why am i son hyped for Yakuza 7 when I should be burnt out on Yakuza?
2 Likes
Because change is good.
1 Like
the guy that made the IGF winning game monaco quit AAA to make it and immediately won, he then did a talk the next GDC called HOW TO WIN THE IGF IN A WEEK and it was just the biggest fuck you to a lot of people
the wildly different views on class and work within games is mind-bending. having people like that dude and uh, hofmeier win in the same category in different years says a lot about games inconsistencies
i am so excited for turned based yakuza im SO SO SO EXCITED TO MAKE FRIENDS WITH CRAYFISH AND SUMMON ESPERS sdkdsjgldfjgjfd
4 Likes
Yeah I am super hyped for a big change in the series, and I think this is a great time to try it.
2 Likes
this is apparently coming out soon but I can’t recommend enough that anyone interested in it play sprint vector instead
same concept and I liked it a million times more
i will not have time to try this demo until Sunday, but i have to play it, even if it possibly sucks.
yeah the shitty thing is that he was one of san diego’s shining hopes because san diego did not have much of an indie scene so the only visible indie studios we really had at the time were pocketwatch and the behemoth and nimblebit and only the behemoth seemed AT ALL interested in anyone outside of your standard AAA people
I remember that we had a game dev group going on at UCSD and it was literally the most frustrating thing to be in because I wanted to help make stuff so bad but EVERY SINGLE THING that they proposed was like “let’s make a multiplayer networked cover shooter but it’s in space so people can come from any direction and we’ll make it with cryengine” and I wanted to yell at them so badly! this is like the ONE TIME in your life you’ll get to do anything other than some bullshit cover shooter! why are you spending that learning how to make cover shooters??? eventually I left
so the local options I had when I graduated ended up being trying to get a job at one of the indies that were basically closed-off AAA studios or do QA for rockstar san diego or sony san diego and I ended up at sony san diego
and then I went to school again
and now I’m leaving the industry
san diego’s a tough place to be creative in and probably one of the reasons I have a really hard time with indies that are AAA basically - it’s AAA but with all the insularity of the indie scene and wow it sucked to realize that I had to move to get out of it
that said I still regret not applying to that sound designer job at psyonix to this day because san diego is dope especially hillcrest->north park
5 Likes
You can do it! I seem to remember you played a ton of N++ and a lot of those levels are at least as hard as Celeste in terms of finesse. Celeste does have a little more mechanical complexity though, which means there’s more to internalize in terms of muscle memory.
I understand this vibe (I am this vibe) and I was even holding out hope for it to be good but
well
I won’t detail my grievances yet so that a nuanced discussion may occur
(as if I understood the concept of nuance)
2 Likes
For the record I also think I saw that 2009-state-of-indie group drawing on tigsource once and remember feeling deep sympathy for an artist who had to make a room full of game developers appear distinguishable from one another (not that I can talk really).
I hope Pixel made good off that Nicalis deal at least, I grow fonder of Cave Story every few years as the insular hobbyist termite art aspects of it stand out more in hindsight
and also
kind of delight in the way that all the ports and upgrades that game has had seem to be so stingy, in the sense of “ugh FINE welcome to the deluxe cave story ns remaster. we have added exactly one optional room, which is just a beta version of an existing area”, rather than treating the initial selfcontained game as just a launch point for more endless sludge content. 5 hours are all you need and when you’re done you can play it again.
10 Likes
4 Likes
1 Like
3 Likes
I remember, when at school and buried under classwork when all I wanted to do was put that time into games, periodically looking around at how much it would cost to work with these engineers, artists, and composers and with the creative freedom I had. That time is so valuable it’s a shame to see people waste it when they should get itchy in a few years.
That said, there’s a desperate need for people learning to still make traditional games, games invested in loops, challenge, level design, playtesting. I’ve seen so many missteps when people jump straight into personal expression because they don’t know how to fluently critique the game structures they’re operating against. There’s an enormous pool of knowledge in those edifices.
It’s really disappointing how bright this line is, actually: in indie spaces there’s boundless vital energy but it can be very hard to find the design expertise to really, really dig deep into things. The most basic ‘playtest, first-time experience, reduce complexity’ rubric is almost always the most important thing to talk about. In big studio space, I have real design knowledge to bounce off of and dig into, but I have to fight every time a Sony dadzone game comes out and everyone falls for it.
10 Likes
Wow, what a nice surprise! I’m interested to see how the perspective jumps around
I was double surprised to hear that song, it’s been in my head this week
I think actual creativity and tested expertise are an inherently unstable combination which is why every time they come together in a collaborative medium it’s like magic that you can only hold onto for a brief time
3 Likes
doesn’t look good exactly but it looks like just the right painstakingly realized kind of maybe not good
1 Like