It reminds me of the gameplay footage played on short videos to provide visual content while audio is playing, or games optimised for streamers to play and overreact to. They aren’t games that are intended to be played and provide enjoyment that way, but as tools for others to turn into enjoyment from playing them, and then their audience gets that enjoyment from participation or simply watching.
Yeah that was my instant thought.
“I’d have taken it into a different direction so you’re not competing with the modern-day GTA games,” he added. “You’re zagging when everyone else is zigging, so to speak.”
My dude all you’re doing is going from ripping off Rockstar’s San Andreas, to ripping off Rockstar’s Mafia games instead.
I’ve been wanting to play a game with this concept (but taking it serious) for a while; breaking into vehicles / buildings that have had all sorts of disasters happen to them, and trying to repair them enough to delay their destruction and cut a safe passage out for survivors, while not dying in the process. Fighting wind and rain, fire and flood and rising seas as the environment does its best to kill you.
Or imagine every music you listen to has to be vastly different from anything else.
Yeah…imagine if you could sue because someone put out a song with a beat almost identical to your own, which is what Sony is alleging happened here: https://americansongwriter.com/ice-ice-baby-and-the-david-bowie-queen-legal-battle-that-tainted-vanilla-ices-career/
Even lawyers can’t get you out of trying to patent something that was clearly already in the market. Previously, Nintendo’s patent lawsuits had been for specific mechanics such as throwing a ball to capture npc animals.
It sounds incredibly vulnerable to this exact argument. Patents aren’t valid if it’s been invented already.
I thought him including video of a trump rally was too blunt, the audio was enough. I enjoyed the implication he was making about the game’s difference between the US and south american superweapons, which isn’t openly stated and doesn’t have to be.
I played the first one, and found it to be extremely boring but with potential. Unfortunately, playing 3 and Syndicate afterwards showed me clearly that Ubisoft smothered the potential and cranked up the boring. The worlds they’ve created are certainly immersive, but they’re also devoid of energy. 3 has a half-Native American protage who spends five minutes in his home village and then goes off to the colonies with barely a thought spared for his home, so when it’s played for drama it falls flat because we haven’t seen his relationship to his family. And Syndicate’s characters had might as well be carved from soap with how crude and flat they are. There’s a transgendered gangster from New York who joins the Assassins’ gang, and he has absolutely nothing to add for the entire game. Characters with seeming potential come in, have one side quest, and that’s their lot.
I’d like to take this moment to say I fucking love Fortress and I wish it had the bigger budget it lost when Arnold pulled out of the project.