Yeah they do but I don’t know if they did when they developed W3
Again, I feel like this happened after Witcher 3 but it’s not unusual for European countries to subsidize film, videogames and art of all sorts. Something unheard of in the US as far as I know
Apparently they created GOG in 2008, so yes they did own it during W3’s development
Created it? I always thought they bought it at some point… Curious!
Wait, does this mean that CDProjekt are responsible for the whole GG baiting shit that GOG did earlier this week?
Because uhhhhhh well shit, that makes playing Witcher more… difficult.
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They do but it’s state-based and usually tax beaks. Famously 38 Studios got $75 million from Rhode Island to make fucking Kingdoms of Amalur
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All of the above and also their per-person costs are something like 60% of an American studio. Earlier that would wash out because they were 60% as good, but now they’re obviously world- class. Witcher 3 is an indisputable unicorn of production.
Similarly, through tax breaks and overseas studios, Ubisoft has lower per-person costs than a standard American studio, allowing them to ship more and bigger worlds than anyone. They pay for it in their lower-quality models and loosey-goosey gameplay, though.
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I was off of work for most of three weeks and I still didn’t beat Witcher 3’s main campaign. I just kept following little rabbit-trails of distraction. It’s completely ridiculous.
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the alternate progression route you have to take to unlock the wall jump in dead cells is terrible – like, that boss is such a slog, and the likelihood of getting to him with good enough equipment to win is so random that it makes me wonder how the rest of the game is so well designed if they’d let this through. I had a considerably easier time clearing the game on the more straightforward path and I can’t imagine ever wanting to play these levels again.
and yeah, the answer to “how is Witcher that big” is Polish labour costs – I think they’re one of very few studios making games with typical AAA production values who don’t have to outsource a lot of the modelling, and I think that’s a significant factor in keeping the tone consistent and interesting.
Also probably how a not-that-huge project like Observer can be worth playing for the environments alone
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i don’t know who that is, so… i guess not?
They issued an apology and pulled the ad, I read. Possibly the game itself? I don’t really use GOG so I haven’t been following closely.
Tempest 4000 (PS4): The overabundance of effects constantly cluttering the screen is bad enough, but slippery/imprecise controls in a game of this nature will never not be a dealbreaker.
verdict: two farm animals out of five- sorry, Jeff, and better luck next time.
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Needed to ship with a dial, huh?
I wish Minter’d get over this but he never will
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I’ve not played T4K but if it’s like TxK, it’s nowhere near the level of fucking Space Giraffe
why is the multicolored face of J Allard staring at me in this Tempest ripoff
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my first thought at the mention of minter’s multicoloured bullshit is also that looming face in space giraffe. but i didn’t say anything because i couldn’t remember the loomer’s name
three weeks would be fast for me to beat, like, a platformer from 1992
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Space Giraffe was so much fun. I will enjoy T4K whenever I get to it, but I still haven’t even gotten to Polybius yet.
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I’m almost entirely certain that the name of the first stage in Space Giraffe is “The Eyes of Allard”