It's pretty tough getting a game funded right now.
See Clair Obscur. They got funding from the State of France and the French National Centre for Cinema, and the game is 100x better than the slop the big studios publish.
Same reason why Ubisoft isn't just making another Balatro. Industrializing culture isn't (yet?) a solved problem.
[0] https://en.wikipedia.org/wiki/Electronic_Arts#EA_Originals
But, of course, making games is hard, and sometimes they fail. And now the free tools are getting really good, and smaller studios are becoming increasingly competent. Will we soon see the big ones fall? Their only way to survive is to keep going bigger, escaping the smaller studios to a place they can't reach. Now we have AAAA games. But is there a limit where players stop caring how many As a game has?
The Beatles did only take a few days to knock out each of their earliest LPs. However, per Wikipedia, "the group spent 700 hours on [Sgt. Pepper's Lonely Hearts Club Band]. The final cost [...] was approximately £25,000 (equivalent to £573,000 in 2023)."
So, actually, envelope-pushing cultural landmarks typically do require a lot of effort and money to complete.
Someone’s never heard of the American music industry
Enter: parasitic storytelling https://www.youtube.com/watch?v=gFxu3Q71NvE
Having said that, RtMI feels like Ron Gilbert telling me to go away and do something else with my life. The world is falling apart, the game characters don't care, the ending itself gives up on you and, in case you didn't get it, there's a letter afterwards from Ron Gilbert himself telling you that, if you try to recapture the past, "you'll sort of get what [you] want but it won't be what [you] expected".
As far as I'm concerned, I would have preferred it if he hadn't made the game at all.
https://mastodon.gamedev.place/@grumpygamer/1156577401223472...
He also blogged the development of tumbleweed park
Maybe you need VA too
I used to be very much into the story in video games, but at a certain point the overwhelming majority have become so generic and dull that I no longer bother. The biggest offenders are the ones who throw an insane amount of exposition at you before you even start playing. I remember one where I was pressing “A” furiously for minutes, with no way to skip, before anything even happened. I eventually quit the game and ended up returning it without experiencing any gameplay.
A great example of how to do this right is CrossCode. It throws you directly into the action and shows you “this is how the game is going to feel” from the get go. Then it pulls back and gives you the story and a tutorial before carrying on. It was super effective on me. Because in the first few minutes I immediately got a taste for what was to come and liked it, I became much more interested and patient in experiencing the story.
And video game writers in particular? Sometimes it feels like just having a Wattpad account could put you in top 50% of them. I've seen AAAs where saying the writing was "fanfic tier" would be an insult to fanfics. Like they either hire the cheapest people they can get, or give the job to someone like an executive's daughter with big ideas and no ability to execute on them.
A good writer knows the power of "show don't tell", and knows the value of keeping the audience hungry and wanting for more.
I've been watching season 5 of Stranger Things. It has a budget of approximately 1 gazillion dollars. The writing is utterly basic predictable, boring, cliché, it's either a marvel-tier quip or a hollywood trope. Most Netflix shovelware isn't better than this.
So I don't think it's unique to video games :)
E.g. an action movie is designed around its stunts and then the plot is stitched together to support them. And series that are made one episode at a time can suffer from serious plot drift when they aren't planned ahead properly, or when executives can't decide whether they're going to have one more season or not.
They even highlight and play with it themselves in the show, introducing the big bad via the D&D table in the first episode of each season, referencing the films they're doing, sometimes including the same actors from the films they're riffing off (Sean Astin as Bob, Robert Englund as Victor Creel).
Season 1 : Aliens/ET
Season 2 : Goonies, The Exorcist
Season 3 : Invasion of the Body Snatchers, The Blob
Season 4 : Nightmare on Elm Street, Hellraiser
Season 5 : So far we've seen Home Alone, Lost boys, Terminator
Saying it's predictable and cliched is just saying they've done their job well! And missing one of the main points of the TV show. My friend was almost giddy that they'd used Technicolor in the Holly/Max world.
The long talking-in-circles conversations, especially.
That’s in addition to repeating everything several times, which is just a Netflix bad-on-purpose thing to account for people who aren’t paying much attention.
I guess this depends on the genre. For point&click adventure games and visual novels, the situation that game dialogs are predictable and boring occurs much more rarely.
Game writers need to learn about character development.
I never care about 99% of characters in video games. Characters need history that they don’t necessarily let up easily, deep seated fears that they don’t want to tell you, and subtle wants that they may be embarrassed to admit. Sure you’re still hacking and slashing but you’re also thinking “hey I wonder how this is going to affect so and so?”
It's even more common among playtesters. Ever noticed how some games seem to go out of their way to avoid any subtlety and repeat the major plot points at least 4 times? Or give way too many hints for the easiest of puzzles? One of the causes is that a game was playtested within an inch of its life.
Someone ended up optimizing for the kind of player who doesn't care much, because the playtesters didn't care much - they were only there for a paycheck.
But I've also seen a couple of streamers that can just scan entire pages into their mind in a second and click through text while retaining all the information.
I thought myself a quick reader, but even I was in a disbelief seeing someone read this quick on the first playthrough.
It reminds me of one of the things I consider a secret programmer skill, which is the ability to watch logs streaming by at a fairly fast pace and still stand a reasonable chance of picking out the one log message that stands out and means something. This also depends on the fact the logs are highly patterned.
Perhaps more generously: reading the same story one or a few times carries more impact than reading it 300 times in quick succession. Especially when your goal that day isn't to find out what Atton Rand learned in his time fighting in the Mandalorian Wars; it's to walk to the right immediately after he finishes talking to confirm whether you can still fall through the deck-plating and into space there.
I usually start a game intending to fully immerse myself in it, but the story part of the game usually doesn’t click with me. I’m playing Ghost of Yotei right now and it’s a perfect example of that. Super fun game, boring story.
[1] https://vndev.wiki/Autoplay [2] https://vndev.wiki/History
When audio dialogue was released I played it again and I couldn't stand the slower pace. It'd have probably taken 150h to finish the game again like that. So I switched to another language that was text only. (Btw, having a hotkey to switch between languages on the fly is AMAZING design).
All I'm saying is I'm agreeing with GP, going fast didn't mean I didn't care, quite the opposite as going faster meant I could explore more options.
Then I read the article :)
Vampire Survivors was designed by a guy whose job was coding slot machines.
This seems spectacularly obvious. No retrospect required.
For all the bad news percolating in the world at the moment these are some of the good notes I choose to dwell on.
I wish Ron Gilbert well in contributing to this epsilon in the gaming world.
I think the headline, and to some extend the article is wildly misleading. Ron Gilbert have never limited himself to Adventure games. After he left LucasArts, he made educational games and was a producer for Total Annihilation. He also made Death Spank and The Cave.
I like to say Disco Elysium is one of my top five books I've ever read.
This is very amusing to me. Gilbert must be quite rich [0], yet there is a very large difference between his wealth and the wealth of a billionaire. In fact, the wealth inequality between himself and Bezos, for example, is waaay higher than between a poor person and himself. Perhaps why he identifies more with the latter. But where is the more important disparity? It's between a poor person and himself.
He seems to feel like he is not rich. Or does he want to be eaten? Everyone but 1 person can complain about the richer people. But at the end of the day, low absolute wealth and not the degree of difference is what matters.
[0] - There is not public information on his personal wealth but he was a titan in the industry for 40 years and founded a company that sold for $76M. From that deal salary, royalties and with a moderate amount of interest, he's probably easily at $10-30M. That, or perhaps he's terrible with money.
On top of that, billionaires who take over media companies and lobby politicians have much more power than a millionaire like Ron. Their ability to make things worse is on a completely different level.