How hard is it for them to realize this? Graphics are a nice to have, they’re great, but they do not hold up an entire game. Star wars outlaws looked great, but the story was boring. If they took just a fraction of the money they spent on realism to give to writers and then let the writers do their job freely without getting in their way they could make some truly great games.
I don’t think any amount of money could’ve saved the writing for Outlaws. People should not expect great writing from studios like Ubisoft. Not to say that Ubisoft doesn’t have great talent, but it’s a “too many cooks” situation there.
Look, I’m gonna be real with you, the pool of writers who are exceptionally good at specifically writing for games is really damn small.
Everyone is trained on novels and movies, and so many games try to hamfist in a three-act arc because they haven’t figured out that this is an entirely different medium and needs its own set of rules for how art plays out.
Traditional filmmaking ideas includes stuff like the direction a character is moving on the screen impacting what the scene “means.” Stuff like that is basically impossible to cultivate in, say, a first or third-person game where you can’t be sure what direction characters will be seen moving. Thus, games need their own narrative rules.
I think the first person to really crack those rules was Yoko Taro, that guy knows how to write for a game specifically.
Yoko Taro is also a pretty cool dude. I dig his dedication to living life as he wants in a society/species that strongly pushes conformity.
For anyone not in the know, he doesn’t like being photographed or videoed, so he wears a big freaky smile mask for interviews. I also learned he has a leprechaun mask.
It’s hard for them to realize because good graphics used to effectively sell lots of copies of games. If they spent their graphics budget on writers, they’d have spent way too much on writing.
Yep, it’s a byproduct of the “bit wars” in the gaming culture of the '80s and '90s where each successive console generation had much more of a visual grqphical upgrade without sacrificing too much in other technical aspects like framerate/performance. Nowadays if you want that kind of upgrade you’re better off making a big investment in a beefy gaming rig because consoles have a realistic price point to consider, and even then we’re getting to a point of diminishing returns when it comes to the real noticeable graphical differences. Even back in the '80s/'90s the most powerful consoles of the time (such as the Neo Geo) were prohibitively expensive for most people. Either way, the most lauded games of the past few years have been the ones that put the biggest focus on aspects like engaging gameplay and/or immersive story and setting. One of the strongest candidates for this year’s Game of the Year could probably run on a potato and was basically poker with some interesting twists: essentially the opposite of a big studio AAA game. Baldur’s Gate 3 showed studios that gamers are looking for an actual complete game for their $60, and indie hits such as the aforementioned Balatro are showing then that you can make games look and play great without all the super realistic graphics or immense budget if you have that solid gameplay, story/setting and art style. Call of Duty Black Ops 48393 with the only real “innovation” being more realistic sun glare on your rifle is just asking for failure.
Baldur’s Gate 3 showed studios that gamers are looking for an actual complete game for their $60
This language always misses me. Every game I buy is complete. Adding an expansion to it later doesn’t make it less complete, and it’s not like BG3 wasn’t without major bugs.
I think we landed in a situation where some people don’t understand the different between graphical style and graphical quality. You can have high quality graphics that are still very simplistic. The important part is that they serve their purpose for the title you’re making. Obviously some games benefit from more realistic graphics, like TLoU Part 2 depicted in the thumbnail & briefly mentioned. The graphics help convey a lot of what the game tries to tell you. You can see the brutality of the world they are forced to live in through the realistic depiction of gore. But you can also see the raw emotion, the trauma on the character’s faces, which tells you how the reality of this world truly looks like. But there’s plenty of games with VERY simplistic graphic styles that are still high quality. CrossCode was one of the surprise hits for me a couple years ago and became one of my favorite RPGs, probably only topped by the old SNES title Terranigma. They both have simple yet beautiful graphics that serve them just as well as the realistic graphics of TLoU. Especially the suits / publishers will make this mistake since they are very detached from the actual gaming community and just look at numbers instead, getting trapped in various fallacies and then wonder why things don’t go as well as they calculated.
Sure you can, just do like “reviewers/players gush about ‘riveting plot’ and ‘characters that feel real’ and ‘a truly compelling story’” or whatever it is.
How hard is it for them to realize this? Graphics are a nice to have, they’re great, but they do not hold up an entire game. Star wars outlaws looked great, but the story was boring. If they took just a fraction of the money they spent on realism to give to writers and then let the writers do their job freely without getting in their way they could make some truly great games.
I don’t think any amount of money could’ve saved the writing for Outlaws. People should not expect great writing from studios like Ubisoft. Not to say that Ubisoft doesn’t have great talent, but it’s a “too many cooks” situation there.
Look, I’m gonna be real with you, the pool of writers who are exceptionally good at specifically writing for games is really damn small.
Everyone is trained on novels and movies, and so many games try to hamfist in a three-act arc because they haven’t figured out that this is an entirely different medium and needs its own set of rules for how art plays out.
Traditional filmmaking ideas includes stuff like the direction a character is moving on the screen impacting what the scene “means.” Stuff like that is basically impossible to cultivate in, say, a first or third-person game where you can’t be sure what direction characters will be seen moving. Thus, games need their own narrative rules.
I think the first person to really crack those rules was Yoko Taro, that guy knows how to write for a game specifically.
Yoko Taro is also a pretty cool dude. I dig his dedication to living life as he wants in a society/species that strongly pushes conformity.
For anyone not in the know, he doesn’t like being photographed or videoed, so he wears a big freaky smile mask for interviews. I also learned he has a leprechaun mask.
It’s hard for them to realize because good graphics used to effectively sell lots of copies of games. If they spent their graphics budget on writers, they’d have spent way too much on writing.
Yep, it’s a byproduct of the “bit wars” in the gaming culture of the '80s and '90s where each successive console generation had much more of a visual grqphical upgrade without sacrificing too much in other technical aspects like framerate/performance. Nowadays if you want that kind of upgrade you’re better off making a big investment in a beefy gaming rig because consoles have a realistic price point to consider, and even then we’re getting to a point of diminishing returns when it comes to the real noticeable graphical differences. Even back in the '80s/'90s the most powerful consoles of the time (such as the Neo Geo) were prohibitively expensive for most people. Either way, the most lauded games of the past few years have been the ones that put the biggest focus on aspects like engaging gameplay and/or immersive story and setting. One of the strongest candidates for this year’s Game of the Year could probably run on a potato and was basically poker with some interesting twists: essentially the opposite of a big studio AAA game. Baldur’s Gate 3 showed studios that gamers are looking for an actual complete game for their $60, and indie hits such as the aforementioned Balatro are showing then that you can make games look and play great without all the super realistic graphics or immense budget if you have that solid gameplay, story/setting and art style. Call of Duty Black Ops 48393 with the only real “innovation” being more realistic sun glare on your rifle is just asking for failure.
This language always misses me. Every game I buy is complete. Adding an expansion to it later doesn’t make it less complete, and it’s not like BG3 wasn’t without major bugs.
I think we landed in a situation where some people don’t understand the different between graphical style and graphical quality. You can have high quality graphics that are still very simplistic. The important part is that they serve their purpose for the title you’re making. Obviously some games benefit from more realistic graphics, like TLoU Part 2 depicted in the thumbnail & briefly mentioned. The graphics help convey a lot of what the game tries to tell you. You can see the brutality of the world they are forced to live in through the realistic depiction of gore. But you can also see the raw emotion, the trauma on the character’s faces, which tells you how the reality of this world truly looks like. But there’s plenty of games with VERY simplistic graphic styles that are still high quality. CrossCode was one of the surprise hits for me a couple years ago and became one of my favorite RPGs, probably only topped by the old SNES title Terranigma. They both have simple yet beautiful graphics that serve them just as well as the realistic graphics of TLoU. Especially the suits / publishers will make this mistake since they are very detached from the actual gaming community and just look at numbers instead, getting trapped in various fallacies and then wonder why things don’t go as well as they calculated.
Yeah, but you can’t make a TV ad about good writing.
Sure you can, just do like “reviewers/players gush about ‘riveting plot’ and ‘characters that feel real’ and ‘a truly compelling story’” or whatever it is.