorities and while I like a bunch of them I dislike a bunch of them also. I don’t need to pick sides here.
Case in point, I agree that asking for a patreon-style contribution is a bad move on GOG’s part. I don’t need to like that in order for me to like their choice to stick to DRM free content or to provide downloadable offline installers.
I’m trying to be generic here. For these purposes I don’t particularly care about manufacturer customizations beyond "does it tensor math good and/or talk to DXR/Vulkan raytracing. I guess that accidentally includes actually useless CPU-baked NPUs, but I’ll accept that as being potentially part of it if someone actually used them for something.
For the record, even if I was wrong about or unaware of your kinda pedantic distinction, it’d still be irrelevant to the point.
I strongly disagree with that take, but also the actual alternative is not better for some of the people involved, so let that caveat be up front.
The alternative is a manually curated storefront, which is still being done in other platforms to some degree. You can absolutely sell entertainment or videogames without it being an entirely hands-off, algo-driven gig economy setup. Valve’s entire business model is cutting off all internal costs and automating the thing so it prints money by itself, but that’s not the only possible business model for media, as the previous century of media clearly shows.
Now, the caveat is that this doesn’t particularly help the small fry, which may be just gatekept out of the entire loop instead of being simply crushed by the soulless machine of making dream paste out of independent media. Whether that’s better or not I’m genuinely not sure.
Nostalgia tells me that the old industrial model where you only got to play in the pool if you could afford to do it right was more consistenly professional and less sloppy. Also that fewer things fell through the cracks, so if you wanted to make shovelware you at least had to put some work in to get it published, which was somebody’s paid job. Steam (and the similar mobile stores) have put all the cost and risk on the developers, especially since investment dried up and indie publishers have morphed from financers to service providers that come in after the job is done to sell you marketing and storefront SEO.
So I guess I personally would want Steam to hire a small army of content reviewers and moderators led by an editorial team that selects what to feature based on both business and creative considerations. But what I personally would want may not solve the problem the small indies this guy’s talking about have, just… maybe not allow them to get that deep into the hole by keeping them from being able to get started in the first place. Mileage may vary on whether that’s preferable. My personal choice is probably a side effect of being old.
Cool.
So, anyway…
(For the record, tensor cores don’t just accelerate calculations for raytracing, as is obvious from the entire AI bubble built on the technology, and I have no idea what GPU “performance boost” you’d want from additional raster graphics when you have RT-less stuff running at stupid framerates on current hardware and being consistently CPU-limited, but the Internet gets the memetic obsessions it gets. I suppose online nerds will pay for a 1080p 1000Hz monitor with no self-awareness as long as the two popular Youtube tech channels keep repeating the same memes and testing the same four games forever)
You need to clear the algo bars right away to make the New and Trending tab, and then you need to keep it up. If you drop off, you’re out.
So dropping to Mixed or starting soft gets you written off (barring viral late pickups or otherwise getting external promo to make your game blow up elsewhere). That means you need to hypermanage your launch and SEO the crap out of it to “own a tag” or keep above water with the trending tab.
I’ll say that at least that’s a tool for even a single person marketing owner to micromanage a Steam launch effectively, but it’s still SEO and algo gaming, which still leads to the same discoverability rat race mobile gaming has been stuck on for ages. And how survivable that process is depends a lot on what you need. I’d argue that very small devs that can make do with a few thousand copies sold may have an easier time there than slightly larger releases that need months of at least some sales to make their money back. Steam sales are either a flat line for a decade or a two week spike followed by zero engagement in your game forever.
It does not, in that I have a downloaded offline installer for the delisted games.
I mean, granted, when delisted from other platforms I can typically still download them, but on GOG I know I can keep them regardless. Which is the point.
I universally hate this rhetorical garbage, where anybody trying to try something other than the late capitalist status quo is then held to a higher standard, even when they are doing better than the default alternatives.
Turns out, it’s not a problem to be a left winger with a healthy income and you’re not obligated to never lose a license for a game just because you provide them DRM free. That’s why you provide them DRM free, in fact.
There are two ways to do this, as far as I’m concerned:
You can come up with an algorithm and let it cook, which is how Steam handles almost everything…
…or you can have an editorial team curate your storefront, negotiate sponsorships and marketing deals and manually set up promo slots based on their judgement.
Both have pros and cons, both prop up a certain type of game and hide others. Neither is particularly great if you’re a tiny dev with no budget, though, unless the storefront in question actively curates for that specific type of product (which no current first party really does outside Itch).
I don’t think you’re going to get fewer, bigger indies. The real problem the original corpo guy is forgetting to flag is that there is no longer speculative investment in gaming, so all that venture capital money went to AI.
Games are about cash now, so there’s no room to fail. Unless you have money in the bank to make many games, failure means you’re out. It doesn’t matter if your game is big or small. Gamedev costs what it costs if you need to pay for the devs’ salaries directly from your game’s sales with no investment cushion.
That leads to a mobile-like landscape. The big stay big forever, the small fry keep gaming the algo hoping to go viral. It’s a bit grim.
I’d argue that if Steam played kingmaker based on less math and a bit more discernment they are in the best position to split the difference. Instead, you weirdly get more of that from Sony, Nintendo and… well, what’s left of MS for as long as it exists as a gaming first party.
And that’s what I think is needed. If Steam wants to be the Google of gaming that’s fine… as long as someone else is competing with a different approach to split the difference. Just Steam’s approach by itself would be bad, I think.
Played in French. Wish that was the original version. Especially since my understanding is the performance capture was done by a French cast and the English cast that is getting all the press and accolades did the voice work exclusively.
I would have preferred if the voice and facial animation was targeted to the French language. I don’t know why European games are so afraid of not being in English. If Persona can do it so can E33. Or maybe not? Certainly the cast was a selling point, so what do I know.
I mean… I don’t disagree that it’s the best non-curated platform, but… that’s still not good.
I don’t disagree that many indies and even mid-sized studios should be more realistic about their potential, and I do agree that for a gig economy-style algorithm the crowdsourced tag system works pretty well on Steam and has more granularity than the jankier phone store app equivalent.
But it’s still 100% algo sorting and it’s still 100% driving ancient GaaS to the top and fossilizing it there. If you can’t muster a trailer at one of Keighley’s gigs or a massive influencer campaign you get exactly one shot at clearing the algorithm bars for Steam’s front page and then the algo will dump you all the way down to the pits. I know for a fact that a bunch of indies and AAs are playing the exact same sort of SEO games and algo reverse-engineering you see on phone shovelware. Steam plays in that league.
I think there are pros and cons of that against a fully curated front page, and it’s probably easier to at least have a chance here than back when first party certification was an actual investment, but I’m not sure I necessarily like what comes out the other end at scale.
I mean… yeah, have a good Steam page, for sure.
But while that may be “one” problem, it’s not “the” problem. Pleny of well presented games get trounced by missing the bar on week 1 of New and Trending, which is a death sentence without a massive marketing budget, or by narrowly missing out on the positive side of reviews, which is easy to do if your launch has any tech issues.
Steam is a better version of the phone stores, but it’s still one of those. It’s gamedev as gig economy and it’s yielding very similar results, with chart-topping games becoming decade-old fossils and new games struggling below.
Yeah, I’m mostly with you on that one. This creates some questions aobut their viability and there isn’t a particularly clear path from it to specific releases.
There was a bit of a mixed reception to this in their Discord server when they first revealed it and despite them taking the feedback quite graciously the final version hasn’t changed much at all.
It’s not a dealbreaker, and if you want to support them by all means, go nuts. I’d maybe politely suggest buying games instead of this, though.
Yeah, but nobody would argue that GameStop was dying in 2002, which is seven years into GameFAQs existing and very much the heyday of Prima and other dedicated print guide writers. Seriously, it just doesn’t line up. GameFAQs and print guides were servicing the same need.
Again, I’m not saying it didn’t have an impact. I’m saying if Prima guides existed as standalone publications in dedicated gaming stores it’s partly because GameFAQs had killed monthly print magazines as a viable way to acquire strategy guides for games, so you instead had dedicated guide publishers working directly with devs and game publishers to have print guides ready to go at day one, sometimes shipping directly bundled with the game.
And then you had an army of crowdsourcer guide writers online that were catching up to those print products almost immediately but offering something very different (namely a searchable text-only lightweight doc different from the high quality art-heavy print guides).
Those were both an alternative to how this worked in the 90s, which was by print magazines with no online competition deciding which game to feature with a map, guide or tricks and every now and then publishing a garbage compilation on toilet paper pulp they could bundle with a mag. I still have some of those crappy early guides. GameFAQs and collectible print guides are both counters to that filling two solutions to the equation and they both share a similar curve in time, from the Internet getting big and killing mag cheats to the enshittified Internet replacing text guides with video walkthroughs and paid editorial digital guides made in bulk.
Well, I’d argue if there was no money to be made, then CNET wouldn’t have purchased GameFAQs. At the very least it served to bring people over to their media ecosystem, and I wanna say they did serve ads and affiliate links on the site proper (but adblocker is also old, so it’s hard to tell).
Video contributed, for sure. This is a process of many years, the whole thing was evolving at once. But the clean break idea that print guides existed and then GameFAQs came along and killed guides just doesn’t fit the timeline at all. It’s off by 5-10 years, at least. Guides weren’t residual in the 00s when GameFAQs was at its peak and being bought as a company, they were doing alright. It’d take 10 years longer for them to struggle and 15 for them to disappear. You’re two console gens off there. That’s a lot. If guide makers like Prima were pivoting to collectible high end books out of desperation you’d expect that process to have failed faster than that.
Instead they failed at the same time GameFAQs started to struggle and get superseded, so I’m more inclined to read that as them both being part of the same thing and the whole thing struggling together as we move towards video on media and digital on game publishing. That fits the timeline better, I think.
In any case, it was what it was, and it’s more enshittified now. I’ve been looking up a couple details on Blake Manor (which is good but buggy and flaky in pieces, so you may need some help even if you don’t want to spoil yourself) and all you get is Steam forums and a couple of hard to navigate pages. The print guide/GameFAQs era was harder to search but more convenient, for sure.
It’s not a “even if some existed” thing, Prima operated until 2018. I personally remember preorder bundles with Prima guides for 360 era games and beyond. They published incredibly elaborate collector’s hardbook guides (that honestly doubled as artbooks) for stuff like Twilight Princess and Halo 3, all the way to the PS4 gen.
Even granting that “booming” is probably a bit hyperbolic, if GameFAQs being free in 1995 was going to kill them, bleeding out would probably not have taken 23 years. The death of retail, print and physical games probably hurt print guides way more than GameFAQs ever did. You didn’t buy those because you were in a hurry to solve a puzzle or look up a special move. They were collectibles and art books first and foremost.
FWIW, guides going back to paid professionals wasn’t as much due to video. Video is still crowdsourced for that stuff. It was visual guides in html with a bunch of images and reference, I think. At least that’s what IGN was doing, and they’re the ones that went hard on that front first. Also for the record, that probably had something to do with IGN and GameFAQs being affiliated for a while. GameFAQs was bought off by CNET in '03, it was definitely part of the big online gaming press ecosystem. I can see how IGN thought they could do better.
I don’t know that the timeline works out there. GameFAQs is, as this post reminds us, pretty old. Even assuming that it didn’t break out until the very late 90s or early 00s as THE destination for guides, there was certainly a booming editoral market for highly produced guides all the way into the Xbox 360 era.
I’d say it was responsible for the press not focusing on guides as much and instead refocusing on news and reviews. And then news and reviews died out and the press that was left refocused on guides again because by that point the text-only crowdsourced output of GameFAQs was less interesting than the more fully produced, visually-driven guides in professional outlets. And now… well, who knows, it’s a mess now. Mostly Reddit, I suppose?
I mean… MK1 predates it by what? 3-4 years? Which in 90s tech time is an eternity.
MK fatality guides were mostly in print. Magazines were all over that type of stuff at the time. But it wouldn’t have been strange to get a familiarly formatted ASCII guide for them with, say, your pirated floppies of the DOS or Amiga versions.
Hm… I’m a bit mixed on that, because GameFAQs became relevant a bit later than that, but at the same time that type of format for ASCII game guides predates GameFAQs being the main place you went to get them, so… it evens out?
I probably didn’t start going to GameFAQs for this stuff until like 2000, but I certainly was using text guides for games in the 90s.
I mean, convenience is a factor.
And while Steam doesn’t typically sign exclusive stuff they are known to use store positioning as a bargaining chip for preferential treatment. You’d think Konami would be above needing that, but who knows.
Anyway, good game, whatever the reason for the delay. Someone who is on the fence about getting it on Steam go get it on GOG instead to make up for them tricking me.
It’s come and gone a couple times. There was a period where a bunch of big games did simultaneous launches, then a big period of drought where a few large publishers withdrew entirely from new releases and recently a few isolated AA and AAA releases started popping back up. I wonder if it’s driven by how much effort they can put into outreach or something like that.
Yeah, it sucks for Silent Hill especially because a) it’s super expensive, at 80 bucks on PC, and b) I was on the fence about getting it at launch and only jumped in a few days ago. I’m just out of the refund window and… hey, I like it so far, but I don’t like it 160 bucks’ worth.
Whoever is screwing with GOG screwed them out of my purchase and I’m starting to think that not buying anything on Steam at all if I can help it may be the way to go.
Alright, this is great, but also people need to start confirming GOG drops before the Steam launch. I check for GOG launches whenever I buy a game, but just this month there’s been a couple of big games that got stealth GOG launches just after their Steam release and it’s been extremely frustrating. I don’t know if it’s a publisher thing to work around pirates waiting for DRM free versions or Steam being dicks about it, but it’s infuriating.
The Xenoblade Chronicles series and maybe FFXII.
Xenoblade Chronicles X in particular feels like it was meant to be a MMO and then they just kinda… gave up on the multiplayer part.