The News Grandmaster 4000


The original Diablo is up on GOG, with Warcraft and Warcraft II soon to follow.

I only ever played the Playstation version, so I guess this is good? Except maybe the GOG angle of late.


Q: Why are there two versions of the game?
A: Diablo is available in its original, unchanged version as well as a GOG-enhanced version.

Q: What is different between the and GOG-enhanced versions of the game?
A: The original version of the game is completely unchanged and allows players to connect to one another through Blizzard’s online-gaming service.

The GOG-enhanced version offers several quality of life additions, including minor audio fixes, up-scaling support for resolution and refresh rate control, and compatibility fixes. Please note that this version cannot connect to and only supports multiplayer via LAN and P2P connection.

Q: Will Diablo be available on the Blizzard App?
A: No, Diablo will not be available for sale or download through the App.

Q: Is Diablo: Hellfire supported/coming to GOG.COM?
A: We have no plans to bring Diablo: Hellfire to GOG.COM at this time.

Q: Is Diablo II coming to GOG.COM?
A: Diablo II and Diablo II: Lord of Destruction are currently available for purchase digitally on the Shop. We have no additional announcements at this time.

Q: Are other classic Blizzard games coming to GOG.COM?
A: Yes! We have announced that we’re partnering with GOG.COM to release Warcraft: Orcs and Humans and Warcraft II . We’ll reveal more information at a later date.


I recently found abandonware downloads of Warcraft 1 and 2 (and downloaded 2 for this dos system I’m making). Good thing I did since I guess they’re no longer abandonware.


Since this graph is going around figure we could give our thoughts.

I mean that streamers/youtubers ever equaled success was iffy. This dork saying that watching equaled millions of sales is obviously way off. Hundreds at best. Which well 500 sales is something from nothing. Not gonna get you notch’s candy room.

The indie success story was a joke from the beginning 10 ye-shoot closer to 15 years ago. Braid and Super Meatboy and Fez and Cave Story (eventually) set this strange expectation that you could be a video game rock star without the help of outside forces. Which was obviously never true.

Did I forget a game up there? If we double that it is still 8 success stories out of how many failures? Or even 16? Then how many of those success stories were made by jerks that already had the money to lose?

Why the hell do I know what flappy bird is?


Mike’s right, like it or not (uh, definitely not) streamers are the most important media source these days and had done a fairly reasonable job surfacing smaller, weirder stuff, helping to compensate for factors like unprofessionalism and being much more bribable than traditional games media.

If they’re collapsing the range of games they play it will likely have huge effects on the number of breakout mid- and indie titles, especially as viewership likewise continues to collapse to top streamers as the format matures.

It’s bad news and the scariest games related thing I’ve seen in a long time.

As Mike notes in the thread (he’s not a bad guy by any means), community building is the only sustainable way to work as an indie company through direct communication tools like Discord. You could never bet on the stochastic nature of the hit machine so you just do the things you can do.


well the past five years have been a steady stream of an implausible number of great titles of which probably half have lost money so uh

honestly I think I probably find the whole idea of streamers too repulsive to process this news as troubling


In the <$5m space that number’s much higher than half


Gods, the thought of trying to eke out a living making games is utterly depressing.


The thing that happens in my brain when I tell people that I’m actively involved in making games as a hobby and they tell me “Oh, you should try to do that as your job” is a very complex set of emotions that I try not to share too much with people who are really just being nice.


My experiences have taught me a lot of things but the most important thing about indie space is play with someone else’s money. Working on hopes of future profits is a way to lose it all; under the threshold of being able to get an advance from a publisher I think it’s best handled as a hobbyist proposition.


(alternately, have a sustained income from previous titles to live on, but that select company includes everyone who could get money and is better off not)


I wince so hard when I meet someone at a game dev meetup or something who tells me they just quit their job and are living on savings or maybe even took out a loan to finance the next two years of their life with plans to launch a Kickstarter in six months.


Oh, the dreams.

This was really bad in Utah, where the dumb scrappy capitalist idealism that is forced into young men from the moment they step out of the womb and into a Mormon meetinghouse tells everyone who watches a YouTube tutorial on Unity that they absolutely have to make a million off their open world story-driven puzzle platformer zeldalike where your choices matter.

Since living in Maryland, a lot of the people I’ve met who quit their dayjobs to go indie have recently left jobs in the game industry, but have used their industry contacts to get them contract work to survive on while they use other industry contacts to try to get actual funding. But I still worry about them.


i personally feel like the indie world really did not benefit from making itself a mirror image of the bigger industry. it’s true: once people figured out that the best route to success was via playing with other people’s/companies’ money, a particular moment of indie game creation ceased to exist. and the possibilities continue to grow narrower.

obviously, not everyone who got into indie games was looking for revolution, economic or otherwise, but i feel like the current state of things is just so out of control, and not in a good or fun way. i just wish someone smarter than me could think of alternative methods of creating sustainable revenue.

i would also never begrudge any creative person for figuring out how game the system and make a living, these are just things i’ve been reflecting on lately, as i think about the past.


Are you thinking of a point where this turned?

Like the golden era of Xbox Indies, or pre-Steam direct distribution, or the flash game scene? I’m still seeing more and better stuff at all budget levels, from student on up, going out through itch and Steam and the like; more and more people are doing this and so doing it without any income.

I mean, I’m older than I was a decade ago, so it’s not as novel and I’m harder to impress, but I think more and better and weirder stuff is out there now than before once I adjust for my localized cynicism.


Aside: the only fun local indie scene I’ve been involved with is in Eugene, Oregon.

Salt Lake City was too full of dipshit twenty-year-olds who all thought their six-months-in-production, ugly-as-shit, barely playable, blatantly derivative projects were a hair’s breadth away from notch-like wealth. No one really wants to connect. They just wanna sell. Win Friends and Influence People, but completely lacking in social graces. Every face a customer.

Baltimore is kinda cool because most people are more adult and have more practical experience. Some really awesome, very friendly people, but because it’s so pro there’s not really any room for hobbyists. People are either genuinely trying to network to advance their careers or tired of talking game dev all fucking day and don’t wanna connect over that.

Eugene was a rad mix of super supportive people who were always up for seeing whatever anyone was working on–hobbyists, students, small indie studios, people working for big tech companies. God, I miss those peeps.


that’s certainly possible. i think, for me, my own view is completely tainted by my own experiences, so i’d localize the “peak” for myself as being somewhere in that 2010-2011 range, right before Xbox Indies was really a thing. and somewhat more specifically, the weird and fun collaborations that were going on between game devs and artists in NYC, and the goal of creating stuff that really redefined what mainstream audiences thought of as “videogames.”

i guess like, this is just me being old, and seeing how stuff that felt new and exciting and was pushing boundaries has just been turned into another way to sell a product. insert Burroughs quote about the money machine, etc.

there is definitely cool stuff being made, for sure, but i guess what i had hoped was for things to go in completely new directions that were divorced from the industry entirely, as much as possible.

and you’re right, there is cool stuff out there, still, and probably more if i looked harder. but mostly, “indie game” reads to me as any other label, like “shooter” or “platformer.” it mostly describes a product.

i know i’m probably being overly cynical, and that isn’t really my aim.

basically, every time i hear about something like the above re: streamers or like, Unity being sold to shitheads, etc. etc., i can’t help but feel like there was an opportunity that was missed to take the field of game design further away from its capitalist roots. there were hints it could have happened, but then we got Braid and Fez.


what makes the japan indie scene so different? it seems like there’s more diversity of genre there, and almost all games get physical releases, which is something even big companies don’t bother with for pc games in the west.

it also feels more like it’s a bunch of people making games because they have ideas for games, rather than as a get-rich-quick scheme (though there are still groups that get console releases and stuff for their games, like platine-dispositif, for example, so there’s still some profit being made in there presumably)


What’s strange in this timeline is that Braid was mid 2008, so like it clearly took awhile to have its effect. Fez was four years later, though. Time compression in memory is weird.


yeah, i could have Googled this before hitting submit, but i like to think of my exaggerations as uh…flourishes.


Oh, I didn’t mean it as anything against your timeline, which seems accurate enough for what it is. It is just very strange how the ripples from the Braid release weren’t felt for awhile, but it did definitely cause a stream of “gonna get rich on my indie game” things to happen.