Xalavier Nelson Jr talked about this a few times over on Remap Radio.
Strange Scaffold (and many other indie studios) are literally doing what people are asking for. They are making “complete” games with no early access period and no DLC with shockingly high production values for the budget. And people are ignoring them until there is a massive sale AND still going full culture war over the stupidest of shit*. Which means it is increasingly difficult for them to secure any kind of funding even though they have an incredibly solid track record for both development and sales.
And… that is the sad reality. It has been true for decades at this point but it feels increasingly more true now. Games can’t just release “done” because people will forget they exist by the time they are willing to buy them. Look at your steam wishlist and (please don’t actually) tell me if you even remember what all of those are. Instead, people see that Caves of Qud is finally going to hit 1.0 or that Pathfinder 2 has a new DLC or that Fortnite has fucking Goku and that simultaneously reminds them that game exists AND has “new content” so that they can feel justified in being a “patient gamer”.
I can’t speak to this PoP. I know that it is a games media darling and is INCREDIBLY well done but I also tend to not want to give ubi money until yves is gone due to his role in enabling and protecting sexual misconduct which continues to this day. But it is a solid reminder of why so many major publishers refuse to do anything that is not a major franchise (and apparently Prince of Persia no longer is) or has high enough production values that it bypasses the “I’ll wait for a sale” mindset.
So… Yeah, as consumers it is not our job or responsibility to protect the people trying to sell us shit. But, if you can afford it, consider buying fewer games overall but prioritizing newer ones that actively do things you think are awesome. From a selfish standpoint, you are more likely to actually play it rather than one of the five games you got for a dollar in a fanatical bundle. But it also REALLY helps those studios to be able to report solid first quarter (or even day one) sales and many games are already launching in the 20-30 USD range anyway.
Like, I don’t know if “really well done metroidvania” is a particularly solid reason. But there is a reason all of us squad tactics sickos went crazy buying nu-xcom and the like back in the day. Because we had gone from such a lack of games that even frigging UFO: Afterlight was worth playing (it isn’t. But Aftermath or whatever the first one in that series is is the best SG-1 game ever made) to suddenly having options. And, a decade later, we have enough options that… paradox fucking murdered HBS because they weren’t pulling projected nu-xcom numbers.
*: Paraphrasing since it has been the better part of a year, but Xalavier was joking that he caught so much hell for basically parroting Swen’s stance that Larian’s BG3 was atypical and can’t be reproduced. Yet people ignored all his VERY leftist takes on economics and social justice. Although, I assume that has shifted if he is still on twitter.
They are making “complete” games with no early access period and no DLC with shockingly high production values for the budget. And people are ignoring them until there is a massive sale
I can think of several other variables that may be necessary for success that aren’t being tested in that statement. Like, is it a setting that resonates with people? Yes, I want more Max Payne, but not so much with vampires in it. Then when you find a game that gets acclaim and the audience is there for it, this is a good time to sequel that game, because now there’s brand recognition on the game people like, and they’ll be more willing to spend full price on a game where they’re confident in what they’re getting.
I don’t know the guy, but all of that sounds reasonable to me.
BG3 can be replicated, if you have a massive dormant IP that is part of a furiously resurgent franchise and have several hundred million dollars to burn in a years-long development cycle by a studio that has already done pretty much the exact same thing without a license successfully twice.
I wouldn’t model my business on aligning that set of circumstances, but I sure am glad Larian did.
To be clear, there’s a bunch of other AAA stuff that is also doing quite well with pretty clean, finished games. But for midsize stuff like PoP… woof, yeah, it’s so hard to break through.
And you’re right, it’s a miserable set of incentives that if you launch broken you kinda have a built-in marketing hit because suddenly you’re doing live support and adding features. No Man’s Sky was a fun one for that. Cyberpunk. But those games did great at launch, so they had the built-in base to keep growing while they fixed the game. PoP launched pretty clean, was small and nobody cared, so it’s no wonder Ubi has decided it can make those super talented devs do stuff on the next massive AssCreed or whatever is left of Beyond Good and Evil 2 or The Division or whatever.
Xalavier Nelson Jr talked about this a few times over on Remap Radio.
Strange Scaffold (and many other indie studios) are literally doing what people are asking for. They are making “complete” games with no early access period and no DLC with shockingly high production values for the budget. And people are ignoring them until there is a massive sale AND still going full culture war over the stupidest of shit*. Which means it is increasingly difficult for them to secure any kind of funding even though they have an incredibly solid track record for both development and sales.
And… that is the sad reality. It has been true for decades at this point but it feels increasingly more true now. Games can’t just release “done” because people will forget they exist by the time they are willing to buy them. Look at your steam wishlist and (please don’t actually) tell me if you even remember what all of those are. Instead, people see that Caves of Qud is finally going to hit 1.0 or that Pathfinder 2 has a new DLC or that Fortnite has fucking Goku and that simultaneously reminds them that game exists AND has “new content” so that they can feel justified in being a “patient gamer”.
I can’t speak to this PoP. I know that it is a games media darling and is INCREDIBLY well done but I also tend to not want to give ubi money until yves is gone due to his role in enabling and protecting sexual misconduct which continues to this day. But it is a solid reminder of why so many major publishers refuse to do anything that is not a major franchise (and apparently Prince of Persia no longer is) or has high enough production values that it bypasses the “I’ll wait for a sale” mindset.
So… Yeah, as consumers it is not our job or responsibility to protect the people trying to sell us shit. But, if you can afford it, consider buying fewer games overall but prioritizing newer ones that actively do things you think are awesome. From a selfish standpoint, you are more likely to actually play it rather than one of the five games you got for a dollar in a fanatical bundle. But it also REALLY helps those studios to be able to report solid first quarter (or even day one) sales and many games are already launching in the 20-30 USD range anyway.
Like, I don’t know if “really well done metroidvania” is a particularly solid reason. But there is a reason all of us squad tactics sickos went crazy buying nu-xcom and the like back in the day. Because we had gone from such a lack of games that even frigging UFO: Afterlight was worth playing (it isn’t. But Aftermath or whatever the first one in that series is is the best SG-1 game ever made) to suddenly having options. And, a decade later, we have enough options that… paradox fucking murdered HBS because they weren’t pulling projected nu-xcom numbers.
*: Paraphrasing since it has been the better part of a year, but Xalavier was joking that he caught so much hell for basically parroting Swen’s stance that Larian’s BG3 was atypical and can’t be reproduced. Yet people ignored all his VERY leftist takes on economics and social justice. Although, I assume that has shifted if he is still on twitter.
I can think of several other variables that may be necessary for success that aren’t being tested in that statement. Like, is it a setting that resonates with people? Yes, I want more Max Payne, but not so much with vampires in it. Then when you find a game that gets acclaim and the audience is there for it, this is a good time to sequel that game, because now there’s brand recognition on the game people like, and they’ll be more willing to spend full price on a game where they’re confident in what they’re getting.
I don’t know the guy, but all of that sounds reasonable to me.
BG3 can be replicated, if you have a massive dormant IP that is part of a furiously resurgent franchise and have several hundred million dollars to burn in a years-long development cycle by a studio that has already done pretty much the exact same thing without a license successfully twice.
I wouldn’t model my business on aligning that set of circumstances, but I sure am glad Larian did.
To be clear, there’s a bunch of other AAA stuff that is also doing quite well with pretty clean, finished games. But for midsize stuff like PoP… woof, yeah, it’s so hard to break through.
And you’re right, it’s a miserable set of incentives that if you launch broken you kinda have a built-in marketing hit because suddenly you’re doing live support and adding features. No Man’s Sky was a fun one for that. Cyberpunk. But those games did great at launch, so they had the built-in base to keep growing while they fixed the game. PoP launched pretty clean, was small and nobody cared, so it’s no wonder Ubi has decided it can make those super talented devs do stuff on the next massive AssCreed or whatever is left of Beyond Good and Evil 2 or The Division or whatever.