Reddit reviews Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made
We found 37 Reddit comments about Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made. Here are the top ones, ranked by their Reddit score.
The part you quoted is actually copy/pasted from my book, Blood, Sweat, and Pixels, which is where this YouTuber got his information. This paraphrasing is also a bit misleading, because Hennig's team was playing with a lot of ideas, some of which might not have made it into the final game.
If you want the full story of Uncharted 4's development (plus the stories behind nine other games), you should check it out! https://www.amazon.com/Blood-Sweat-Pixels-Triumphant-Turbulent/dp/0062651234/
I imagine you're already aware of it given your interest, but in case you (or others) aren't Jason Schreier's book Blood, Sweat and Pixels has a whole chapter on Destiny's pre- and post-launch troubles. Schreier's the guy who broke the story on Anthem's awkward development just this week.
When you consider that they were forced by their publisher to make DA2 in only 16 freaking months. It is amazing to me that DA2 was even a playable video game, let alone anything resembling a good video game.
Then on top of that, DA:I was created in just 3 years, and Bioware was forced to use Frostbite, even though it had none of the tooling required to make an RPG. Sure if DA:I were going to be an FPS Frostbite would have been cool, but for the entire first year of development Frostbite was basically an unusable mess to everybody but the environment artists and level designers, and even then their work was just an educated guess because the level designers couldn't even playtest their levels, they jsut had to make levels that would probably work given knowlege about the broad strokes about how the game was supposed to wind up.
On top of all that, they were forced to scrap a ton of stuff in DA:I because it was mandeated that the game come out on PS3 and XB360, even though those platforms only wound up consisting of 10% of DA:I's sales.
They didn't even have Iron Bull implemented in the game until 8 months before ship. All of the play testing up until that point was without a fufll party, because the party system had to be developed in Frostbite specifically for that game.
"The biggest differentiator between a studio that creates a really high-quality game and a studio that doesn't isn't the quality of the team" said one person who worked on Destiny. "It's their dev tools. If you can take fifty shots on goal, and you're a pretty shitty hocky player, and I can take only three shots on goal and I'm Wayne Fucking Gretzky, You're probable going to do better. That's what tools are. It's how fast you can iterate, how stable are they, how robust are they, how easy it is as a nontechnical artist to move a thing."
Once again, it is incredible that DA:I resembles anything close to a decent game given the tools and timeline they were made to work with.
Reading Blood, Sweat and Pixels made me want to rip EA's eyes out.
The shit that gamers throw at devs on social media is unwarranted, transparency or none. Developers make games, and sometimes those games are good, sometimes they are bad, and sometimes it is or isn't their fault. Regardless, they still deserve to be treated like human beings.
Transparency is great; I love how Blizzard handles OW (that netcode video with the paper cups was awesome), and I think writing like Jason Schreier's Blood, Sweat, and Pixels are really cool and can help people understand the pressure and challenge of making any game, let alone a good one, but really, a lot of gamers need to grow the fuck up.
If you's havent heard about it, i recommend picking up the book by Kotaku journalist /u/jasonschreier - 'BLOOD, SWEAT AND PIXELS', its available online and has a section all about the origins of Stardew Valley and lots of interesting insight (Such as how Barone learned to fake lighting in his video game due to his lack of knowledge around it)
Yeah... but it's done by the writer of Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made. Each time he posts it's something worth reading, IMHO.
Check out Blood, Sweat and Pixels for a bit of in depth info about the creation of The Witcher 3 and the seriously humble beginnings of CD Projekt. It has several other stories of games being made in a crunch period as well, it's a great read.
There's a whole chapter here about how much trouble DAI went through because of that janky engine.
https://www.amazon.com/Blood-Sweat-Pixels-Triumphant-Turbulent/dp/0062651234
Frostbite is a cancer. I'm hoping Jedi Fallen Order sells like hotcakes so that EA's forced to reckon that (a) single player games are relevant and (b) that non-Frostbite games are easier to develop.
Guys, if you're interested in the making of Destiny, or stories like this in general, i encourage you to read Blood, Sweat, and Pixels. It is really good.
>While today you can develop a great game with descent graphics and story, etc for less than $100. Hell mods that can be the size and quality of real published games with entire campaigns, voice acting,multiplayer modes, etchave been produced costing nothing.
Lies. Especially that last thing.
You're making the mistake of assuming Time =/= Money. Time absolutely equals money.
Those "free" mods, with voice acting and all that, absolutely have a cost. Someone spent hundreds to thousands of hours setting it all up. Sometimes teams. Someone spent dozens to hundreds of hours reading out voices, and someone else made executive decisions on which reading to use. That all of the time was volunteered does not mean it cost nothing. Were it done by a business, every single person there would get a paycheck for their time.
Skyblivion was started in 2013. Assuming 30 hours were spent on it per week on average, between 2014 and 2018 you're looking at 6,240 hours. At $10 an hour (an underpaying rate) you're at $62,400 to make what they've made of it.
Comic Books take roughly 6 months from start to publication (if not more, some have their stories finished and ready to print 6 months ahead of the print date) and if there's only one artist and one writer (usually there's also an inker, sometimes two writers), you're looking at $84,000 a year for the pair. If you only get six months of work out of them, that's still $42,000, signifigantly more than your "few thousand" estimation. And that's before we even get in to printing and distribution costs.
The current average feature length budget for a Hollywood Film is between $70-90 million.
This book gives a figure of $10,000 per person per month to develop a game, meaning a 400 person team given 3 years for an AAA game would need $144,000,000 to make a game.
A 50 person team taking 2 years for a more A level game is going to use up $12,000,000.
And 5 people taking a year to make a little indie game need $600,000 to do it.
I.. uh.. don't see how Gaming is in any way falling behind.
Blood, Sweat and Pixels
Progression systems, squad controls, over-the-shoulder third person, and expansive environments all needed to be adapted to make Frostbite work with Inquisition and Andromeda.
Check out Jason Schreier's Blood, Sweat, and Pixels for some additional information. He has an entire chapter on what the Inquisiton team had to do to adapt Frostbite for Inquisition.
I agree though, my favorite parts of Inquisition and Andromeda are without a doubt the environmental design and the technical prowess behind any type of magical/biotic/tech explosions. Those games at their best look as good as any game I've ever played.
From Blood Sweat and Pixels:
"Every time I worked with Joe [Staten], I said, 'Joe, I'm really out in the dark here on where the story's going - I don't understand what's happening with the story, " [Marty] O'Donnel said. "And he would say that he was frustrated too. And at least what he told me was that he was frustrated with the lack of commitment from Jason. Jason would say, 'Yes this is good,' then a month later say, 'No, we shouldn't do this.' So there was a lot of what looked like indecision coming from Jason."
In the summer of 2013, months after Jones and Staten had hyped up the story of Destiny to press and weeks after [the gameplay trailer released at E3], O'Donnell went to the hospital to get sinus surgery. Just a few days after he got home, catastrophe began.
"I got a sort of panicked email from [Bungie's production director] Jonty Barnes saying, 'Oh my gosh, Joe released this supercut thing, and everybody's up in arms and worried about the story,'" O'Donnell said. "And I was lying on the couch, in a drug haze from recovering, and I was just sort of like, 'You've got to be kidding me. This is horrible.'"
Said "supercut thing" - or, as it was more commonly called, the supercut - was a two hour internal video that was meant to convey Destiny's entire story. To most observers, it was a mess. Staten had compiled and edited the supercut almost entirely on his own, peppering it with incomplete dialogue, half-finished voice acting, and rough animation. People at Bungie, many of whom were already nervous about the state of the game's story, found it impossible to understand.
In the supercut's version of Destiny's story, the player's main goal was to hunt down an artificially intelligent war machine named Rasputin, who had been kidnapped by the swarming, undead alien Hive. On the journey, the playuer would head to Earth, Venus, Mars, the Moon, Staturn, and a mystical temple on Mercury, where an Obi-Wan Kenobi-like wizard named Osiris would offer advice and words of wisdom. Along the way, the player would befriend and team up with characters like "The Crow," a suave alien with pale blue skin and slick hair [Note, the Crow's character model was repurposed to be Uldren].
Opinions varied on this story's quality, but almost everyone outside the writer's room agreed that the supercut itself was a disaster. "Joe's vision probably made tons of sense in his own mind," said Marty O'Donnell. "And Joe was just [thinking], 'Come on, everybody, we've all got to go in the same direction. We've got to star now. Here it is. This isn't perfect but we can fix it . . . ' Instead it backfired completely . . . Just about everybody in the studio thought, 'Oh my gosh, this is going to be a train wreck.'"
Perhaps by putting out the supercut, Joe Staten had hoped to force the studio's hand. Maybe he wanted to make Jason Jones and the rest of Bungie's leadership commit to a suingular vision for Destiny's story and stick to it. One former Bungie employee said Jones had actually requested that Staten make a presentation so they could all assess the state of the story. Few people at Bungie anticipated what would happen next.
Shortly after the supercut circulated, Jason Jones gave the studio a new edict: They needed to reboot the story. It was time to start over. Staten's story was too linear, Jones said, and too similar to Halo. Starting now, Jones told the studio, they were going to rewrite Destiny's story from scratch.
This is quite interesting so I will go ahead and put MAXIMUM EFFORT into it
chapter 1 - ikuto's talent would have gone unnoticed if chiyuki (someone born into the fashion industry) hadn't gone out of her way to hunt him down and then had a moment of self-realization "impossible probably".
chapter 2 - chiyuki's dad (an insider) happens to get a call from a former co-worker and decided to back ikuto who stood up to him for chiyuki's sake.
I have had me mentor pull some strings for me too when I used to work in research and academia...one phone call and I was having lunch with a top government official
chapter 4 - well he is a raw talent born in unfavorable circumstances which isn't unheard of in real life
chapter 5 - not unheard of...people in influential positions use opportunities to further kids all the time
chapter 6 - again, not unheard of...in fact, it is quite common in event management for things to fall in chaos when someone isn't able to come (either travel/overwork/sick)
chapter 7 & 8 - creative work is hard to....predict/control. There are moments when you shut down wondering how you managed to do it before and others where everything falls into it's place like a jigsaw
chapter 9 - not much of a cliffhanger here
chapter 10 - not unheard of...people managing the event and those managing the inventory have an instance of miscommunication. All events are susceptible to failure due to a lot moving parts
chapter 11, 12 - resolutions, no cliffhanger
chapter 13, 14 - MC mentions earlier (chapter 1) that he wanted to give up his dream because of his unfavorable circumstances...we were going to find out the full extend of it sooner or later
chapter 15 - I liked this one a lot...we have to wait a week before we find out the result of ikuto's self-reflection...chiyuki has her moment of self-reflection back in chapter 1.
Up until now, it's been been other people pushing him into it and he is responding to situations. Now he needs to figure out why he wants to be fashion designer. To be one is to design clothes that appeal to the masses, It isn't enough to want to make clothes (for his sisters/mom). He has the talent but it isn't good enough he needs to be obsessed about it to keep at it long enough.
Remember, chiyuki had other agencies willing to take her on or she could have compromised and moved into another profession where she wouldn't denied for being short. She chose her namesake, Mille Neige.
chapter 16 - resolutions, no cliffhanger
chapter 17 - cliffhanger...first one that is not set up well enough but I'd wait for the next chapter to pass judgement on it.
I have no idea about the fashion industry but I have heard people quitting companies in the middle or right before key events in the video game industry for health or creative differences.
>it so often just gets me rolling my eyes and sighing and this little last page dramatic twist cliff-hanger perfectly embodies why
I think you have been quite harsh in your assessment. I found none of the cliffhangers hard to believe/outlandish.
It's not like the MC fell on top of a female while she was in a public bath (every ecchi manga ever) or ran into his girlfriend's (and step-sister) step-sister and saw her underwear.
>At every turn it feels like the author is trying to use every little trick they can find to make things just a little more intense, more dramatic, as dramatic as they possibly can and it just ends up feeling overplayed.
I disagree...I could relate to it esp. working in a high stress environment. I mean sure the manga is structured in a fashion that maximises the impact but all of those things are quite common in industries like fashion, event management, animation, video games, research and academia which subsists on creative work and crunch (over working to meat deadlines that are hard to predict/pin down) is the norm.
If you ever happen to start things from scratch or attempt a startup, you will realize that more often than not find that one little thing or other can lead to near total collapse...it is dramatic by it's nature
You might have a look at some of these:
https://www.amazon.com/Inside-Video-Game-Industry-Developers/dp/0415828287
https://www.amazon.com/Extra-Lives-Video-Games-Matter/dp/0307474313/
https://www.amazon.com/Blood-Sweat-Pixels-Triumphant-Turbulent/dp/0062651234/
https://www.amazon.com/Changing-Game-Transforming-Future-Business-ebook/dp/B001I8QVJC/
https://www.amazon.com/Gamers-Work-Stories-Behind-People/dp/1430233516/
https://www.amazon.com/Innovation-Marketing-Video-Game-Industry-ebook/dp/B01G2BOQGY/
https://www.amazon.com/Total-Engagement-Virtual-Changing-Businesses/dp/142214657X/
You might also be interested in Jason Schreiers article covering Destiny's messy messy development. http://kotaku.com/the-messy-true-story-behind-the-making-of-destiny-1737556731
And also interesting(maybe?): he's going to publish a book covering all of these stories and more later this year, named blood sweat and pixels. https://www.amazon.com/Blood-Sweat-Pixels-Triumphant-Turbulent/dp/0062651234
You should check out Jason Shreiers "Blood, Sweat, and Pixels." Recommended read for anyone interested in development.
Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made https://www.amazon.com/dp/0062651234/ref=cm_sw_r_cp_apa_0m3eAbXMVFBFM
If you want a good example of Bungie's development problems, read the Destiny portion of Jason Schreier's book, Blood, Sweat, & Pixels.
But yea, they seem to be a poorly managed studio. They take way longer than most studios to patch the game. They take months to do small sandbox updates, while letting some problems just go on forever (OEM, seriously wtf?). They have about 600 employees, according to Luke's interview prior to Shadowkeep. That's 2-3 times more than studios like Santa Monica (God of War) or Naughty Dog (TLOU). Sure, they do a 'live service' game.. but come on.
D1's launch was the result of a combination of multiple factors. Including changing trends in the gaming industry and a rocky development. NOT the source, initial cause or root of the trends you are perceiving.
For more on this:
https://www.amazon.com/dp/0062651234/ref=cm_sw_r_sms_awdo_jsBOzbXZTSWFV
Rockstar gets a lot of deserved flack, but according to this book CDPR don't do unpaid overtime like nearly all American studios do.
Buying him computer hardware might be nice, but there's a lot of other ways to give something related to games and game design.
There's always a great big pound of dice. It's full of dice of assorted numbers of sides, and a game designer remotely interested in tabletop (which should be all of them) can use a healthy supply of dice for making tabletop games. There's always the fun of just rolling dice giant handfuls of dice.
I'm out right now but I'll add the link when I get back home.Here's the link: Pound of diceI'd also look into games he hasn't tried. BoardGameGeek has a lot of board games listed and reviewed that you could get, and of course there's always steam. For board games I'd recommend:
There's also a lot of books on game design you can get him. You may have to check to see if he owns some of these already, but I've found them to be great reads that I can recommend to anyone interested in game design.
You should read his book, Blood Sweat and Pixels, it deep dives into a lot of games developments just like in this article (including Dragon Age Inquisition). It’s an absolutely fascinating, if sometimes depressing, read.
https://www.amazon.com/Blood-Sweat-Pixels-Triumphant-Turbulent/dp/0062651234
Blood Sweat and Pixels graver også i crunchkulturen hos en lang række udviklere, nærmest som en sidebemærkning. Men indtrykket er mest af alt at computerspilbranchen bare er en ung, kreativ og passioneret branche med helt sindsyge deadlines, hvor det ikke rigtig bliver godtaget at sige stop. Jeg tror det var en af Naughty Dog udviklerne der sagde at han i en måned ikke så sin familie, boede i sin bil og spiste morgenmad og aftensmad på den samme tankstation. Der var bare en forståelse for, at hvis ting ikke blev leveret til tiden kunne udgiveren dræbe projektet fra dag til dag, og så var alt tabt.
Så troede man at crowdfundingrevolutionen endelig ville gøre en ende på problemet, ved at udviklere kunne tage ting i et lidt roligere tempo uden at være afhængige af "Big Brother" til finansiering. Det var så løgn.
Check out Jason Schreier's Blood Sweat and Pixels
Look at the replies to your post. It really wasn’t funny.
Do some research. Crunch is real, it happens a lot in the industry. I don’t think NetherRealm has denied it either. Here’s a good book that shares a lot of stories about crunch and how damaging it can be:
Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made https://www.amazon.com/dp/0062651234/ref=cm_sw_r_cp_api_i_5nooDbZGYAZP0
Pretty sure the crybabies in this scenario are the people whining they’re not getting their DLC fast enough.
Jason has connections all over the gaming industry. He even wrote a book about a few game developments: https://www.amazon.com.br/Blood-Sweat-Pixels-Triumphant-Turbulent/dp/0062651234
He keeps posting on troubled development stories on Kotaku too (the Anthem and BO4 articles, for example). He earned my trust in regards for info in the game industry.
>"Italy is very similar to Greece in terms of climate and terrain (with some important differences), and classical Roman architecture took a lot of cues from Greek styles (again, with important differenes). Point being, they could re-use - if not the models - a lot of the same textures from Odyssey, cutting down on the amount of work they would have to do.
>
>It fits within the same era. AC games seem to usually run in series based on time period; you had the Ezio trilogy which hearkened back in Revelations to the first game; you had ACIII and Black Flag in similar eras (Edward was Connor's grandfather), and those plus AC:Unity, AC:Rogue, and AC:Syndicate are all within about a hundred and fifty years of each other (from 1715 at the start of IV to 1868 for Syndicate). Since they've been working in the ancient period with Odyssey and Origins, if they're going to do another game set in that era, it would make sense to do it immediately afterwards - and I don't think they're stupid enough to never make an AC game set in the Roman Empire."
I agree with your points. But at the same time, if we look at their situation right now....they surely will want a game that will be playable on old and new gen next year. So Montreal has 3 years to release it, right?
They surely will not want a brand new era/assets in a game that will have to release in both systems. In that case, they needed something that could use what they have in Origins/Odyssey. Of course, this would give points to Rome, which was something that even I was believing some time ago.
But then, Jason reports puts a wrench into the situation. And when you think about it...Vikings can fit very well (conquests battles, naval system, mercenaries, huge natural landscapes, etc) and also show a more medieval vibe after the 1 year gap, helping to fight series´s fatigue
And yes, I agree that the Roman EMpire would be fantastic. I was believing on AC: Legion a few months ago (at least we got the tittle in another franchise). Is it trully gone? Now that is another question. It would not be impossible to happen after Vikings. We had Odyssey and Black Flag happen right after 3 and Origins, so it would not be that weird for a prequel after a sequel.
The schedule is interesting if they do follow the current formula:
2013 - Black Flag (Montreal)
2015 - SYndicate (Quebec)
2017 - Origins (Montreal) - 4 years of development
2018 - Odyssey (Quebec) - 3 years of development
2020 - Kingdom (Montreal) - 3 years of development
202? - ??? (Quebec) - ? years of development
Will they skip 2021 and then have 4 years for their next gen title? Or only after 2021 will they skip a year and then having their first new era? That is up in the air for now. I think Ubi would give a lot of time for their next gen title and really nail it.
It’s a shame that’s what you think.
I’d recommend you read this book. May help you understand what goes into and how games are made. 80 hour weeks, missed birthdays, no OT pay. It’s a miracle any game gets made.
Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made https://www.amazon.com/dp/0062651234/ref=cm_sw_r_cp_api_OxCHAbH8FWXPM
Blood, Sweat, and Pixels
https://www.amazon.com/Blood-Sweat-Pixels-Triumphant-Turbulent/dp/0062651234/ref=sr_1_1?ie=UTF8&qid=1504183877&sr=8-1&keywords=jason+schreier
>All I see that we getting down voted like hell) I'll upvote your comments.
I lot of people don't like my opinions so they downvote me the moment they see me. I even have impersonators, lol. I generally don't care, and don't really upvote/downvote unless it is toxic/hateful.
>In case of something new, correct me if I'm wrong, but I haven't seen anyone to group up and ask Rare to make an honest statement about the development time, and acknowledge problems they have.
What is the point of that?
Every game development has issues, and many/most games take a long time to make. If you haven't and is interested, read this book.
>All I want from them is to be honest lik a was during testing, and maybe that will light up something in people who were frustrated by them ignoring our feedback.
Yeah. I was disappointed in the surprise Kraken with no body that they led me on.
>I'm looking forward to their next video, they said they are gonna talk about content after fixing bugs, hope it will bring me back even early than I planned.
I think you are the type of gamer that is going to have to wait a while for the game to reach a state where you will be happy. At that point, you may have already moved on.
Here you go, link for you:
https://www.amazon.co.uk/Blood-Sweat-Pixels-Troubles-Triumphs/dp/0062651234/
£12.xx
What about this book I just purchased? Inside the front cover, in the publisher info section, it says "1st Edition", and I don't see any other editions for sale.
Try this Blood, Sweat & Pixels
>Let me repeat it for you:
> What is much (or not) to you?
You're complaining about me being vague yet you're asking vague questions. To ME 20 million would be a fuckton of money but to a company that spends 10 million on making a game, 20 million is not a lot.
>Yet it exceeded MS expectations. Of course anyone can have "higher" expectation and proclaim it low. Heck, you don't have any hard numbers on that list. That is why it is called "relative".
What the hell were Microsoft's expectations exactly? Apparently Quantum Break exceeded expectations but it didn't warrant a sequel.
> What is that supposed to mean?
That's developers also share these self evident criteria for a good game. No developer sets to purposely make a buggy, repetitive, shallow game. Also don't come at me with that low tier shit like "Just because you can't imagine, doesn't mean it doesn't happen"
>The only one being laughed at is you right now. You don't know what contract work is.
Coming from the idiot who doesn't know about game development.
>Yup, an opinion makes him unbiased. /s
Having such a blatantly wrong opinion is a clear case for bias, Sea of Thieves was clearly going to turn out to be a No Man's Sky situation although that doesn't mean it won't be a better game in like 2 years.
>I don't know what to tell you man. If you told that in a court of law, you'd get perplexing looks of confusion at the stupidity of that statement. Video games are delivered by milestones. Look it up, Mr I know how it all works.
Dude are you fucking stupid? Aliens Colonial Marines met it's milestones so Sega couldn't sue where as Scalebound didn't meaning Microsoft could at least attempt legal action if they believed something fishy was going on.
>That has literally nothing to do with how much a studio and MS negotiates how much they are going to pay. A studio can literally say, I want 100 million or 10 million, and MS can ya, nor nay. Having a producer has nothing to do with that.
We weren't talking about negotiating 10s of millions dollars though, we were talking about Microsoft giving money to studios (like platinum) to spend on games they paid to make and I essentially said that Microsoft would have someone ensure that doesn't happen by ensuring deadlines are being met and that funds are being used properly.
>No, I just met somebody that makes a shit ton of assumptions and can't imagine any other way. It speaks more about lack of imagination than anything else.
Assumptions really? Christ you're a smug prick.
>Try this book, it's a great read: https://www.amazon.com/Blood-Sweat-Pixels-Triumphant-Turbulent/dp/0062651234
LOL you throw a bitchfit over me telling you to Google something and link me a book? Get the fuck out of here.
>Evidence is the rumor. Believe it or not, up to you. That said, I can say that about everything else you have said.
The rumour is hardly evidence.
>For instance, prove that Platinum Games spending money they earn on contract work on other projects is embezzlement. I'm waiting.
Look up the definition of embezzlement.
>In fact, prove that GaaS makes all games bad and while you are at it, prove that the cost of purchasing Ninja Theory is not a lot.
Hahahaha okay so I've brought up valid reasoning why it's logical to assume that the Ninja Theory's acquisition wasn't a lot and your response is.... "Nah huh prove it"
>Then you are thorougly confused about how video game development work. The TV tie in is a design pillar of the game.
Jesus Christ you're dense, it's might be a pillar but it doesn't mean that it can't be removed. It literally had little effect on the actual game
>It does, because it is just an opinion. Not a universal fact. I can have an opinion as well. I like yellow. What color do you like?
Christ you're so fucking petty and dumb. It's like saying "I can't imagine eating shit and Liking it" and you were to say "It's just you're opinion", people probably do eat shit and like it but it's an UNLIKELY SCENARIO.
>Please do so. Your opinion doesn't count nor does it serve as proof or evidence.
It's not just an opinion, it's a logical argument based on the deduction of the available facts.
>Yes, because they by and large don't complain. In fact, many of them actively embrace it. Just because you think it is predatory doesn't mean it is. We already established though, you thought RBS implemented it well.... Are you now backtracking and claiming it is predatory and hence bad?
Already answered that in my other comment.
>Depends on what you consider atrocity.....
Jesus fucking Christ, how about slavery, genocide, systematic racism etc. None of these things can happen without a massive group of people "embracing" these actions as moral.
Blood, Sweat, and Pixels! I've heard great things about this book from a friend of mine - a good behind the scenes look at how some games are made (or sometimes fail).
Adding on to this, Jason Scherier's book, "Blood, Sweat and Pixels" expands on and includes many more of these stories.
It boils down to the fact that game studios, especially the ones that are owned by larger parent companies, are under pressure to hit deadlines. Game development is a business, and studios have financial goals to hit to justify investments in what they're doing. Most video games are sold on marketing and hype anyway, and final builds are usually delivered for distribution well in advance in release day. Generally teams expect to have day-1 patches to fix those bugs, but in many case then can't all be addressed day one. In those cases they triage the largest bugs, and fix smaller ones in later patches.
[Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made]
(https://www.amazon.com/Blood-Sweat-Pixels-Triumphant-Turbulent/dp/0062651234) is a pretty great read, and give some interesting insight into what it takes to get a game out the door.
Every game dev harms their employees.
This is the reason I didn't go into gamedev and instead went into IT. Being a game dev sucks. It's just a fact. Zeroing on one dev just because they are bit more disorganized than others isn't fair when they aren't doing anything other companies aren't already. I am watching that vid you sent me, 30 min atm and I haven't seen or heard anything that I havent seen or heard before.
I highly recommend reading this book.
You will view this situation differently then.