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Anne Westfall, programmer of Archon:Letting women be part of gaming development was a mistake.
Seriously, name one other than Terri Brosius that made any major contribution to gaming?
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Anne Westfall, programmer of Archon:Letting women be part of gaming development was a mistake.
Seriously, name one other than Terri Brosius that made any major contribution to gaming?
Paradox approved multiple official licensed games on Steam under the “world of darkness” franchise. They may not have been developed or published in-house, but they have the official stamp of approval. And they all suck.tbf neither ccp nor paradox actually released something to the videogame market. oh nevermind there was that euro vapourware werewolf game.CCP and Paradox revived what is a finished IP, bought out and dissolved WW multiple times, because they wanted to cash in on the cult success of Bloodlines. The constant repackages and rehashes don’t add anything new and don’t boost sales, no matter whether they make fans happy or upset.
But these companies have consistently been unable to make WOD profitable in the video game market.
maybe a bloodlines 2 or the wod mmo would have been successful. but its not like either team beat the 'content pipeline' boss on their first try
Didn’t they buy the IP because their CEO at the time was on a spending spree? There are old articles saying they wanted to develop a multimedia franchise with a television spin-off. It’s hilarious how their plans to expand the IP into other mediums exploded so spectacularly for the third or fourth time in a row after Aaron Spelling, Activision, and CCP all tried and failed. I get the impression this IP is cursed.I am kind of surprised Paradox bought the IP and then didn't develop a single game in house. Though I think Hardsuit's fuckup might have been a big factor of why they didn't do more. Hardsuit did start working on this around 2015 IIRC, maybe they were hoping a big release would reignite the series. This game was supposed to be out three years ago now, even my own friend who contracted on this is out five years already.
I'm curious of what the last build looked like right before Hardsuit was fired. I do wonder if we'll end up with a RE1.5 situation with this game. I would love to see what sense I could make out of the old assets if I had time to look through them.
As Avellone noted in his medium post, he helped Mitsoda pull a con on Paradox because they were delusionally optimistic and really wanted to be the ones to do it despite it being very obvious that Hardsuit didn't have the capability to make the game they wanted to make. "Mitsoda and Avellone," that's extremely difficult to say no to.A quick search says they bought it in October 2015 for what apparently amounted to $1.2million in cash. I mean damn, they practically stole it. This also means Hardsuit's game started very closely after the acquisition.
I've never been a player of the tabletop game VTM or any of the other games in the series, but that series had a long and detailed lore, in the right hands they really could have done something with it. They really should have taken their time and done their due diligence when picking a studio and taking a pitch. With the price they paid it's not like they had long term liabilities sneaking up on them.
Correct me if I'm wrong, but Mitsoda was a contractor for Hardsuit rather than an employee - right? So if that's the case, why did they need Hardsuit in the first place rather than just convincing Paradox to buy the license (which was a steal in itself) and then leave it to Paradox to find a properly sized & experienced studio to make the game? Mitsoda (+/- MCA) could still be brought along as contractor(s) for the narrative design and Paradox as holder of the license could force any prospective studio to bring them onto the project.As Avellone noted in his medium post, he helped Mitsoda pull a con on Paradox because they were delusionally optimistic and really wanted to be the ones to do it despite it being very obvious that Hardsuit didn't have the capability to make the game they wanted to make. "Mitsoda and Avellone," that's extremely difficult to say no to.
Mitsoda was friends with Cluney who worked for Hardsuit. It was convenient for him to work with a studio in the same city he lived in and it's not like he had connections to other studios that could do it. Two jerks (or just one jerk if it was Brian by himself since he's not friends with Avellone) saying "Hey go find me/us a studio to make a game for me/us" isn't a convincing pitch, they could have easily laughed him out. I suppose the honorable thing to do would be for Mitsoda to have called them up and say he was available for any Bloodlines 2 game they wanted to make, but there's no guarantee he would have received a follow-up on that or that they would allow him to be the creative lead (which is what he really wanted).Correct me if I'm wrong, but Mitsoda was a contractor for Hardsuit rather than an employee - right? So if that's the case, why did they need Hardsuit in the first place rather than just convincing Paradox to buy the license (which was a steal in itself) and then leave it to Paradox to find a properly sized & experienced studio to make the game? Mitsoda (+/- MCA) could still be brought along as contractors for the narrative design and Paradox as holder of the license could force any prospective studio to bring them onto the project.As Avellone noted in his medium post, he helped Mitsoda pull a con on Paradox because they were delusionally optimistic and really wanted to be the ones to do it despite it being very obvious that Hardsuit didn't have the capability to make the game they wanted to make. "Mitsoda and Avellone," that's extremely difficult to say no to.
Yeah, I got the impression that most people in this thread haven’t actually read those books written thirty years ago. Fortunately, I’ve done a fair amount of dumpster diving in my time.I've never been a player of the tabletop game VTM or any of the other games in the series, but that series had a long and detailed lore, in the right hands they really could have done something with it. They really should have taken their time and done their due diligence when picking a studio and taking a pitch. With the price they paid it's not like they had long term liabilities sneaking up on them.
Absolutely a steal. Even with only 2015's rate of sales, I think World of Darkness game PDF sales on their own could make 1.2 million USD in a year or two without any new content, and that's assuming Bloodlines and Requiem don't generate royalties in any way.
As Avellone noted in his medium post, he helped Mitsoda pull a con on Paradox because they were delusionally optimistic and really wanted to be the ones to do it despite it being very obvious that Hardsuit didn't have the capability to make the game they wanted to make. "Mitsoda and Avellone," that's extremely difficult to say no to.A quick search says they bought it in October 2015 for what apparently amounted to $1.2million in cash. I mean damn, they practically stole it. This also means Hardsuit's game started very closely after the acquisition.
I've never been a player of the tabletop game VTM or any of the other games in the series, but that series had a long and detailed lore, in the right hands they really could have done something with it. They really should have taken their time and done their due diligence when picking a studio and taking a pitch. With the price they paid it's not like they had long term liabilities sneaking up on them.
Correct me if I'm wrong, but Mitsoda was a contractor for Hardsuit rather than an employee - right? So if that's the case, why did they need Hardsuit in the first place rather than just convincing Paradox to buy the license (which was a steal in itself) and then leave it to Paradox to find a properly sized & experienced studio to make the game? Mitsoda (+/- MCA) could still be brought along as contractor(s) for the narrative design and Paradox as holder of the license could force any prospective studio to bring them onto the project.As Avellone noted in his medium post, he helped Mitsoda pull a con on Paradox because they were delusionally optimistic and really wanted to be the ones to do it despite it being very obvious that Hardsuit didn't have the capability to make the game they wanted to make. "Mitsoda and Avellone," that's extremely difficult to say no to.
You are right.Bloodlines is a cult classic because it had a story with characters that was good. You could strip away the lore and replace it with something original (as Troika intended before Activision told them to use the license), and Mitsoda’s skill as a writer would still show through.
Roberta Williams, of Sierra On-line and King's Quest fame?Letting women be part of gaming development was a mistake.
Seriously, name one other than Terri Brosius that made any major contribution to gaming?
I think it's also important to note that this is basically what happens in every story involving WoD. On a very high level the place is an insane clownworld but we are never on that level. Playing world ending abominations would get old pretty fast. And playing the foot soldiers in a vampire city makes things so much more grounded that it's almost like the high level doesn't really exist.Bloodlines is a cult classic because it had a story with characters that was good. You could strip away the lore and replace it with something original
Honestly Wesp you should get some of the money for those sales. Get a lawyer and try to sue for a Quasi-Contract.
roberta motherfucking williams.Seriously, name one other than Terri Brosius that made any major contribution to gaming?
shit, you could had said that earlier, i always downloaded the latest patch from (what i assume it is) your site.I get some pennies for everybody downloading the patch from Nexus Mods
A quick search says they bought it in October 2015 for what apparently amounted to $1.2million in cash. I mean damn, they practically stole it. This also means Hardsuit's game started very closely after the acquisition.
I've never been a player of the tabletop game VTM or any of the other games in the series, but that series had a long and detailed lore, in the right hands they really could have done something with it. They really should have taken their time and done their due diligence when picking a studio and taking a pitch. With the price they paid it's not like they had long term liabilities sneaking up on them.
Yeah, you can tell the ttrpg writers didn’t know shit about game design because the IP is full of stupid shit that is completely irrelevant to how the games are actually played. Heck, most of the fans even in the 90s just bought the books to follow the lore rather than actually play the game. No surprise it got outcompeted by video games and collectible card games. In the age of wikis there’s no reason to buy the books anymore unless you want a more accurate and unabridged picture compared to the tiny window the wikis give you. I only know about all the stupid shit by actually reading the books rather than relying on the wikis. The contributors hugely self-censor those and without citations you can’t be sure of the accuracy.I think it's also important to note that this is basically what happens in every story involving WoD. On a very high level the place is an insane clownworld but we are never on that level. Playing world ending abominations would get old pretty fast. And playing the foot soldiers in a vampire city makes things so much more grounded that it's almost like the high level doesn't really exist.Bloodlines is a cult classic because it had a story with characters that was good. You could strip away the lore and replace it with something original
I don’t understand why we’re not seeing more indie urban fantasy when Hogwarts is breaking records. The only ones I can name are Nighthawks and Moonfall, both in development.
One big advantage of good sourcebooks is that they don't suffer from the same sort of sterile neutral tone that their wiki counterparts go for. Pair that with some good art (& other aesthetic blemishes, unlike the aforementioned bland wikis) and these sourcebooks become an enjoyable experience in themselves.In the age of wikis there’s no reason to buy the books anymore unless you want a more accurate and unabridged picture compared to the tiny window the wikis give you.
And they still don't! Demon the Descent was a weird edgy techno-horror spiritual sequel of the Demon pnp of OWod, but it's unplayable from the start as one of the player classes gets bonuses from betraying your fucking party. How is this going to fly? Add to the fact that paranoia is a constant in that game and demons are able to lie so perfectly that no-one can tell otherwise... Including other demons, I suppose, which means that adventures are going to implode.Yeah, you can tell the ttrpg writers didn’t know shit about game design because the IP is full of stupid shit that is completely irrelevant to how the games are actually played.
Anyway, my point is that this IP is worthless if you want to make video games.
The IP as such is not really the problem. Having vampires alone would suffice and you can throw extra details from the IP as (and if) needed. And I would argue you don't need to very deep into details. Broad strokes should suffice to paint good enough picture and offer the kind of flexibility you need for pretty much any story you have in mind.I don’t think you can write anything with a mass market appeal using this IP unless you use an irreverent tone like Mitsoda did, and he wrote it that way because he wasn’t a fan of the IP before he was hired to write the game.
Yes and no. Yes, lore isn't really needed as much as a good story. But get extra points from people who are into World of Darkness and you can use lore as building blocks for your story. But it needs to be dosed properly. Like you said - having "pages and pages of lore" and "irrelevant trivia" is a crime (which is true for writing in general, not just video games). Give out only as much information as needed and when needed in the context of what's going on.All this talk of “lore” is a waste of time. No matter how many lorefags tell you otherwise, lore is worth shit. We’ve seen that time and time again. Any competent writer can write a good story on its own merits, with or without lore. Any wannabe writer can come up with pages and pages of lore on a wiki, but it’s always irrelevant trivia. CRPGs live and die by their stories and gameplay, not irrelevant trivia that has nothing to do with that.
I never thought Bloodlines story was good. More like serviceable (and that could be said about the game as a whole). Some characters in the game were well executed, but without that execution - and reading them on paper - I have my doubts if they would have been nearly as good. In my opinion Bloodlines is a cult classic, because there are very few cRPG vampire games (and in this setting, as much as you disdain its lore Vampire the Masquerade is a fairly well known tabletop RPG system. Brand recognition is useful at least in this context).Bloodlines is a cult classic because it had a story with characters that was good. You could strip away the lore and replace it with something original (as Troika intended before Activision told them to use the license), and Mitsoda’s skill as a writer would still show through.
Eh. I'd say that it's neither the story nor even the vampire theme (nor the VtM brand, although I agree that the latter might've helped in its subsequent popularization), but the sort of night (& often low) life atmosphere that it manages to consistently evoke throughout combined with the setting's pastiche style of 1990s pop cultural elements that give flavor and soul to the various NPCs & the hubs that they inhabit. And that's something that could, in theory, be just as well captured by a purely mundane setting if done hyperrealistically a la Kill Bill, John Wick or what have you. (Or alternatively by something like a cyberpunk setting, whether played straight or mixed with fantasy elements akin to Shadowrun.)I never thought Bloodlines story was good. More like serviceable (and that could be said about the game as a whole). Some characters in the game were well executed, but without that execution - and reading them on paper - I have my doubt if they would have been nearly as good. In my opinion Bloodlines is a cult classic, because there are very few cRPG vampire games (and in this setting, as much as you disdain its lore Vampire the Masquerade is a fairly well known tabletop RPG system. Brand recognition is useful at least in this context).Bloodlines is a cult classic because it had a story with characters that was good. You could strip away the lore and replace it with something original (as Troika intended before Activision told them to use the license), and Mitsoda’s skill as a writer would still show through.
Your game.I don’t understand why we’re not seeing more indie urban fantasy when Hogwarts is breaking records. The only ones I can name are Nighthawks and Moonfall, both in development.
Is that my MoonFall or something else? I'd be curious if there's another urban fantasy game under a similar name.
The writing in this IP is infamous among the tabletop community for being the opposite. Pretentious, self-important, generally terrible. It’s difficult to understand without reading the books, but jeez louise…good sourcebooks
Again, you don’t need this specific IP to do that. Nations of Darkness is a shallow ripoff and it’s currently #98 RPG on the Apple Store.It would make for cool videogames. Playing as the Technocracy, Created from the Prometheans game, Changelings (the Lost ones, not the Dreaming ones unless you're crazy), regular Mages, Hunters, etc.
Brand recognition is worth shit. It doesn’t make up for the generally awful quality of the games Paradox approved. They’re retconning the IP to the point where the brand name recognition is false advertising anyway. Worse, it strangles and stagnates the market by scaring other companies away from dipping their toes in the genre because they don’t have decades old IPs to exploit.Brand recognition is useful at least in this context
If Google trends is any indication, then Bloodlines is responsible for something like 99% of this brand’s recognition. Not the other way around. Maybe it’s not a great story all things considered, but it entertained enough players to keep this IP alive when otherwise it would probably have died out by now like literally every other urban fantasy ttrpg ever made.nor the VtM brand, although I agree that the latter might've helped in its subsequent popularization)