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About mnihil

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  1. Thank you for posting numbers. Nobody ever really transparently talks about revenue and such, and you did, several times in the episode, and, apparently, nobody died. That being said: I am disappointed by the number, and can only hope it lives up to its potential when Act 2 is released, and becomes an "evergreen game".
  2. Ugh. There's just some people in various industries that have their niches, and their niche fanclubs, but are far more important than the credit they're generally given, and Khris Brown seems to be one of those people. She's perfect. The passion, the stories, the abundant love (essentially quitting her full-time position out of love). When she speaks of safety, specifically when using the word "safe" she speaks in a different tone, because it means something to her. People might think I'm the wrong side of sane putting it like this, but this kind of commitment, and what she herself talks about when talking about Tim, is exactly what's needed to create art (versus the bulk of folderol that's labeled as art just because it broadly falls under the category of creative arts; and I am talking universally about media, not games specifically). Honestly, I'll take someone who compares their commitment to art to the urgency of a doctor's work over a world of people who don't. And because it's somewhat pertinent, it just exasperates me if people aren't satisfied with what they got for their money. I worry that the lesson people take from the documentary is that this is what game development is like, not that this is what game development is like at Double Fine.
  3. No. Most likely not. I love Broken Age, but I don't believe Kickstarter is a healthy way to make games. Obviously, Publishing at large seems pretty heinous, but I would rather see the Publishing industry improve than Kickstarter thrive. Kickstarter's just too many people, and people are often stupid. Also, the cost for high-profile game development is too high for the number of backers, and increasing the number of backers simply makes pleasing them a worse impossibility and creates far too much ill will. The DFA experience has been brilliant, because of the documentary, and because I believe I understand what DF was thinking in making this particular product, and not what some consider an "old-school adventure". But, in general, I'd much prefer crowdfunding to be reserved for lower profile projects (that should still manage to receive up to a few millions depending on various factors), and I don't really believe in it as a model for future, bigger budget productions. I genuinely believe some projects suffer from crowdfunding - and I'd rather have no product than a bad one. Broken Sword 5, for instance, just feels like a game that got far too little money; but if the developer misjudged their budget, what are they going to do*? Not delivering means an ignoble end to their career, if it's a high-profile project. Going to a publisher is only marginally better, because it's going to be perceived as a betrayal. It's sort of a vicious cycle, the whole thing. Then there's the obsessive-compulsive thing; I refuse to pay too much upfront on a gamble, which Kickstarters always are (you don't get a say, you don't have reviews or word of mouth to rely on, you don't know if an alien invasion is going to sweep the developer away), but sometimes unique awards are locked behind high pledge tiers, and then I'll never get to see them (i.e. DF Adventure Book, or boxed versions sometimes); whereas retail products rarely work this way. As for "classic adventure games"... I so don't care. Pitch me something interesting and original and I'll see if I want to pledge, but I'm not patron to any genre. Hm. Maybe that's why I'm able to enjoy Broken Age more than some. *There's still a lot to be seen, but I think I would have preferred Broken Age not to be split into two acts, for instance.
  4. Wow, my heart really went out to Camden. It's horrible, you see the toll crunch takes, and for Ray, too, but you've got to be working the right job if you're willing to do it out of such conviction. The episode was amazing, as a viewer you could feel the weight being lifted and things coming together that have been a long time coming. And I might actually be unable to play any game the same again (aside from those that do not feel loved), knowing that people bleed and sweat for them. It's one thing reading about it, but following the journey like this brought the point home. So. Congratulations? Congratulations.
  5. [deleted text] Sorry, I've decided to "close" this thread; moderators may feel free to delete it entirely.
  6. I don't think it is [perfectly acceptable], certainly not just because everybody does it, that's my point. We're so fixated on reviews, in general, with everything (every comment section, ever), but even more reductively, focused on opinions. I guess it's what websites have to do these days. Review something that isn't done, instead of letting the thing sit for a while and do a complete write-up. I don't think, as I said, that it's wrong to write about Act 1. It's simply lacklustre to not point out that it's not actually done (why would a review copy be more polished than the Backer version?), and... yeah, the rating bothers me, mostly. It changes it from an article on the game, which I'd have thought was cool, to a hook to pass judgment - it just happens to be happy judgment. I also associate a review, aka "that thing with a rating", with certain parameters it has to hit (e.g. being comprehensive about the elements of its game instead of talking at length about story), which I dislike in this case. Also, I do NOT think it's acceptable to have to read someone's Twitter account to get the comprehensive picture - I genuinely can't find a page dedicated to the Polygon review policy on the site (which would interest me just for the sake of it). But, I apologize. I do think it's silly - but it's not important. It's a very nice thing that BA gets positive media attention.
  7. Nobody has any business "rating" Broken Age. You can "review" it, write up an opinion, post a piece online, even a professional article, but not review it. Oh, god, how I hate the state of some things... First of all, the reviewer, Justin McElroy, fails to either realize or mention that this is a beta (he does mention bugs, however). Secondly, how can you rate the half of something? Oh, yeah, Romeo and Juliet's a good piece, very beautiful language, and those romantic sonnets, but it feels more like a comedy than a tragedy, really. But I'm excited for Acts IV and V already! Endings matter. Context matters. I know Double Fine have sort of been cornered into releasing something now, but it's not an episode of a season, it's not finished. Stupid article. (Although, well, well-done, I guess, Double Fine, for scoring so high, I wish the game's a success.) EDIT: Didn't Polygon RATE the PS4? Or was that another site? In which case they really should re-evaluate some of their policies, because I usually respect their approach to long-form video game journalism. And their site's pretty.
  8. Regarding your question: I assume it's quite close to the final product. I've finished it, encountered one bug that forced me to restart the game*, noticed some visual glitches, and that's that. Seemed, at the very least, polished enough to not distract from the enjoyment. More of a question for the developers: How set in stone is Act One? Might content, even marginally, actually be changed, or is all of that set in stone? I had a bit of an issue with the occasional dialogue tree where characters seemed to have information that they hadn't been supplied with, yet (e.g. a character's name). Also, I assume so, but are the animations finalized as well (except for bug fixes, again)? *Double Fine, if you're reading this [those not wanting spoilers, do not read this]: Good luck trying to reproduce it (sorry!), but while I was in Shay's bedroom, shortly after unlocking the grate, messing about with the inflatable, the sound (voice and music) was gone and replaced by a rather obnoxious noise on loop; restarting the game did the trick, though.
  9. Greg's talk about longer games diluting the experience did things to me that weren't decent. Unfortunate flipside of that is, of course, that Tim's "there's nothing we can do to make this game feel too or be too long" rubbed me wrong all kinds of ways - said with this sincerity, it's just not true. I prefer "short" games. There's so much content, and probably upwards of 90% of it diluted because there's too much (like every franchise), that there's an intrinsic value to pristine storytelling. I was expecting something between 6 and 10 hours, which I would've been very happy with (although I wouldn't have felt ripped off if it were five short, albeit significant, hours). A 20 hour adventure, for instance, I probably wouldn't have been interested in. So, based on these episodes, Greg seems to be a pretty great producer.
  10. Good lord... Honestly, Dave Gardner seems to be an affable guy, the sidequest's great, the haircut makes him look really handsome, but, and you knew a but was forthcoming, the "like" thing was possibly literally grating on my nerves, or at least it felt that way after a while. Every third word! Prolonged sigh - and I'm better now. A bit.
  11. Oh my god, I never want to be in a position where I have to do message control for a passionate crowd. You know what? That Daedalic guy shouldn't have said anything. That was a dick move. First of all, something's shady if you have such little expenses - just do the math (salary + insurance/health care + taxes + office space + equipment + score/voice acting + QA + localization + ...). Either the numbers lie, someone's not getting paid fairly, or Daedalic are enjoying some of those tax exemptions/relief that Germany is famous for in the movie industry. Either way, it's another CONTINENT. That matters. Heavy Rain cost €16.7m. The Witcher 3 will cost $15m to develop, roughly. Those numbers are not possible in America. Of course the system isn't ideal, yadda yadda, but that's part of a much larger debate that isn't Double Fine's cross to bear and kind of the polar opposite to a strawman argument. The realities of what personnel and office space etc. cost in San Francisco can easily be looked into with some research (before anyone makes the very astute suggestion to move offices: you agreed to fund an adventure by Double Fine, San Francisco, CA). And even then, you'd have to pit the final product, Broken Age, against a Daedalic game, and adjust for a thousand other variables. Dick move, Daedalic. And I'm saying that as someone who's on the record of not being particularly fine with the way things are going.
  12. Yea~h, if we're at the point of conspiracy theories and backers arguing for an hour to get their dollar back (seriously, re-evaluate what your time's worth) we've clearly reached the point where we all should move along.
  13. I've read through a lot of comments regarding this issue, and most in this thread. This is one hell of an exercise in communication. There are people working from the premise that Broken Age has anything to do with DFA/the original Kickstarter proposal. The original budget for Broken Age was $2,232,465, that for the Kickstarter proposal something south of $300,000. So those arguing that you have almost nine times the budget originally hoped for are misinformed at their own fault, or deliberately shutting out information to be up in arms about something. However, working off the $2,232,465 budget, we are entering the realm of objective wrong-doing. According to episode 10, Brutal Legend has made a bit more than $900,000, and the Humble Bundle is said to raked in a similar amount, both of which, allegedly, I'm missing a source though that doesn't mean it isn't out there, have been infused into Broken Age. If that's true, that would basically add up to at least 150%-200% of the original budget (depending on the exact numbers and whether all of that went into BA). Not knowing game development, I don't know if that is cause for concern. Intuitively, I'd say yes, although I wouldn't worry too much at that point. However, with this increased budget, we're looking at a game that has a projected release of 2015 and a plan that had 75% too much content. And this is where tolerance finds its limit. First of all, these numbers were not released by the time the Massive Chalice Kickstarter went up, although they must have been known internally (simply by virtue of the edited, finished episode being up a week later, and the writing on the wall being visible much sooner). The company has most likely omitted this information. Double Fine has multiple development teams. However, it is manipulation by omission. Comments all over the place have proven that some people would not have backed Massive Chalice, had they known the extent of the(!) troubles another project under the same company has. It is anyone's individual call how to judge this behaviour, but to me, it's being rather selectively "clear" with information, I think that has to be acknowledged at least. And I don't think people who backed smaller amounts are necessarily affected here. I have gotten incredible value for what I paid, virtue of the documentary alone (2 Player Productions are truly talented). I think what's happened has already affected the spirit of Kickstarter. This isn't a game made by backer money, this is a game made by backer money, additional purchases, Brutal Legend, Humble Bundle, and now Steam Early Access and whatever else I forgot. The large pool of backers extends a certain amount of trust to the developer to develop a title for the amount pledged - at least that's my perception. I was expecting to kickstart a part of Double Fine. For the company to put out a title that proved that it can be done without publishers. We won't know that know with Broken Age, because we'll never know if a smaller game would've been successful, because Tim Schafer decided to make a bigger game. And the bad thing isn't the bigger game, but the bigger risk. It seems as though Double Fine, by the time Broken Age gets released, has almost sacrificed all rewards anyway, making it more and more unlikely that Broken Age will become the game that makes the company truly independent. Seeing the footage of the game, it's likely they are working on something rather special. But I see another dark side of game development here. Tim is putting increasing pressure and risk on the entire company to get the game he wanted made, instead of the game he could have made. Someone said something along the lines of using the budget they got, not the budget they wanted, and that seemed about right. I understand Greg's disappointment. The game was given different parameters than what they've worked with, and now they are forced to consistently adjust to the degree that it's painful. It's a philosophical issue of sorts. If Broken Age turns out to be a great game, a lot will be forgotten. If Broken Age turns out to be profitable, that'll be even more significant. But right now, damage has been done. Journalists are running (inappropriately) rampant with an uncontrolled message, people are disappointed for all sorts of reasons. It's an incredibly tough situation to be in, and puts the make or break nature of this project for Double Fine front and center. EDIT: Because this post is negative, I feel obligated to say that, regardless, I do wish Double Fine luck and that they make it.
  14. No, you're not. I was actually pretty angry for even the notion of an average of something like seven years between games. But turns out, that wasn't Mr Tornquist's fault, Funcom turns out be a rather mismanaged firm that takes way too long to develop titles. Tornquist was excited about developing The Secret World, which I don't begrudge him. He didn't think it'd take this long, and that Funcom would abandon the TLJ series. The people involved with Red Thread Games seem like good guys (and gal), so even if I was sceptical and cynical, I backed Dreamfall: Chapters. I have issues reconciling Dreamfall with the The Longest Journey universe. I have trouble with a lot of stuff in that game. But there's value and charm in both games, and so I think they deserve this shot. It didn't help, though, that the Kickstarter DID seem terribly mismanaged. First of all, it's absolutely not credible to me to develop a 3d game for 800,000, when 10% go to Kickstarter/Amazon Payments, and another 10-20% to manufacturing, fulfilment and shipping. Then there's the vastly higher pay average and cost of living in Norway, there's licensing costs, voice acting, whatever. And we here know what Double Fine's going through. With 1.5 million, maybe they can do some development magic, but their stretchgoals did not stretch the money, but the credibility. That's my major issue with the Kickstarter. I love the Double Fine Kickstarter still the most, with smart rewards, no stretchgoals, just a "more money, more game" philosophy, not a real campaign, but trust in the fans, and amazing pay-off, even so far. Followed by the Broken Sword system, where you can adjust your pledge post-campaign and add stuff, that's a great system, too. But I don't doubt the character of the people involved with Dreamfall. I don't think there's anything nefarious going on. I do think it seems like a very naive approach, even more surprising considering that Tornquist has been in the industry for 15 or so years. Still, I backed. If it backfires, I'll be far more circumspect with further Kickstarters - collective responsibility and all that.
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