Does anybody else get the feeling we're in a really strange time where companies are trying to re-learn how to make the...

You talk like the old developers aren't just empty names anymore. They don't know how to make great games because any old name that's still out there has been acquired by a big cancerous publisher full of kikes, gutted of its old talent and filled with starving graduate hipsters. They can't make the great games because they never made them.

So Jews.

Yooka laylee didn't really have rare people working on it though. they were all directors.

"One guy who was tangentially associated with the development team that made a game years ago" is not a company. These are all smoke and mirror scams that ride on the brand name of a single person, but you faggots have to understand that a single person did not make those games you loved so many years ago. Teams of people made those games.

I'm starting to wonder if Rare were ever that skilled at designing gameplay. Their games always had a lot of charm and a lot of polish, but it wasn't uncommon for there to be glaring design flaws. Look at DK64. Look at how they made levels to big for their own good in Banjo Tooie. Look at the way they locked Jet Force Gemini's ending behind so much bullshit, most people never saw it.

I seriously doubt they ever knew what the fuck they were doing and every good game in existence was merely a fluke.

BUT MEGAMAN WAS ALL MADE BY A SINGLE GUY

I'm imagining it might have been similar to the George Lucas effect where for every good idea or design choice they had, there were like 10 bad ones, and they had to be filtered out by other people in the team

rare stopped being good after banjo kazooie

Doesn't apply so much to Elite Dangerous, because Braben smoked a entire pack American Spirit one day and came up with the idea of embedding Turok into Elite.

Starfox Adventures is a little unfair. The first few hours were fine, but the rest of the game was clearly a rush job, They also had to accommodate Nintendo's meddling, forcing them to turn Dinosaur Planet into a Starfox game.

And budget and tech constraints.

It's a compound issue, both Playtonic and InXile lack the same development environment that made these games what they were, both had internal studios that would compete, then there's the lack of key talents in key positions, then there's the lack of vision, the original games wanted to be something unique, they wanted to be their end product, these other games want to be another game.

Personally Yooka laylee failed the biggest on level design, there's also a few other problems like how fucking floaty Yooka and Laylee are to control as well as the fact that Yooka and Laylee are nowhere near as iconic and interesting as Banjo Kazooie. Yooka Laylee also fails as hard as humanly possible on optimization, more powerful than a PS4, yet I can't get my game to run anywhere near it, This is the shit I expect from Koei Tecmo, and the PC version was the only inhouse version developed.

So far for me Torment Tides fails on the visual design, the nu portraits can suck my dick, as can the levels they are just muck, Sagus cliffs has been nothing but conflicting visual design even within a single scene. TT also fails on the dialogue, conversations don't feel like conversations, they feel like artistic dialogues that come from someone who can't write who is trying too hard to sound smart, not every conversation needs to be long and "engrossing".

I actually enjoy the way that player actions consume time limited resources which forces you to think a little harder about your choices.

Personally I'd say skip those trying to recapture their old glory and jump straight into those who are inspired by, but miss a hat in time, that game is as shit at least as Yooka Laylee, a less coherent visual design mixed with as bad level design, no fucking thank you. I still don't know of any new good platformers coming out but Mario is always a good bet, you can't go wrong with Mario 3d platformers, the level design is unmatched and it caters to a wide array of different 3d platforming types, except the hard collecathon Banjo Kazooie style, you're shit out of luck if you like that. If you like CRPGs try Underrail, and try Serpent in the Staglands and then after that look up Copper Dreams, did you ever wish a CRPG had MGS3s injury system, was stealth as fuck, had a low poly visual style and had a cyberpunk setting, of course you fucking did.

Perfect Dark?
Jet Force Gemini?
Viva Pinata?
Even with JFGs bullshit it's still good, a sequel on the Gamecube could have been great.

Nintendo's meddling could be the reason why so many of their 2nd party games are actually good, look at the core Prime team, they've released nothing but absolute trash since leaving Retro Studios, but Retro still pumps out excellent games.

Taking a game that was well into development and saying "you know what? We'd like you to make this a Starfox game. Start over" is a bit of a shitty thing to do though.

Sure it's shitty, but were they even forced to do it, last I remember Shiggy just said why not, surely Rare could have said no, it's not like Rare hasn't done this before, Nintendo cut funding to Goldeneye and Rare finished the rest of the game themselves, maybe they were too spineless to say no, but lets face it, Dinosaur planet was never going to be good. In the end Rare's talent was already dwindling but Nintendo should have brought them when Rare offered, it would have been valuable just to keep a large western development studio since Nintendo have a serious problem with content release pacing, Rare can't have just stayed shit all that time surely.

ignore that they miraculously did stay shit all that time though

It would have been worth holding onto Rare if only for their properties. They could have always just taken their games away from them and given them to people more competent, kind of like what Microsoft is doing with Killer Instinct right now.

I think it's the same in film. This whole move toward recreating older film, or adapting old comics to film… it certainly cashes in on a certain market, bringing new fans to a franchise and keeping existing fans entertained… but I'm much more interested in more unique forms of creativity. Books and films that are new, with new ideas, original content, plots that aren't so cliche. Like "Risen." I think it's the first "Jesus" story I've watched or read where the protagonist was a Roman soldier, and you hear the whole story from the perspective of Rome. Pretty interesting and unique IMO.

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Sure they could have done that but Nintendo back then gave 2nd parties leeway, they didn't just auto own any content created by these companies, remember Microsoft tried to sell Lionhead without any of it's IPs, EA would just auto own content they published, the second you made a deal with EA you had just made a deal with the devil. Then again EA would end up buying you for pennies on the dollar, just like Bethesda now, oh wait, Beth are even worse, they will acquire your IP even if you don't release a final product.

It would have been good to get Rare's IPs since they have fared even worse than the ones Nintendo neglects themselves except in the ports department, man I wish Rare Replay came to PC, so many of their N64 games which is the bulk of Rare's quality releases are only playable on original hardware or through emulators but never 60fps.

It's understandable that Nintendo neglects IPs, they have to keep the lights on and they have too few studios to make games for all their IPs.

I think under Nintendo's wing Rare could have stayed good, Next Level games's best games are all under Nintendo, but then again Arzest still releases at every opportunity shit, I don't know how they are able to get away with it.

A lot of remasters aren't core projects, or in general aren't massive budget remakes like what we get today in films, and a lot of games are basically cookie cutter gameplay with all the furniture moved to the left by 3 inches and a unique story.

I actually liked many aspects of Banjo Tooie, it needed a sequel to really go with what worked and to throw out what didn't, it sucks that with all these new games trying to recreate what was good none of them really bother to look at what could be good and aimed to make games that are built more like sequels to the games they are copying, and so many of them do it. Fuck you War for the overworld, you fucks have no idea what you are doing or where you are taking your game, and the name is shit, you couldn't even give me that same coherent atmosphere that Dungeon Keeper had in spades.

This. I predicted this with the announcement of the Baldurs Gate remaster. These people just want to make quick money off off other people's work with as little effort as possible.

Ah, so they are essentially Jewish in spirit.

Cut them some slack, nobody codes in C++. These session devs needed to learn GameMaker Studio 2 and Unity from the ground up. :^)

Overall, I might like Tooie more than Kazooie, but it's hard to deny that the general quality of level design took a hit. On the plus side, you got more and better bossfights, better transformations, and set pieces like controlling a giant golem, or the game turning into a FPS for a stage.

I think part of it is they get cocky and get sucked into the big corporation environment and lose sight of what they loved.

Their original games came out of love for their hobby, and they put everything into it that they enjoyed. Now it's driven by corporations that conduct polling and how to maximize profits and how to push as many units as possible instead of letting the people do what they love.

The latest Mass Effect is a great example. Sure, not everyone likes the series, but the first one you could tell had that sort of love behind it where the developers and story writers were creating something that they all loved and thought would be really cool. Then EA came along and the core people that created the company are gone, and are now replaced with people that are there just to collect a paycheck, or blog about how they're fighting patriarchy by making gay tranny nigger aliens or whatever.

The heart and soul behind the projects we all know and love is gone, and it was replaced with corporate cronyism and idiots that just want to make a quick buck off nostalgic people with "retro" graphics/sound/whatever.

Most quality devs were chased out/dropped out of the industry.

What is left are
Even if you have talented devs, their game is 99% controlled by publishers, who are exclusively jews.

Bioware went from a company with passion for science fiction and fantasy, to a company with passion for cultural marxism.

No. That's just you clinging onto a false hope.

Funny thing, when people try to shill their games as "Spiritual Successors" minus most of the people who made it great in the first place, the game turns out to be a gigantic turd and also they never had the time to successively create games from then to now, so they lost time on following up the latest technology.

I'll admit we still don't really know the full details of what happened behind the scenes with the transition from DP to SFA.

Were they forced? Asked? Given permission to use SF because they were stuck in development? If Rare had never used anthropomorphic foxes as the playable characters in DP instead of other animals, this SF situation may have never occurred.

The one factor about 90's Rare that isn't mentioned much is their sheer output of different games. Even on the N64 they released 10 games (some being sequels to reduce dev time). Not all of them were perfect but they still help fill out the library. And working on the N64 still didn't stop them from working on the Game Boy/Color. Compare that to Retro Studios who only released 2 titles for both GCN and Wii. And 3 of those are Metroid Prime games.
Nintendo not owning another developer to replace Rare's game output (and the types of hardcore western games that Nintendo of Japan won't make like Goldeneye) during the GCN era really fucked them over when it experienced droughts.

So they're pajeets.

This is why I am not happy with the inclusion of Elite Dangerous, that sounds like a uberassburger continuation of what Frontier has already made 20 years ago.

That I agree with you, compared to Star Shitizen and their cult, Elite Dangerous managed to do more with less the budget and manpower, and they still managed to get content out, still pretty barebones, but it's pretty playable.

It's like if the Beatles were still touring today except the original members had long been replaced by progressively shittier wannabe talents until now it consists of a strong socially conscious female, a genderqueer nonbinary, a furry and an oppressed minority who all have bachelor degrees in beatlesology from Berkeley. Also, guitars are a symbol of historical racist oppression now.
What, you don't like them now just because they weren't privileged enough to develop actual musical talent?
You aren't a true fan of The Beatles(tm) then, I mean their name is The Beatles(tm)! The TRUE fans will support any shit that has appropriate branding, nazi!

No. lots of california hipster and young devs with no experience were outsourced.

We're living in an age of decadence

And pretty insane if you take a look with the road map. Check it out:
elite-dangerous.wikia.com/wiki/Features_in_the_expansions

I throw out Turok bantz on Braben for a reason. Landing on Planets with Atmosphere is one thing, making it possible for the player to jump out of his vessel on foot and shoot Dinosaurs into the balls with blasters is much different thing. Also extremely ambitious.

"trying in earnest to re-learn (…)" hahahaha no

Yes. I don't understand how Tony Hawk 5 was fucked up so bad. I know it wasn't the same devs, but couldn't they have just used the same engine as THUG 2 with updated graphics? There's a reason people still play THUG Pro.

Holla Forums in charge of knowing anything about video games

I think it's a case of them realizing that while the vast majority will buy any crap with enough marketing there is a growing niche of bitter old cunts that could be very profitable.
Catch is very few are willing to go all out and alienate the mainstream market to focus on that niche so you get something that doesn't appeal to either market.

Even if they use the old engine it would take long to develop and the rushed release came from expiring license for the game.

Truth be told I get this feeling A Hat in Time will also be bad.

Correct, we are in charge of knowing anything about video games.

user, if you really think all the same developers that worked at these companies in the 90's are still working there, you're a fucking idiot. While a few of the key developers might have stuck around the fact is most of these companies are hiring newfag workers who have no idea how to make a good game and all their training in Javascript and Unity sure aren't going to help them with that goal. The whole "It's made by the same developers" is a massive Jewish trick, it's the same thing as when a movie say "PRODUCED BY THIS GUY YOU LIKE" when it's actually made by some unknown untalented faggot: It's a trick to draw in more money from suckers.

You know the usual guy that says "videogames are a toy for children, not adults"?
Imagine what would happen if one of those found a job working for AAA companies? Yep.

Thing is, those games were made by people that loved their craft and treated videogames as an artform in the sense of "I'm going to make something truly amazing that inspires and evokes strong emotions on the player!" They were grown men that still played videogames because they respected the medium and knew this wasn't "just for kids".

Come a few years later, videogames are now an industry that rakes in a lot of cash, and to make it even better, it's an art form! (In the sense of "this is art, therefore subjective and immune from criticism" that applies to most modern art).

Now, people who work for AAA studios do it because it's a job, no different than flipping burgers or assembly working in a factory. They care about the salary and not the game, which is fine since they need to make a living but someone somewhere in the development process should care but nobody does.
Or even better, they treat the medium as a way to voice their political ideas or to make quick cash out of artsy fartsy crap, not simply to entertain with a well crafted videogame.

The funny thing is the climax you'll start to see from now on. They made videogames a job, a way of life, they made themselves dependent on their success. So what happens when they don't succeed? (And success here is a VERY complicated thing)
They fucking panic and run for the hills, they drop new ideas and stick to know formulas, they repeat the past without understanding it because all they want is something they think will actually work this time.

Or to put it simply, the people that made Yooka Laylee don't care about B&K or even YL, they care about making a living out of this.
They went with that franchise because they knew there was a market for it, they booted Jon Tron not because it goes against their political ideas but because he threatened their commercial success (or so they thought)
This never was political in nature and never was about a franchise. It's not even that evil to be honest, it's just that they are scared and they think their best bet at something that will pay their bills was cashing on something they though everyone would insta-buy.

The same goes for many other devs that pick old ideas and genres because "they work" and there's already an established formula they can work with, or old franchises so you only have to use the previous characters and a roughly similar aesthetic to boost your sales.
It also goes for the short-sighted devs that believe their future assured and slack off with their own preachy propaganda in dialogues or buggy unoptimized mess of a game, moaning later when they get laid off.

It's not jews, it's not even SJW's, it's far simpler than that: it's people that don't respect the medium but still want to use it as a platform or a career.

except Jews and SJWs are pretty much that just with some moral grandstanding.

SJWs are better described as moronic human NPCs whose purpose in life is to be manipulated by sociopaths. Certainly describes the ones I know.

Except Jews don't actually make videogames. They loan give money to devs that they use for a gigantic team of faggots to churn out the games they produce. What is produced matters little for the shekelmancers, they just want their money back with interest. It's still shitty since they don't care that much if the devs can make it back or not
Full blame lies on devs that hire gigantic teams of talentless faggots because they think "more people means more work done and games are done faster and we actually spend less money!"

SJWs on the other hand could fit the "use it as a platform" part, but they don't care about videogames enough for that. Half of the SJW devs you see hold their political opinion because it lands them a job and a demographic, they don't actually believe it. The other half will put it all over the dialogues but they won't make anything else besides that to further any agenda.
They are far too lazy and stupid to even use the medium for actual political reasons. You compare them to some singers and artists from many, many years ago that not only snuck political messages in their lyrics and paintings but also took part in rallys and fought for what they believed and these new "slacktivists" look like fucking faggots.

Alternatively, it's also because of that. They aren't meant to use videogames as a platform because they are themselves a tool of someone else, and that someone else at least actually respects videogames but SJWs are the best he can work with (it's kinda sad)

Please stop speaking our language you continental buffoon.

How is Perfect Dark a collectathon?

So like what happened with Badfinger or The Velvet Underground?

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Krystal was a cat.

A vixen is a female fox.

archive.fo/aKCdT

Her original Dinosaur Planet design looks like a cat.

Wew that looks way better than furry blue tits bait

Video game developers get paid nothing compared to their counterparts in other industries, they get nowhere near the same amount of acknowledgement or recognition, and if you work in video games you are getting worked like a horse and getting no extra compensation, and then you will get fired, if you go into game development you aren't going into it for the fame or the money. To say that people who work in video games are doing it for the money is to live in a bubble of your own reality, a common theme for people here who can't do their fucking research, if anything the current assembly line environment, the corporatization of development studios and executive/shareholder meddling is what stripped out any semblance of passion from a vast majority of developers.

The developers care about making money, but they also care about making money out of a job they personally enjoy, Yooka Laylee failed on a bunch of levels, but ultimately the core vision was shit and the level design and the core vision is entirely where the game fell apart, it wanted to be Banjo Kazooie so everything felt shallow, so shallow that even Naughty Dog did a better job copying Banjo Kazooie, although the level design is still bad it isn't quite as bad, and the soundtrack in Yooka Laylee is actually better, as are the graphics in Yooka Laylee, and even the character designs are better, actually by most metrics Yooka Laylee is the better game, but the level design is worse and there are fewer levels, and for a game that's a fail.

Looking at some of Playtonics hires they aren't even bad, the lead software engineer from Starfox Adventures and Kameo. an N64 era environment artist, an N64era animator, outside of the core team though and the few good ones it's literally hipsters, some beardy who worked with the Thomas Was Alone guy, a fag who worked at Supermassive, a diversity hire.

I'm willing to give Playtonic another chance, it's not like I've given them a cent yet anyway.

Yeah, her outfit isn't nearly as revealing. Though who's to say how it would have looked in N64 graphics beyond the few protoype bits and pieces you can find on the internet?