In a recent interview with the sacred symbols of Colin Moriarty, former CEO of Sie Worldwide Studios Shuhei Yoshida, he said, “The double market seems to have disappeared.”
This statement is not in itself, but I are struggling with the idea that the double and has disappeared without a trace. Misiear is a word that does not indicate any cause. For example, if you say that someone has disappeared, it has a very different implicated meaning than to say that they were kidnapped or killed. These words indicate the culprit. The disappearance is mysterious. Maybe no one did, who knows?
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Double
But we know what happened to a double market with a. It is not a secret, and Yoshida mentions the cause in the same conversation. The longer version of his statement is: “As big games have increased-India has been growing up and the double market seems to have disappeared.” When they are together, these two causes of references to Yoshida explain the death of a double and.
The problem that bothers medium budget games is the same problem that bothers movies in the middle of the budget. Hollywood usually makes mega-profit blockbusters and low-budget independent films. One end of the spectrum is calculated to address the widest possible audience and play well in international markets (unlike, say, a comedy that is more culturally specific), and the other is not very much but can bring awards or fill in prizes or fill the slot in the release plan .
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Studies often even financing these smaller films from the beginning, and instead come after they are completed and observable. The ideal version of this model has a studio that takes the greatest risk in the film that can make it the greatest reward and the least risk of a movie that can in the worst case a small scale failure.
Video games are not so different and logical management of live games and the titles of mega-profit signals are the same. To spend a big but to get a game like Fortnite, which summarizes every year in huge piles of money, or the game as the last of us, part 2, which sells a ton of copies and wins a lot of awards with remaster that follow in the coming years.
In the case of Indies, holders of the platform benefit, but the creators do all the risk. For example, it is great to have a Cuphead platform on its platform, but its developers were those who have given a game that could have, equally easily, come and leave without any attention. A party that can afford the greatest risk (a huge publisher) interpreted a risk to parties that can afford the least (ordinary people are trying to do a game).
Risking big, earning a big
With this dynamics in the game it is easy to see the double-a ax. If publishers can spend most of their resources on live games or expensive single -player experiences and gain a large, long -term return on investment, why wouldn't they do it? And if they can only get completed independent games to publish, why would they invest in the development of more expensive two-A games? Great risk of great success, small risk of little failure. It sounds good.
As a result, many double developers, such as Hi-Fi creator Rush Tango GameWorks and Gravity Rush Creator Japan Studio (although Tango was fortunately revived). They do not satisfy the need for shareholders to always rise, and are not so cheap to create, say, bastro or between us.
Last year, however, he provided several case studies about why it was (and has always been) a long -term strategy. PlayStation spent a lot of money and a better part of the decade on Concord. The living shooter service failed as hard as the game ever failed and two weeks later was removed from existence.
Meanwhile, there was Astro Bot, one of the few double games that have emerged from Sony, a huge critical success, sold 1.5 million units in two months and won the Game of the Awards and several other high profile events. A relatively small investment by Sony, which still enjoyed all the kinds of success that the game can enjoy.
During the discussion about this problem my colleague James Kushton pointed out that the remasters took the place that once occupied double-a games, and I think it is 100 percent correct.
Astro Bot emphasizes that it has always been a mistake to let twice the game die of vines. Since triple and development budgets and developmental cycles continue to swell, they are for publishers who need games, and players who need games are decisive smaller games like Astro Bot. Massive games like The Elder Scrolls 6 and GTA 6 can take ten years, but the gap can fill in double games. And indeed, isn't it most important for the health of the game industry … that there are games?
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Why do we get Gravity Rush on Earth?
I'm not sure who it was, but I would like to have a word with them.
