Xbox 360 and Summer of Arcade are major pillars in bringing indie games into the spotlight around exactly that era. There may have been Darwinia and Ragdoll Kung Fu on Steam at the time, but it was the likes of Braid, Super Meat Boy, Bastion and such that really came up within the XBLA promotions.
What we think of as the rise of indie gaming was when they started getting publishers to promote them. You needed one in order to be listed on XBLA back in the day.
Hundreds of people worked on that game, as many as some AAA games, and yet games like Blue Prince, from a solo developer (or very close to it?) had to compete against that?
Moby Games lists 121 people in the credits for Blue Prince and 416 for Clair Obscur. At some point, the number of people who worked on a game is nearly arbitrary once your publisher enlists a QA contractor or starts localizing to more languages. I don’t think it’s ever been murkier territory to try to classify a game as indie.
Wuthering Waves should not be surprising. It’s a game that’s popular in China. If you’re polling people from all over the world to determine a winner, the one that wins is the most popular game in China.
Clair Obscur is a good game, but I definitely like it far less than everyone else, and if I were god of video game awards, it would have gone to Kingdom Come: Deliverance II this year.
Fatal Fury winning best fighting game was the objectively correct choice when faced against an early access game and several collections.
The Alters losing out to a port of a PS1 game, even a spruced up one, for the strategy category is pretty stupid. The Alters also should have shown up in narrative and performance.
As for reveals, there’s lots to be excited for. My most anticipated game for next year is probably Invincible Vs; I have not seen Ella Mental at where I’m at in the show, and maybe she won’t show up until later seasons, but she looks like a great Storm archetype for that game.
Indie games have to launch on steam or they fail miserably. Seriously though. This is why I roll my eyes at people who claim steam makes it breaks these games.
Those two things aren’t opposed though. Launching on Steam doesn’t guarantee success, but I believe what they’re claiming is that not launching on Steam more or less guarantees its failure.
Does anyone really care about a follow up to two amazing puzzle games? Yes.
What you need to do in that case is be prepared for lots of smaller games to not hit, and then eventually one will that will make up for all the experiments you did along the way. That’s how they and their peers used to operate before they all tripled down on those big hits and stopped making new IPs.
It’s short by JRPG standards, and if you find a deep enough sale, I’d say there’s still a good chance you’ll be into it and it’s worth a try. It’s very JRPG but also very different from others I’ve played at the same time.
Ubisoft generally has an extremely efficient pipeline for producing a lot of games that play extremely similarly.
Starfield was undoubtedly inspired by Interstellar and such, which is extremely my style, but even though it had some ideas here and there, the execution was what bothered me, and that’s why I’d like to see Larian’s take on the same kind of setting.
I’d very much like to see them do a sci-fi setting, like Starfield, but as a turn-based CRPG (with more thought and heart put into it).
Larian’s next game is the teased statue that Keighley tweeted, so they’ll have something to announce tonight. The only thing they said it isn’t is Divinity: Original Sin 3, but it could be a different Divinity RPG, or a looter like the old-school Divinities, or a new Dragon Commander, or a new spin-off entirely. They’re also a multi-project studio now.
Well, you said those were the only AAA devs that weren’t making money printing skinner boxes, and we had plenty of counter examples just this year. Obsidian put out 2 or 3 games this year, depending on how you count, and it wouldn’t be crazy for them to have an announcement for a game coming next year.
Absolutely give those two games a try; they’re high on the TGA’s lists for a reason.
The jury is composed of the review outlets, not the studios. It does have a bias toward larger games, because the outlets reviewing games have an incentive to more reliably cover the games that most of their audience will be interested in, but it’s not because Sony’s voting for themselves to win.
We know HL3 is happening, and if you trust Jeff Grubb (you probably should), we know nothing is happening with Bloodborne right now.
On the other hand, winning an award from this show has a tangible effect on game sales, so it’s nice when a game like Baldur’s Gate 3 can beat the mainstays like The Legend of Zelda and earn that bump for themselves.
I guess that depends on where your cutoff is for AAA, but if you’re including FromSoft, Kingdom Come: Deliverance II just came out this year at a similar level of budget and production value. And I know people have their issues with Unreal, but it really has raised the bar for what a “AA” might be capable of. The likes of Avowed, The Outer Worlds 2, The Alters, Split Fiction, and Clair Obscur: Expedition 33 this year (and games like The Thaumaturge last year) are all what we would have expected out of a AAA game in the not-too-distant past, most of which comes down to scope, where a lot of AAAs are arguably doing too much.
Always a highlight of the show. I hope he never cuts his hair.
Thanks. I know nothing of Warhammer other than the stuff that took inspiration from it.
I played quite a bit of Pocket Tanks, but there’s a huge gulf between that and the public consciousness that came up around indie games in the summers of arcade.