Is it really people who are afraid of money or is it just that the myth of the meritocratic society is so much more and more heavily ingrained in people the further down the socioeconomic ladder they are?
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I appreciate that the bébé népotisme making his dream game actually had good taste for once
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meritocracy for some, but also the related yet distinct notions of “self-sufficiency” and a pride in not accepting help are ideological notions drilled into the heads of the lower orders of society. not to say that those ideas can’t be helpful sometimes but they are also conspicuously conservative in their aggregate effects
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Gonna pretend the person in that reddit screencap who’s bummed to learn the game isn’t the result of some grassroots effort is very young cuz like…man I felt way way way better about myself when I learned that Disco Elysium had a huge budget and dozens of people working on it. Ideally none of us would have to land ourselves a money mark to make our dreams come true but man that’s way more likely to happen than bootstrapping my way to running my own bazillion dollar studio, fuck
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yeah I think Disco Elysium is more egregious an example of people talking about a AA game made by the writer of estonian Garden State like its a scrappy indie project
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I agree generally but do think there’s a bit of conflation going on here between “patronage” and “only rich kids are doing this”. It’s not just that funding requires sucking up it’s that these movies(games) are directed/written/starred in exclusively by wealthy buddies too. At a certain point I think it’s fair to be annoyed that midbudget equates to, like, yeah you can be a grip or you can be not hired at all.
Idk to what degree that’s like, a shift in funding structure vs. increasingly widening gaps/vanishing of the middle class, but, since I was never part of the middle class in the first place, c’est la vie!
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it’s like exactly the same as disco elysium with this game imo. that’s why it annoyed me so much. I just hate it when people are wrong in the same way over and over again. it’s only cute when I do it
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fucked up that you left out the part about it being rumored to be based on kurvitz’ time trying to fuck a high school girl. did the Frenchman who wrote this game do anything like that?? how can he call himself an artiste without such lofty inspirations??
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I thought “being a huge creep” was implied by “garden state”
No I don’t think creeping on teenage girls is one of the transitive properties of making a AA game
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So long as we live in a nonsocialist world, every medium will be dominated by “only rich kids are doing this”
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I feel like there are 3 distinct phenomena here.
- Nepotism. Funder is supporting their family.
- Patronage. Funder gets paid back in intangibles like prestige.
- Recklessness. Funder actually hopes to profit, for some reason
In all cases, someone is throwing their money at art and probably ending up with abysmal ROI. But the underlying motivations are quite different, and so is the decision-making process (or the lack of it).
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no arguing there but some of these posts were “people aren’t comfortable cozying up to rich people to get stuff made” and im saying generally even thats not the option.
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yeah as an also artist-kind-of-person myself it’s much better to dispense with the myth that Just Being Amazing will get you everywhere in life. IRL it also takes money
da vinci had patrons, michelangelo had patrons, etc
to @Myspace_Mavis point i’m only bitter insofar as this is only an option for some Artistic Elect or previously crowned Auteur Babies (e.g. Berklee kids) and/or people from countries with a money guy and no scene where it’s much easier to be the baby bird with the biggest beak (possibly the case with Disco and with Clair Obscur).
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I would say it’s not so much about literally being in a position to receive money / support / comfort that you are declining – obviously life doesn’t work quite like that – but rather, exoticizing any exchange along those lines when it actually has a lot of explanatory power for a phenomenon that would otherwise be unusefully mystifying and which most people do actually have thirdhand exposure to, one way or another
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it’s definitely giving “ruined world enacting its cargo cult memories of a few people who painted it before the collapse” vibes (I’m up to old lumiere, no idea to what degree that’s literally true yet), thankfully the repetitive nier vibes have receded for me again (it felt most derivative circa the village of the gestrals) now that it’s mostly refocused onto character moments since recruiting monoco.
I like it a lot still! It hits so many of the right beats. loved the little getting over it homage in the optional beach area.
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That’s where I am in the game, too. But tonight I went back and explored a bunch of things I’d skipped, including some surprisingly large optional areas.
What this game has reminded me of most from the beginning is Dreams. The colors, lighting effects, quick movement, motion blur, soft textures, scattered objects, sketchy “ropes,” etc.
I don’t remember the last time I used the dodge function. It’s parry or nothing now. I realize now that I’m not fundamentally against the concept. I just thought I was because of my experience with Sekiro.
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the getting over it homage was cute
the other optional platforming areas are so jank its like that post game platforming dungeon from ffxv but with even sloppier controls. Naturally I couldn’t resist
Based on all the painting themed terminology in the game I’m suspecting that ‘the world was painted’ is literally true though I’m not much farther than you (I’ve defeated the two axons and am about to go do the probably final dungeon of act 2, just spending some time checking out all the optional areas I skipped)
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have you fought grosse tête yet, that optional boss is the parry test of the game (make sure monoco is in the party, the skill he gets from grosse tête is great)
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