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kaibutsushidousha · 11 days ago

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The Hundred Line special guests interview from Famitsu issue 1895

A game is composed of multiple elements, like "plot", "characters", "world", and "experience". In what order do those get constructed when you make games?

Jirou Ishii: Me first. I can't present a project unless I have all parts sorted. A game only becomes a project when you have a plot, a cast, a world, and your gameplay sorted out. Of course, sometimes I can only come up with fragments of the story and characters, but I need to have some ideas, any ideas, in store for later.

Alright. You next, YOKO.

YOKOTARO: I work mainly with action games, so the process might be different from visual novels. For action games, you need to start from an estimate of the gameplay mechanics, and only then you're allowed to come up with a story, cast, and world that fit with this estimate. By estimate, I do mean a budget. Eventually, you will find some cases where the estimate will pre-establish the number of characters in your cast, and even force you to redistribute who is an ally and who is an enemy to work with that. Wait, this wasn't supposed to be a conversation about money (laughs).

Kazutaka Kodaka: But since you made it about money, I have to mention how The Hundred Line was funded from Too Kyo's own pockets and we had strict budget plans to follow. But as the game kept growing, the initial budget only lasted a few months. Mostly my fault for not knowing when to hit the brakes.

YOKO: And how much did it cost? Saying the price in yen would qualify as gore, so let's use Ronpas as the currency here.

Kodaka: I mean, I could just tell you the price in yen here and now. It's not like the interviewers would be allowed to put the number on the magazine.

YOKO: Still on the topic of money, with how inflated localization costs have been these days, I sometimes get requests to cut scenes shorter. With how colossal The Hundred Line is, how much did that weigh on your budget?

Kodaka: The Hundred Line was a collaboration with Aniplex, meaning the production costs were split between us. All procedures were carried out on agreeable terms. Well, agreeable on our end. I can't say for certain Aniplex felt the same (laughs).

In what order was the world of The Hundred Line constructed?

Kodaka: A major factor in defining the direction of the story and the characters was my age. I felt like this was my last chance to write ensemble casts and believable teenager dialogue. As for the gameplay, we went with a tactical RPG because that's what I assumed would be the cheapest.

YOKO: Oh, you fell for THOSE illusions?

Kodaka: Oh yeah, that was a total illusion alright (pained laughs). Considering this was my collaboration with Uchikoshi, we initially positioned the plot as the main item and the TRPG gameplay as just a bonus to hype up the plot. But the desire to improve the TRPG only grew as development progressed, so we kept tweaking the battles until the last day available for it. With how much we managed to add in terms of story volume, polish, and gameplay, this title is the closest thing I can call to my ideal game. Now I'm ready to die without regrets (laughs).

Ishii: So can we count the game as your will?

All: (laughs)

The Hundred Line has 100 routes and endings. Can we get YOKO's and Ishii's opinions on this length?

Ishii: It's outright amazing. Relatively short visual novels, like PARANORMASIGHT: The Seven Mysteries of Honjo or Urban Myth Dissolution Center, have been major successes lately. This game runs contrary to the trend, if anything running closer to the lengthy VNs from our careers.

Kodaka: Our goal was making a VN that the player can keep playing over time. To accomplish that, we made multiple route types, and allowed the player to interpret the ending that satisfied them the most as the true ending. This concept for this new IP came from a wish to create an aspect that would get the people of the current year to question our sanities. The best we had to offer was quality and quantity in terms of text and illustration, and that's why we created 100 routes.

Ishii: The closest thing I can think of in terms of how different the routes get from each other is Banshee's Last Cry. That game as a VN with TRPG elements instead of a pure sound novel is an amusing idea. The elements of continuing the game until you're satisfied is also an aspect I feel competes with Gnosia. All that has me very interested in The Hundred Line.

Kodaka: Making the TRPG match the plot was much harder than we imagined. We needed to fine tune the difficulty to make every battle winnable using only the characters currently featured in the story. Which is made more difficult when you have a huge number of routes with crucial differences on who is and isn't in the roster, something really time-consuming for a simple consistency check. I was often going "wait, it doesn't make sense for this character to be at this moment of this route".

Looking at the story branches, this game has a lot in common with YOKO's work.

YOKO: True. I created my route splits to add replayability to the Drakengard series. Those were times when everyone kept saying short games weren't worth it. But in the current year, making something with 100 different routes and endings is the more dangerous play.

Koutarou Uchikoshi: From a creator's perspective, my reaction to Kodaka's project pitch was "Let's rethink this one" (laughs). I showed him a flowchart with 100 routes to hammer it how rash his idea was, but that only got him more motivated…

Kodaka: I got so excited about our game (laughs).

So the document written to make him quit backfired?

Uchikoshi: Honestly, from a player perspective, I saw The Hundred Line as something that appeals both to the crowd that wants to rush it and the crowd that wants to take their time. If we actually managed to make the whole thing (laughs).

Kodaka: I remember the people at Too Kyo being really split on the volume. Due to that, I asked my close friends about their opinions on the game's length. Most Japanese friends were put off by the amount of text, but the American friends explained that only the really hardcore crowd plays Japanese games in the US, so this length would be like Christmas in July.

YOKO: Eh, I feel like the Japanese crowd is also huge on the "I want to see every ending, I want the full experience".

Kodaka: Absolutely. I certainly prefer people experiencing everything, but it's perfectly fine to walk away whenever you feel satisfied.

Uchikoshi: This might work somewhat like RPG side quests. You don't have to clear all of them, but each one you experience deepens your understanding of the game.

The Hundred Line is split into visual novel sections and tactical RPG sections. What do you believe a visual novel needs to be in this age of such rich genre diversity?

Kodaka: The most memorable title I played recently is Until Then. It felt like one of the old ones, going on extensively while still following the principles of "everything matters". We did have games that were unproductive with their high length, but nowadays, I believe the norm is keeping it short. Shorter stories mean more time-efficiency, bringing their narrative formats closer to manga chapters, TV episodes, or movies. Although I can't conclusively say one method is better than the other.

Can we consider The Hundred Line to be your personal answer to this dilemma?

Kodaka: No, not an answer to the VN genre, just an answer to the question of what VN would the current me make. Saying I hold the answer to such an indie-dominated niche would be in bad taste. I personally want large titles to be produced more often, and would love to see my game revitalizing the genre upon release.

Your thoughts, Ishii?

Ishii: I believe we could soon be getting a roguelike-style title, like the Gnosia I mentioned before. The number of games that can pull off the right balance of storytelling and roguelike gameplay is still close to zero, but I expect a high-level title to appear and codify the genre in the near future. Also, writing a visual novel has always been a battle against flowcharts and loading multiple save files. I believe in game design innovations that can create stories that eliminate the need for flowcharts and save files. I'm very excited both to discover and to create story formats never seen before.

What do you have to say, YOKO?

YOKO: I believed the advancement of technology would blur the lines between action, RPG, and visual novel. My prediction didn't come true. The genres are still as distinct as they always were. But the definition of visual novel changed. Back in the days of hardware limitations, what we currently call sound novels were the only possible style of visual novel. But now that any form of presentation is possible, the labels changed meaning. The story sections in Uncharted and Detroit: Become Human are very similar, so I imagine the only reason why only the latter gets called a visual novel is because it doesn't have action gameplay.

Uchikoshi: Good point, Detroit and Uncharted share the same base 3D character adventure controls. The only difference really is the emphasizes on their movement.

Kodaka: Visual novel and adventure game are labels used interchangeably in Japanese, but in my opinion, the English-speakers stick only with the former because it's the one that makes sense.

Ishii: Calling it a novel really draws emphasis to the writing. At the risk of going off-topic, a key similarity between novel games and basic literature is the added attention to the story text through the absence of any other element. But classic literature cares too much about being narrated in first person, and with that being the only POV option, the worlds of novels feel biased at best and barren at worst.

YOKO: Ishii, do you think you could make money with pure literature?

Ishii: Sounds doable, I already made Bungo and Alchemist a hit (laughs).

All: (laughs)

And Uchikoshi's thoughts on visual novels?

Uchikoshi: I believe Detroit: Become Human to be the ultimate form of VNs as we currently know them. Wonderful visuals, too. But if you asked me if the ideal visual novel is a live-action movie with route splits, my answer would be no. Being able to control movement is important. One project I want to create later down the line is what would Detroit: Become Human would look like if it came from the mind of a Japanese man.

Oh, I'd love to play that.

Uchikoshi: I still have a lot I want to create, but at the rate AI is evolving, I'm afraid the market will soon be dominated by AI-generated VNs.

YOKO: I'm also pretty concerned about AI running all game creators out of their jobs. In 50 years from now, people might think of us the same way we think of wandering bards nowadays.

You think AI would be able to create the outlandish worlds and stories you come up with?

YOKO: Yes.

Ishii: Same opinion (laughs).

Kodaka: I think it can copy an author's technique, but not their personality. For example, it could create a game script that resembles a David Lynch movie, but if the real David Lynch were to write for game, he wouldn't write it in the same style he uses for writing movies.

YOKO: I think a high-end AI would go beyond that and be capable of perfectly replicating the man's behavior. Its output would be based on the intention rather than the instructions.

Kodaka: The idea of an AI that fails deadlines tickles me (laughs).

YOKO: I believe we're slowly leaving the era of asking it to copy the style of our favorite creators and entering the era of asking it to create scripts catered to our tastes. The AI determines what the player likes and generates the route they would want to read. Just an idea based on how quickly the area is developing in the user recommendations department.

Kodaka: That would reduce the amount of experience people can share with one another, slowly fading away the concept of a bestseller from public consciousness worldwide.

The Hundred Line will be the first IP directly owned by Too Kyo Games. What do you believe to be the significance of owning franchises instead of only creating them?

YOKO: I don't own any of my series. I own partial rights to a manga, but for the games, I generally give everything to the client. Being real with you, owning a game franchise is not, by itself, something that makes money. But if you don't care about the money, then owning your series has one merit in the form of easier creative control. But I can control my franchises by having a relationship of mutual trust with the producers that hire me, which includes being able to tell them when I don't want a product to be made, so in my case specifically, I'd say I don't need to own anything.

Kodaka: Same here, I don't find IP ownership that significant. I may own The Hundred Line but it's not like Too Kyo Games can leverage that to make anime or stage play adaptations in our studio. We still need partner companies and production staff, and that makes the process not much different from how it would have been if the franchise rights were elsewhere. The only reason why I was so insistent in making The Hundred Line our first IP was because one of the foundation goals of Too Kyo Games was to own one franchise, didn't matter which. But with how huge of a project The Hundred Line was, it was maybe my last guess for which series we would get to keep.

Ishii: The Hundred Line really feels made with the intention of becoming a series. Kodaka already made a successful franchise out of Danganronpa, so I've been noticing the subtle details enabling the series expansion of The Hundred Line.

Kodaka: Whatever I did there was mostly unintentional. But my past successes were a basis for the creation of this new plot, cast, and world, so I could see it naturally coming out with franchise potential.

YOKO: It doesn't need to be conscious or intentional. Kodaka and Uchikoshi have a propensity for sequel hooks. A fetish, even. The games they make carry the seeds for sequels at their deepest core. I can see the sleeper agents in them.

Kodaka: I don't know about that (nervous laughs).

YOKO: You two can't help yourselves trapping characters in enclosed environments, to suffer until they reach their cruel demise. This inexplicable impact is something both of you share. It's honestly impressive how your games are so similar in plot but so different in flavor.

I agree (laughs). Onto a different subject now, tell us what makes a game built at your studio, or as a freelancer, uniquely good or uniquely difficult.

Kodaka: You think YOKOTARO still remembers anything from your employee days?

YOKO: I do. It felt really limiting, having to commute to work every day and work together with people who didn't vibe with me. The freelance life is a comfort to me. I have the freedom to choose when I go to the office and who I work with. Even when the client pitches a weak project my way, I can change it into something fun as long as I respect the important points of the budget estimate.

You're allowed to alter the client's base concept for the game?

YOKO: They get pissed because I only report that to them after the point of no return, but, y'know… negotiation skills can take you anywhere (laughs).

Ishii: I actually feel like I had more creative freedom in my employee days. I was fiercely determined to create something new, motivated by my need to charisma check the corporation in order to get my projects approved and secure a better budget. I looked really assured, since I thought casually giving them permission to fire me if it flopped was normal. That's also a reason why I wanted to be a director who supports creators after I went independent. But in reality, it's really hard to come across a director willing to quit the company for their mistakes whenever. When I say "If you're willing to put your job on the line, I'll provide you with everything you need", the default answer is "Sir, I have a family to feed". This conflict in worldview was the biggest obstacle of my early independent career.

Uchikoshi: Could it be a generational gap thing?

Ishii: No, a lot of people from my generation are strongly stability-minded, so I think I'm the only one built different.

What compromises have you been through in your freelance career?

Ishii: Once I was no longer capable of making super niche games, my first feelings were conflict and despair. I wasn't sure I'd be able to accept the person I'd become after many so many concessions to my identity, even knowing I had to do it to earn my daily bread. Nonetheless, most jobs I worked with after going solo were commercial successes. And my journey of self-search, analyzing what made them big hits, is still not over.

Kodaka and Uchikoshi went independent with the creation of Too Kyo Games. Did you notice any differences?

Kodaka: In my "salaryman era", when I had something I wanted to do, it was harder to assemble the necessary parts. Nowadays, if I ever feel like making a game for a manga or anime franchise, I can give it a shot. Being able to adjust mine and Uchikoshi's workloads at my discretion also makes life a lot easier. I can tell that trying to direct and write two or more games at the same time is too much for me, but where I have more minor roles, I have the option to move things forward by working on the weekends.

Uchikoshi : By becoming a commissioner rather than a commissionee, I learned that hierarchies were never real. When I relied on the company's salary, I assumed I was supposed to obey their request no matter how impracticable and the people being paid have no right to refuse. Then, at my first job as the one asking for things, I made my first impracticable request and heard a "No, that will not be possible. Not an option." (laughs). Turns out money and labor are items traded at the same rate. One side is not above the other. I want to be able to more confidently say no to impossible jobs.

Now we'll be moving away from the topic of work and talk about the real-life events and pieces of media that resonated with you in the past few years.

Kodaka: I've been too busy for games and movies these past couple of years. The only form of media I've been enjoying lately is wrestling. Each match ends on the same day it starts, and that's enough time to spend not thinking about my job. Things finally calmed down lately, and I took the chance to beat Metaphor: ReFantazio and Like a Dragon: Infinite Wealth back-to-back so I won't get stuck behind the times. As for movies, I watched Mobile Suit Gundam GQuuuuuuX Beginning and Conclave.

YOKO: The movies I recommend are The Wild Robot and Petals and Memories.

Huh, not a lineup I'd have expected.

YOKO: I rarely go to the theaters on my own, so whenever I'm invited to a private screening of a movie, I always try to take the opportunity. The Wild Robot impressed with how much content it could pack in only 2 hours, and I spent the whole second hour crying. I genuinely had to fight not to make any noises in the theater room. Petals and Memories is another emotional piece. When I watch something that plays out too similar to what I write, my head goes into work mode and I can't focus again, but those kinds of titles that have nothing to do with my inner world are incredibly effective at pulling my heartstrings. I heavily recommend both of these titles. Please let me use the magazine's space to deliver lengthy sinopses of them.

What about you, Ishii?

Ishii: Shanghai's immersive theater is impactful. The viewers go to a theater styled like a 5-6 room apartment and walk around the residence, following the plot unfold in real time where the actors go. It's so high quality that it made me feel something I haven't since the first time I played Dragon Quest on the NES.

Kodaka: Were the actors speaking Chinese?

Ishii: I went in accompanied by Chinese-Japanese bilinguals. I had 3 people interpreting it for me, but depending on what was happening on the scene, all three would get too panicked to translate. That part only added to the amazing immersiveness. The theater also has plays that don't rely on spoken dialogue, so I could go along for the ride and get the most out of the interactive experience.

What about you, Uchikoshi?

Uchikoshi : The most recent game that really got me was Nier: Automata.

Kodaka: From, like, 2017?

YOKO: Are you just saying stuff to be funny?

Uchikoshi : I mean it! I don't believe any game has surpassed Nier: Automata yet. It really consumed my brain and I'm not just saying this because you're sitting right here. The story is just so deep and philosophical.

YOKO: I hate to be the bearer of bad news, but I will never make another that lives up to your standards!

Uchikoshi : Can you elaborate?

YOKO: I've grown too old to have skills (laughs).

Be serious (laughs)

Uchikoshi : Also, I don't know if this counts as entertainment media, but I was on a promotional trip to the United States and something happened at the bar I was in. The American friend who took me to the bar suddenly walked to a huge black man and started a rap battle against him.

YOKO: Ok, NOW you're just saying things to be funny!

Uchikoshi : It happened! (laughs)

Ishii: You should have joined them.

Kodaka: Convince them to play Nier: Automata with your rap.

All: (laughs)

Uchikoshi : I couldn't parse what they were saying, and most of all, I was scared… I pretended I didn't know him until the rap battle was over. As Ishii mentioned just now, nothing compares to the immersiveness of a real life experience.

YOKO: So, in summary, what you're is saying people are better off dropping The Hundred Line and going outside?

Uchikoshi : No, I'm saying you should live real life experiences AFTER beating The Hundred Line.

Lastly, tell us your next plans and ideas.

Kodaka: I've been exceedingly busy for the last few years, working on multiple projects, with The Hundred Line at the center of it all, but now I finally settled down for the first time since forever. I gotta take a break from creative work and focus on promoting The Hundred Line until April 24th. Besides The Hundred Line, I also have another game already fully produced, so I will be announcing this one any day now.

YOKO: I do have an ongoing project, but nothing I can discuss at the moment… What kind of answer does the magazine even expect with this kind of question?

Hah, throwing the question back at the interviewer! Well, it's about the obvious, I'm fishing for info on the future of your known titles. An ideal answer would be something like "I want to make a new Nier sequel."

YOKO: Ok, so that's the answer I'm going with. I want to make a new sequel for whichever series you, the reader, personally wants the most.

Now we're talking (laughs).

All: (laughs)

Uchikoshi : Same answer as him.

Kodaka: Didn't you say you wanted to make a game like Detroit: Become Human?

Uchikoshi : That's the one I'm talking about.

What about you, Ishii?

Ishii: I got the perfect content for you. I'm ready to throw a bomb at my fans on April 28th. It's my personal passion project at the moment, but I started already expecting certain people to want to contribute once I have something to show them for it. Let's see how well that goes. Don't miss it.

Uchikoshi : April 28th? That's four… two…

Kodaka: I was trying not to say it.

All: (laughs)

YOKO: That Uchikoshi, doing the job of the Famitsu editors for them!

Uchikoshi : I knew that none of you were going to say it, so I had to… (nervous laughs)

"April 28th" coming from Ishii's mouth is a pretty solid hint.

Ishii: Yes, the 4/28 date matters. I hope my impact in the VN scene doesn't fall behind The Hundred Line.

—————————————————————————–

Links:

Writing team interview

Design team interview

Music team interview

#the hundred line #last defense academy #jirou ishii #yoko taro #kazutaka kodaka #koutarou uchikoshi

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thefirstknife · 2 years ago

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New article with more details (from Jason Schreier who first broke the story). If you can't see it, I'll copy the whole text under read more.

About 100 employees were laid off in total (8%) and one of the main reasons listed is "underperformance," "sharp drop in popularity" and "poor reception of Lightfall."

So you know when for the last year and a half content creators have been shitting and pissing on the game as a full-time job and the amount of negativity and ragebait content became the only thing to make content about for them? Well they certainly won't take the blame, but I will let it be known. These people either don't understand the influence they have or they do and they're doing it on purpose, and I don't know which of these two options is worse, but I am 100% confident that their campaign of rage and hate contributed to this.

You don't base your entire community around constantly hating everything about the only game you play (despite clearly not enjoying it anymore) and somehow avoid galvanising thousands and thousands of people into perceiving the game negatively. Imagine being employees who have barely worked there for 2 years and the only community reception they've seen is 24/7 hate train for their work and then they get fired because of "poor reception" and "drop in popularity." How can they not take that personally? I am absolutely devastated for these people who delievered a banger product and who were met with an unrelenting barrage of toxic gamer children which ended up having more sway over their boss than them.

Which brings me to the next bit and that's FUCK THE CEO. He is now my mortal enemy #1. I am projecting psychic blasts directly into his brain. What an absolute spineless coward who is more willing to bow down to fucking gamers than to protect his own employees. This is absolutely rage inducing because this has happened before. From the article from 2021 about the toxic culture at Bungie:

Reading this shit from the new article absolutely fucking sent me into blind rage because I immediately remembered this. Another instance of employees suffering because of comments on reddit. And because of toxic players. And proof that leadership is not protecting employees and is instead siding with players.

Match made in heaven. Asshole gamer content creators and asshole CEOs, all of whom sit at home on piles of money made from someone else's labour. I hope they all explode. None of the people that worked on this game deserve this.

Another article with an infuriating comment from the CEO:

In an internal town hall meeting addressing a Monday round of layoffs that impacted multiple departments, Bungie CEO Pete Parsons allegedly told remaining employees that the company had kept “the right people” to continue work on Destiny 2.

"Kept the right people." Really. Veteran composers weren't the right people? Die!

Bloomberg article in full:

Bungie’s decision to cut an estimated 100 jobs from its staff of about 1,200 followed dire management warnings earlier this month of a sharp drop in the popularity of its flagship video game Destiny 2. Just two weeks ago, executives at the Sony-owned game developer told employees that revenue was running 45% below projections for the year, according to people who attended the meeting. Chief Executive Officer Pete Parsons pinned the big miss on weak player retention for Destiny 2, which has faced a poor reception since the release of its latest expansion, Lightfall. The next expansion, The Final Shape, was getting good — not great feedback — and management told those present that they planned to push back the release to June 2024 from February, according the people, who asked not to be identified because they weren’t authorized to speak publicly. The additional time would give developers a chance to improve the product. In the meantime, Parsons told staff Bungie would be cutting costs, such as for travel, as well as implementing salary and hiring freezes, the people said. Everyone would have to work together to weather the storm, he said, leaving employees feeling determined to do whatever was needed to get revenue back up. But on Monday morning the news got worse: Dozens of staffers woke up to mysterious 15-minute meetings that had been placed on their calendars, which they soon learned were part of a mass layoff. Bungie laid off around 8% of its employees, according to documentation reviewed by Bloomberg. Bungie didn’t respond to requests for comment. Employees who were let go will receive at least three months of severance and three months of Bungie-paid COBRA health insurance, although other benefits, such as expense reimbursements, ended Monday, sending some staff racing to submit their receipts. Laid-off staffers will also receive prorated bonuses, although those who were on a vesting schedule following Sony Group Corp.’s acquisition of Bungie in January 2022 will lose any shares that weren’t vested as of next month. The layoffs are part of a larger money-saving initiative at Sony’s PlayStation unit, which has also cut employees at studios such as Naughty Dog, Media Molecule and its San Mateo office. TD Cowen analyst Doug Creutz wrote in a report Monday that “events over the last few days lead us to believe that PlayStation is undergoing a restructuring.” PlayStation president Jim Ryan announced last month that he plans to resign. Many of the layoffs at Bungie affected the company’s support departments, such as community management and publishing. Remaining Bungie staff were informed that some of those areas will be outsourced moving forward.

#destiny 2 #bungie #long post #and like i don't care what's anyone's opinion on lightfall. it doesn't matter #the expansion is fine. there's some bad shit in there as there is in every expansion #literally nothing on this earth was so bad to deserve the amount of vitriol that lightfall got #it was purely motivated by hate and rage from people who have clearly lost their interest in the game a long time ago #no one else normal enough would respond even to a weaker expansion this way. and lightfall wasn't even weaker #literally nothing ever released in destiny deserves to have comments bad enough to end up affecting employees #there's been some bad expansions/dlcs/seasons. whatever. none of them were like... gollum level. not even close #people genuinely treated lightfall like it personally killed their dog. it was insane. the reaction to it was insane.#it stemmed from people who should have stopped playing a long time ago and stopped being content creators for one game #i can't even properly explain just how long and tireless the ragebait content campaign for destiny has been #opening youtube and seeing 10 videos in a row of just complaining and bitching #opening twitter and seeing thousands upon thousands of posts and comments dedicated solely to hating the game #imagine being an employee trying to maintain some communication with the community #hippy was relentlessly bullied by people I've seen suddenly lamenting that she was fired. you caused this #they will never accept even a miniscule portion of the blame for this ofc. they will just keep claiming they don't have that influence #but they do. it's been proven years ago. in the same way #community comments DO reach devs and community comments DO influence what happens to them and the game #'the event is bad' 'meta is bad' 'pvp is bad' 'raid is bad' 'story is bad' stop playing. no longer asking.#it's a video game. if you hate it stop playing. you don't have to justify it to hundreds of thousands of people and take them with you #especially when it leads to employees taking the fall #so to all content creators who are appalled and baffled after spending 2 years hating the game: you did this.#and to the ceo even more: explode into dust and be forgotten

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askagamedev · 9 months ago

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Is classic game porting/remastering becoming its own specialization? What I mean is, of course it's happening more these days, so/but is space growing to be someone who specializes in these projects? Or is it still niche enough that the small number of teams/staff who do it will continue to do it?

The answer here is "kind of". Here's the main issue - game development is expensive. AAA studios are expensive and cost a lot to run, assigning a AAA studio a remake/port project is not really worth it when compared to the estimated return on investment. Instead, what game publishers often do is contract out the remakes/port job to an independent third-party studio. This has two major benefits.

First, it costs notably less than the publisher putting their own internal AAA studios on it. When you're doing a remake/port, you often don't need super high fidelity assets or extremely large scope - the majority of the gameplay design and systems already exist. Contracting the project out to an external studio means the publisher can just pay a flat amount and doesn't have to worry about things hiring new people, handling benefits, setting up the studio, etc. The external studio gets to do that, and often has their own stuff in place already. This works very well for the independent studios too - they can take jobs like this in order to pay the bills and fund their own game development. Behaviour, independent developer of Dead by Daylight, also has a second team that does work like porting and remakes/ports for other studios. Their porting and remake team provides the income to keep the studio afloat during leaner times.

Second, it allows the publisher to give these external studios a chance to prove themselves - can they deliver a promised project in time, budget, and quality? If they can, this studio may be worth acquiring or working with again. The Legend of Zelda: Echoes of Wisdom was developed by Japanese independent studio Grezzo, but this is far from their first game for Nintendo. They ported Ocarina of Time 3D, Majora's Mask 3D, and Luigi's Mansion for the 3DS, and they did the port for Link's Awakening to the Switch. The team that built Sonic Mania first proved themselves to Sega by doing iOS ports of Sonic CD, Sonic 1, and Sonic 2 before being given the Sonic Mania project.

With these two reasons in mind, doing remakes/ports do two things. First, they can earn money to pay the bills in a situation where it isn't worth it for the publishers to build them internally, allowing these studios to build their own projects or just have a more stable sustainable situation. Second, it provides a "minor league" situation where these external studios can prove their ability to the publisher in a lower-stakes situation in order to be entrusted with a higher and more interesting project later. As long as remakes and ports of games continue to do well, this kind of work will be in demand.

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#porting games #game remakes #the business of video games #independent studios

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luckyladylily · 1 year ago

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I'm going to make a prediction right now: in 10 to 15 years we will look back on the 2020s as a time where games massively overused and ineffectively applied nonlinear design, with so called "open world" games created in this time period especially dropping in public estimation. It will largely be recognized that non linear and open world design comes with huge negatives, both inherently as these design principles make meticulous and finely honed design a virtual impossibility, and practical, as the cost of creating open worlds is prohibitive, practically requiring a developer to cut corners or create a very shallow game (gameplay wide as an ocean but shallow as a puddle.)

Elden Ring in particular is going to fall from grace, understood to have been massively overhyped and it's open world a bad fit for it's core mechanics and not particularly well realized. Reasonable people will still recognize it as good or even great, but a far cry from the best game ever made hype it often gets. There will also be a lot of people overreacting who say it was mediocre or outright bad.

Breath of the Wild will mostly get a free pass for having come so early and having based all the core mechanics and story around the open world, but Tears of the Kingdom will not get the same understanding treatment. Really, this one is already happening, with many of the core complaints against totk stemming from the non linear design, the open world, or corners cut to facilitate these design principles.

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atiny-for-life · 1 month ago

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Mini Lore Nugget #8:

Mini Lore Nuggets - Masterlist

In the Fever Part.2 Diary Entries, we learned that Z-World's government really started shooting up on the waking-nightmare-scale after they began running AI simulations to come up with the "best" policies to implement for maximum control and efficiency.

What resulted from these simulations was that the AI determined all crimes and terrorism were strictly the result of human emotions. Therefore, the best way to rid the world of such suffering must be to eradicate emotions and all which might evoke it.

Z's government developed technology to essentially numb the population - the chips we later learned about in the World Ep.1 Diary Entries. In the Fever Part.3 Diary Entries, we then got some additional info on the AI software used by the government: it was an AI system which utilized deep learning technology and ran uncontrolled for a while as the government awaited its results.

During this time, the system began treating human emotion as a bug - perhaps because it couldn't understand it - and it also started estimating humans' individual energy, thereby reducing it to a product. And since it found it to be a product, it also began treating it as a tradeable commodity.

Instead of questioning these results, the government was more likely delighted, because they immediately took over this new energy trading platform, banned all arts and emotions, and wilfully stripped the population of its humanity by treating them as nothing more than components needed to maintain the governments' idea of a utopia.

youtube

Out here in the real world, we've also begun to see the crazy amount of negative consequences since AI technology has become widely implemented in pretty much all areas of life:

#1 - Use of AI in Healthcare

In the US, the healthcare system has been relying on AI powered algorithms to guide health care decisions, but due to the data sampled by the AI, extreme racial bias has crept in and is actively putting black lives at risk. To quote Science Journal:

At a given risk score, Black patients are considerably sicker than White patients, as evidenced by signs of uncontrolled illnesses. Remedying this disparity would increase the percentage of Black patients receiving additional help from 17.7 to 46.5%.

Furthermore, the data sourced by AI for global use (such as in risk-prediction) is often extremely biased in other ways as well: radiology manuscripts are over represented, the majority of documents sourced are authored by men, and data-poor regions are grossly underrepresented, meaning the majority of information sourced comes from the US and China. [Source]

#2 - YouTube's Algorithm Is Messed Up

According to the Tech Transparency Project which has gathered data from another study:

YouTube recommended hundreds of videos about guns and gun violence to accounts for boys interested in video games. Some of the recommended videos gave instructions on how to convert guns into automatic weapons or depicted school shootings. Many of the videos violated YouTube’s own policies on firearms, violence, and child safety, and YouTube took no apparent steps to age-restrict them. YouTube also recommended a movie about serial killer Jeffrey Dahmer to minor accounts.

Further watching on dumb stuff YouTube AI features have done to fuck people over:

youtube

#3 - Ethics Has Left the Chat

#4 - The Physical Cost of Generative AI

Where Meta has recently constructed a 2 million square foot data facility in Georgia, a nearby living couple have documented the devastating consequences to the environment and their lives.

Facilities like these are used to power stuff like Chat GPT, Gemini, etc.:

In order for them to function as needed, they put a huge toll on the power grid and require the construction of an entirely new infrastructure atop the usual servers, storage systems and networking equipment.

For one, AI data centres require high-performance graphics processing units (GPUs) which come with their own required infrastructure needs (advanced storage, networking, energy and cooling capabilities). The sheer number of GPUs necessary for AI use alone then already add a ton more square footage to the size of the data centre.

On top of that, living in a county with a data centre like this in the US drives up the cost of electricity for everyone in the county.

And what does all this mean for the environment? Deforestation. Light pollution. Air pollution. Here is a still frame from a video shot by a woman living over 366 meters away from an AI centre's construction site:

All this pollution then started seeping into the ground water, resulting in this:

And what does that mean for someone living nearby? Dishwashers breaking. Washing machines breaking. Water pressure dropping to the point where you can't even flush a toilet anymore because all the pipes are clogged with sediment.

On a global scale, it should also be noted that:

According to the Washington Post in collaboration with the University of California, Riverside, writing a single 100-word email in Open AI's ChatGPT is the equivalent of consuming just over one bottle of water.

Shaolei Ren, an associate professor of engineering at UC Riverside, says that while "We haven’t come to the point yet where AI has tangibly taken away our most essential natural water resources," the use of AI in places with frequent droughts has caused rising tension between communities who need the water and data centers. Not to mention, hardware production pollutes water, per a study initially published in January 2015 in the Journal of Cleaner Production, due to the extraction of precious minerals like boron, silicon, and phosphorous.

[Source]

UPDATE:

A new video has been released which takes a look at Memphis where Elon Musk had the data center built that allows for Twitter's Chat-Bot Gronk to exist, and here is what was discovered:

No regulatory body has been informed of what is operating within that facility.

Large turbines are causing noise pollution (far more turbines than is reasonable).

The building emits a disturbing smell.

Aerial and thermal footage obtained of the site has revealed that:

The air quality in the entire area has been severely degraded to the point of causing health issues for people living in the area:

Continuing, Alexis shared her grandfather's story of how he developed Chronic Obstructive Pulmonary Disease (COPD) despite being a non-smoker-

- and continuous by saying her, her mother, and grandmother all three also developed respiratory illnesses (asthma and bronchitis in Alexis's case and just bronchitis in her mother and grandmother's case):

Another local is dealing with much the same issue:

If you're still not convinced of how truly horrific the situation is:

And if you're now wondering how all this could happen, I've got one word for you: DOGE. Together with the Trump administration, funds for the EPA have been slashed to the point where they're basically non-functional:

Presently, should everything continue on this set path, then...

These videos provided the screenshots used above:

youtube

#5 - Use of AI in Warfare

Israel has been using untested and undisclosed AI-powered databases in order to identify targets and plan bombing campaigns throughout Gaza, which has reportedly led to the loss of thousands of civilian lives.

And who provided this technology? Google. For fear of losing business to Amazon. And not just them. Microsoft too has been collaborating with the Israeli military, as has Amazon who collaborated with Google in 2021 to establish "Project Nimbus" which continues on to this day with zero transparency or accountability.

Sources: x | x

Beyond that, even after the bombs were dropped, drones would come in to specifically target surviving children and it is known that Israel utilized AI-powered drones for carrying out precise assassinations and various combat missions.

The video below is timestamped to when this surgeon retells the horrors of what happened to the children while he was working in the Gaza strip:

youtube

Outside of Israel, Ukraine has also been using AI-technology in its warfare:

Further reading:

Final Note:

Not all AI is bad, of course. There have been major breakthroughs in all fields of science thanks to AI which will bring about positive change for (hopefully) all of humanity.

But the problem is that the technology is developing far too quickly for lawmakers to keep up with (as planned, most likely, by all the billionaire tech bros on this planet) and generative AI in particular should have never been made publicly accessible. It should have remained in the hands of trained professionals who know how to use it responsibly.

#ateez #ateez lore #Youtube

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cerinslair · 3 months ago

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Heart Heist: The Zine Update 1.1 Out Now!

While work on the Complete Edition continues, Heart Heist: The Zine has also received its first major update!

Now that I understand itch's platform a bit better - as well as the scope of this project - it no longer seems correct to update the zine itself directly into the Complete Edition. I think it makes more sense to split Heart Heist into two bespoke editions: the cheap, easy to distribute, lowest-possible-barrier-of-entry Zine Edition; and a Complete Edition that is free to grow into whatever it ends up becoming. I don't want anyone who supported this project already to feel cheated out of the Complete Edition, which is why anyone who purchased (or purchases) the Zine Edition on itch will get $5 (the full price of the zine) off of the Complete Edition when it releases.

This does not mean that the zine is an unfinished version of a full game. Now it is quite the opposite - it is its own, complete thing (and has had its release stats on itch updated accordingly). It has everything you need to play, and can stand on its own. Some might come to call it a "rules-lite" version, and while I don't want to fall into the rabbit hole of definitions, it is looking very likely that the Complete Edition will have at least three more mechanics than its zine counterpart. Some players might even come to prefer one version over the other - relative simplicity and ease of use vs. mechanical depth and additional useful tools. Only time and continued development will tell.

While the Zine Edition obviously won't have everything the Complete Edition will have in it, it will still benefit from some of the updates work on the Complete Edition produces - such as the changes that released today!

Thank you for continuing to support Heart Heist!

Changelog:

Created a Google Sheet that helps automate calculating each Thief's Favor at the end of the game if you don't feel like doing math

Updated estimated play time based on additional playtesting with more groups of different players - down from 5 or 6 to 4 hours!

Added expectation of an additional 30 to 60 minutes if the entire group is new to playing Heart Heist

Added section strongly encouraging players to read their intel before meeting up to save time at the table. This section also explains that heists cannot be "spoiled," and are reusable!

The Evocative Language Update

"Stats" → "Vibes"

"Game Master" → "The Guy in the Van" (GV)

Removed unnecessary references to upcoming material meant for the Complete Edition

Rephrased explanation of "Fake It 'til you Make It" for clarity

Fixed unspecified print error on page 5

Added missing paragraph break on page 9

Fixed various typos

Removed grey sketch line from corner of Bingo.png

Fixed missing Alt Text for Bingo.png

Clarified that armor counts as a set of clothes

Specified how long it takes for a glass cutter to cut holes of various sizes

Reduced cost of the Aptitude spell from 3 to 2 Favor

Added advice for players to - at minimum - figure out how they will get in, how they will acquire the target, and how they will get back out again within their planning time limit. You'd be surprised how many groups forget one of those three things!

Added reminder for the Guy in the Van to award bonus Favor for the Dragon's Patron effect at the end of Phase 2: The Plan

Various tweaks to The Princess in the Box example heist based on continued playtesting

Added a timeline overview of the heist to The Princess in the Box

Increased margin size of The Princess in the Box intel handout for easier note taking

Updated the titles of some of the art pieces in the credits

#heart heist #indie ttrpgs #dev update #ttrpg #indie games #itch.io #cerinsposts

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usafphantom2 · 4 months ago

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Introducing F-21: The Latest 4th Generation Fighter Plane from Lockheed Martin

Lockheed Martin F-21

Taking its game forward, Lockheed Martin has proposed an improved version of the popular F-16 at Aero India 2019 called the F-21 and claims it will be the most advanced, 4th generation Fighter Aircraft in the world.

Lockheed Martin had earlier offered its F-16 has claimed that the F-21 will be specifically configured for the Indian Air Force and will strengthen India’s path to an advanced airpower future.

An option for new production, the F-21 will have a slew of the latest state of the art technological advancements and improvements that include a new radar system, stealth detection capabilities, and electronics design that add a lot of value to the already iconic aircraft.

F-21 will be based on a proven platform, with a new branding

TATA-Lockheed Martin F-21

“The F-21 is different, inside and out,” said Vivek Lall, vice president of Strategy and Business Development for Lockheed Martin Aeronautics.

Lockheed Martin has long said it plans to shift its F-16 production lines to India in cooperation with Tata. It has gone so far as to suggest it could establish an F-16 production line in the country regardless of whether it wins the MRCA deal or not.

For years, Lockheed Martin has been lobbying India for MMRCA contract in excess of 100 fighter jets. India traditionally bought its defence technology from and Russia, but recently, it has been buying American military technology, including the P-8 Poseidon and AH-64 Apache attack helicopter.

Now that there is a difficult competition between Lockheed Martin’s F-16, Boeing’s F/A-18E/F Super Hornet, the Swedish Gripen, French Rafale, European Eurofighter Typhoon, and Russian MiG-35. Lockheed Martin had to increase the stakes.

F-21 will be nimble, carry decent ordnance, and have lower costs to maintain

Weapon Systems of Lockheed Martin F-21

The F-21 will incorporate an upgraded mission computer, a state of the art avionics and includes multi-function displays. With a Central, Pedestal Display will help improve the crew’s situational awareness through Real-Time processing of the flight data.

In addition, the F-21 will also come with an upgradable display generator, a link-16 data link, HF/UHH/VHF multiple frequency radio communication support as well as IFF (identification friend or foe) enhancements.

The three original computers will be replaced with a single modular mission computer which provides far higher computing power to the avionics and weapons systems in addition to providing accurate targeting, air to air strike performances and information capabilities.

According to Lockheed Martin, the F-21 will be capable of providing affordable and scalable advanced combat capabilities through its Active Electronically Scanned Array radar. The Central Pedestal Display also provides a high-resolution display with colour maps, zoom functionality and Night vision systems, thereby helping to keep the aircraft in an enhanced state of Battle Awareness.

The Aircraft will also be capable of integration with the FLIR laser system and navigation as well as reconnaissance pods. The F-21 is also upgraded with state of the art threat warning systems, jammers, electronic countermeasure equipment pods and chaff and infrared flare dispensers to take care of complex and varied battlefield situations.

What will be the future of F-21?

As of now, the F-21 is just a concept. The F-21 will be tailor-made to meet the requirements of the Indian Airforce and will be a 4.5+ generation fighter if the company wins the estimated $18-billion order for the 115 planes.

Officially known as the “Fighting Falcon” commonly known as the Viper by pilots and crew, The F-16 is one of the most renowned and battle-tested supersonic fighter aircraft in the world. This single engine, multirole aircraft developed by Lockheed Martin (formerly General Dynamics), was developed originally for the United States Air Force and is now regarded as the most successful all-weather multirole fighter aircraft.

Entering into production almost four decades back in 1976, more than 4500 F-16 aircraft have been built and although no more bought by the United States Air Force, improved versions are being built for various export customers.

@defenseaviation.com

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grits-galraisedinthesouth · 1 year ago

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The Sussexes🍋 have delivered little since signing w/the steamer in 2020

"Meghan and Harry’s $100 Million Netflix Deal Is a Hollywood Miss | Emily Smith Feb 28, 2024

When Prince Harry and Meghan Markle’s lucrative Spotify deal fell apart in 2023, Bill Simmons, The Ringer’s founder and managing director, was incensed.

“I wish I had been involved in the ‘Meghan and Harry leave Spotify’ negotiation,” Simmons, the head of podcast innovation and monetization at Spotify, which owns The Ringer, said on his self-titled show. “‘The F–king Grifters.’ That’s the podcast we should have launched with them.”

Simmons’ astonishing comments followed the collapse of the Montecito, California-based Duke and Duchess of Sussex’s $20 million deal with Spotify, signed in December of 2020. They delivered just 12 episodes of Markle’s “Archetypes” podcast.

But the Spotify contract paled in comparison to the estimated $100 million Netflix agreed in September 2020 to pay them, a deal which produced a documentary series “Harry & Meghan” two years later — and little else since then.

Aside from the docuseries, the exclusive Netflix deal produced the “Heart of Invictus” in August 2023, which covered Prince Harry’s games for wounded warriors, and “Live to Lead,” about inspiring world leaders and featured interviews with Ruth Bader Ginsburg and Gloria Steinem. That series premiered on Dec. 31, 2022.

Unproduced is an animated series created by Markle titled “Pearl,” which Netflix axed in May 2022 as part of a series of cutbacks. There is little else close to production.

What’s gone wrong? TheWrap spoke to multiple insiders who say the Sussexes have worn out their welcome in Hollywood with an iron-fisted desire for control, combined with a lack of experience. A revolving door of executives have departed the couple’s production company, Archewell, in the past two years while a long list of exhausted agents, producers and other industry veterans have stamped it with a “life’s too short” reputation.

The Sussexes founded Archewell Productions in the name of their four-year-old son, Archie. It includes their nonprofit charitable foundation, plus a for-profit arm focused on media projects.

“Everything with them was fraught and complicated because they wanted complete control,” one Hollywood creative who has worked with them, who declined to be identified, told TheWrap.

Another insider with knowledge of the management of Archewell agreed, saying the couple have proven to be stubborn to the point of alienating others.

“It appears that they just want what they want and won’t take advice,” the insider said.

“Taking on Harry and Meghan was a great coup for Netflix,” public relations and image guru Mark Borkowski told TheWrap. “It probably got a lot of eyeballs and subscriptions, but they [Harry and Markle] never delivered.”

Borkowski added that the clients he works with are closely watching their budgets and costs, but, given the former royals’ lifestyle, “The amount of income this pair has to raise is enormous.”

An insider with knowledge of the Netflix deal with Archewell said it is an “overhead agreement,” meaning not all the money would go to the Sussexes, but it also helps fund their staff, office and development fees.

Archewell and the Sussexes declined to comment for this story.

The former royal couple were initially a hot property. Before signing with Netflix, they also had discussions with Apple, Disney and NBCUniversal, The New York Times first reported. Meghan previously narrated a documentary about elephants for Disney+, and Harry collaborated with Oprah Winfrey on a docuseries about mental health for Apple TV+.

The “Harry & Meghan” docuseries, directed by Liz Garbus, was a legitimate hit, setting a record for the biggest debut for a Netflix documentary with a total 81.6 million hours watched on its first four days of availability, amounting to more than 28 million households watching.

The series was an intimate glimpse inside the Sussexes’ marriage and made headlines for their criticism of the British royal family for failing to support them, including allegations of racism and a narrative that the couple was essentially forced to leave England for the U.S.

But production was apparently difficult. One individual with knowledge of the series said dealing with the former royal couple was a “nightmare” as they were fiercely protective of their story.

“Harry and Meghan made the collaborative process very hard, to the point that there was no collaboration at all,” the insider said.

Other projects have not gotten off the ground.

Netflix and Markle announced “Pearl” with much fanfare in 2021. The animated series — co-executive produced by Markle and David Furnish — was to center on the adventures of a 12-year-old girl who finds inspiration in a variety of influential women throughout history. Netflix canceled it the following year while it was still in the development stage.

There have been reports Netflix bought the romantic Carley Fortune book “Meet Me at the Lake” for $1 million for the pair to produce into a movie. Other plans included a TV drama feminist retelling of Miss Havisham from Charles Dickens’ “Great Expectations” and a documentary about Prince Harry traveling solo in Africa. But these all seem far from getting off the ground.

Another Archewell insider told TheWrap that “Meet Me at the Lake” was “in active development,” but has not yet been cast. And Harry’s trip to Africa has not been scheduled. Some projects will be announced in the next few months, the insider added.

“They have a couple of unscripted things they’re working on,” Netflix’s chief content officer Bela Bajaria said at the “Next on Netflix” event on Feb. 1 of Markle and Harry, including “a movie in development” and “a [scripted] series.”

Bajaria emphasized that these projects were still in “early development,” which raises the question what exactly has been going on between Archewell and Netflix? COVID struck at the start of their deal, Markle went on maternity leave and then the writers’ and actors’ strikes halted production for much of last year. But with all that, it is it is remarkable how little the couple have actually made work for the streamer.

Reps for Netflix, which has also pulled back on its TV and film expenditure during the work stoppages, declined to comment. Harry and Markle do not have guild relationships so any non-U.S. productions would not have been affected.

Markle recently announced she’s joining forces with Lemonada Media — whose tag line is “Making Life Suck 🍋 Less” — for a new podcast, and it will also rerun her “Archetypes” podcast. The company, founded in 2019 by Jessica Cordova Kramer and Stephanie Wittels Wachs, is small and is not expected to be a big pay day for Markle.

The actress is still earning residuals from “Suits,” which recently found an entirely new audience on Netflix.

Archewell turnover: Meanwhile, there has been a dramatic executive turnover at Archewell — particularly those negotiating TV, film and media deals. Mandana Dayani, a human rights activist and business executive, was the president of Archewell from May 2021 to December 2022 and stepped down just days before Harry and Markle’s docuseries aired, with no reason offered.

The company also lost its BAFTA-winning head of content Ben Browning in January 2023 after his contract expired. Browning, who worked on “Harry & Meghan” and the “Archetypes” podcast, returned to his former employer, FilmNation Entertainment as president of production.

Bennett Levine, their production manager, also left in January, as did Rebecca Sananes, Markle and Harry’s head of audio who left to work as a freelance writer and podcast producer after the “Archetypes” podcasts were concluded.

The company has also parted ways with their SVP of scripted television, “Fargo” producer Nishika Kumble, who lasted less than two years in the role.

“Meghan and Harry don’t have a quality team around them,” Borkowski said. “They drive this ship, they are in the wheelhouse. Whether you are the Obamas or Meghan and Harry, you have to defer to people who can really get the job done.

“They just need to sort out a proper production company, they need significant hires,” he added. “People who can actually develop scripts, wrangle talent.”

The Archewell insider insisted the couple has hired talented new executives. Tracy Ryerson was brought in as the new head of scripted content. She formerly worked at the production company behind “Peaky Blinders,” Caryn Mandabach Productions, and starred in a reality show titled “The Real L Word.” Former Disney+ executive Chanel Pysnik joined in 2021 as head of unscripted.

The Sussexes made a surprise appearance at the Jamaica premiere of the Bob Marley biopic “One Love” in late January, sparking speculation about a possible deal with the film’s distributor Paramount Pictures, especially given that they reportedly travelled with the company’s boss Brian Robbins — who is a neighbor in Montecito — via a Paramount private jet.

Yet parent company Paramount Global is strongly rumored to be up for sale, so it is unlikely to be a safe landing pad for the couple.

Last August it was announced that WME signed Markle to be repped by Endeavor CEO Ari Emanuel, Brad Slater and Jill Smoller. Archewell is also being repped by the agency, which didn’t comment to TheWrap.

“She is extremely ambitious and knows what she wants,” an industry insider told TheWrap of Markle’s discussions with the talent agency. “But there have been issues with executive turnover inside Archewell.”

In the meantime, The Sussexes need to make money to keep up their California lifestyle and their $14.65 million mansion. The U.K.’s Daily Mail reported that they made around $20 million from their tell-all documentary, while Harry made an estimated $15 million from his memoir “Spare.”

“I think possibly Netflix has dodged a bullet,” Borkowski said. “They know their content, they are data wonks, they know where the interest is. So they’ve got a very good idea or not whether there is a huge amount of excitement around Meghan and Harry.”

The viewing public may not be interested in a romantic movie from the Sussexes, he said. “They create a lot of column inches, but do people want content from them unless it is revealing something extraordinary [about themselves or the British royals]?” he said. “I don’t know how much more they can reveal.”

https://www.thewrap.com/

After Prince Harry and Meghan Markle pulled the plug on their $20 million podcast deal with Spotify this week, Bill Simmons, the streamer’s head of podcast innovation and monetization and CEO of The Ringer, called them “f—ing grifters” on the latest episode of his podcast.

The deal, which was struck in 2020, resulted in only one show, the one-season, Markle-hosted “Archetypes.”

“I wish I had been involved in the ‘Meghan and Harry’ leave Spotify negotiation, the f–ing grifters,” he told guest Joe House on Friday’s episode of “The Bill Simmons Podcast.” “I gotta get drunk one night and tell the story of the Zoom I had with Harry to help him with a podcast idea. It’s one of my best stories. F— the grifters.”

The Wall Street Journal reported on Thursday that Harry and Meghan would not receive the full $20 million from their payout. The two signed a deal with Netflix in 2020 to produce documentaries and series, and released their first show — a docuseries called “Harry & Meghan” — earlier this year.

Simmons, who founded sports and pop culture website The Ringer, sold it to Spotify in 2020 for $250 million. He’s in charge of several Ringer-branded podcasts at the podcast giant.

https://x.com/rBillSimmonsPod/status/1669665129393160192?s=20

#sussex sucks🍋#megxit #netflix #spare us #meghan markle #worldwide privacy tour #like a spare #brf #money laundering #Tyler Perry #Bill Simmons #grifters #megflix bust #markled

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mariacallous · 11 months ago

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NATO is developing a political strategy to counter Russia under the assumption that the Kremlin’s foreign policy will stay Vladimir Putin-like—if not run by the Russian president himself—for the long term.

It’s a part of a broader NATO effort to move away from the post-Cold War peace dividend of the 1990s, when allies tried to placate Russia by establishing diplomatic relations and removing troops from Eastern Europe. After the start of Russia’s full-scale invasion of Ukraine, the allies must now find a way to deal with a Moscow that will almost certainly remain hostile and a threat to NATO for the foreseeable future.

“We all understand that Russia will not change, even when someone will replace Putin one day,” said Estonian Defense Minister Hanno Pevkur. “When there is no change on the political system level, then we will see no change.”

But across 32 nations, NATO needs to figure out what kind of plan it’s pursuing. Is it a containment strategy as the 71-year-old Putin ages? Do the allies wait for Putin to die?

Russia is already putting pressure on the West to break its consensus over Ukraine and soften anti-Kremlin tilt. Moscow has launched more concerted hybrid attacks than the alliance has seen at any point since the end of the Cold War, according to both current and former NATO officials. That effort has included cyberattacks, sending waves of immigrants to the border with Finland, removing border buoys along the Narva River with Estonia, suspected arson attacks, and assassination plots.

Some of Russia’s actions over the course of the covert campaign might even rise to the threshold of armed conflict, but the first step, officials said, is to stay cool.

“Russia is trying to make us run around like wet hens and lose our heads,” said Tobias Billstrom, Sweden’s foreign minister. “These are attempts by the security services and the military forces of Russia to try and keep us busy, so that we will fail in our support to Ukraine and ultimately bow down to Russia’s wishes.”

The other prong in Russia’s plan to undermine NATO is an effort to continue to build its conventional strength. NATO expects Russia to field thousands more troops—to fight in Ukraine or elsewhere—by the time that the alliance’s new Russia strategy is ready. Moscow is still likely recruiting about 30,000 new troops a month, according to a senior NATO official. “They can probably continue to absorb these very high losses for quite some time,” added the official, who spoke on condition of anonymity based on ground rules set by the alliance.

NATO estimates that Russia can continue to subsist in a wartime economy for at least another three to four years. Putin is banking on exhausting Ukraine with Russia’s greater numbers of troops and resources—even if there’s a staggering cost in lives.

Yet the numerical edge hasn’t helped the Russians gain ground in Ukraine so far this year. NATO officials assess that Russia has not achieved a single one of its strategic objectives in Ukraine. The Kremlin’s offensive around Ukraine’s eastern city of Kharkiv has advanced several miles, but progress has mostly fallen off because Russia doesn’t have enough troops—or enough quality troops, said Royal Netherlands Navy Adm. Rob Bauer, the chair of NATO’s Military Committee.

“The Ukrainians understand what they’re fighting for,” Bauer said. “The Russians have no clue.” He added that Russia had to take troops from another part of the front line to mount the Kharkiv offensive and didn’t have the proper trainers and training facilities that it needed to generate tough enough soldiers to break through Ukrainian lines.

Both sides are looking for openings to launch another counteroffensive, but it’s not likely to take place until they deal with manpower shortages. Ukraine is also waiting for Western munitions to arrive en masse. Russia has improved its coordination of cruise and ballistic missiles with drones since the beginning of the war, too, in an effort to overwhelm Ukrainian defenses.

But even as Russia has combined artillery, infantry, and air attacks in Ukraine, NATO officials believe that Moscow is still not conducting effective maneuver warfare that sees a precise sequence of shelling and tank thrusts before ground troops move ahead.

“Ukraine is actually not a joint fight,” Bauer said. “It is actually a ground war, in essence. If they want to fight NATO, they need to do more than what they do now. They need to be able to fight with air, maritime, and land, and space, and cyber in a synchronized way, which we haven’t seen in Ukraine.” Russia would also need a combined military approach to fight NATO, Bauer said.

Western officials and experts believe that Russia will need to rebuild equipment, train more soldiers, and get proficient in new weapons systems to fully regenerate. Bauer said that Russia could get its military back in the shape it was before the Ukraine invasion within three to five years after the shooting stops, but getting to the status of a complete, modern military that could challenge the alliance with the threat of a full-scale invasion would take more time.

And Russia is running out of its vast stocks of Soviet-era weaponry, forcing the Kremlin to limit its war aims. But it has also held back stocks of drones and missiles in order to conduct major attacks, such as the one on a Kyiv children’s hospital earlier this month.

Ukraine’s long-range strikes have had an impact, NATO officials said, cutting Russian oil refining capacity by about 17 percent and forcing the Kremlin to impose domestic restrictions on gasoline exports. NATO nations are also looking to curb Russia’s so-called shadow fleet of 400 to 600 vessels that are helping the Kremlin get around sanctions by illegally transiting oil by sea.

But even with the economic hemorrhaging, there’s little doubt that Russia will continue beyond Ukraine. “They’re crazy,” said Ukrainian Strategic Industries Minister Oleksandr Kamyshin. “They’ve been fighting with us for decades—for centuries. They’ve been fighting everyone around, from Afghanistan to Georgia. We have to be ready for that.”

The lesson learned from Russia’s two invasions of Ukraine—the initial attack on Crimea and the eastern Donbas region in 2014 as well as the full invasion eight years later—is that Putin could use the same pattern in an attack on NATO territory, said Pevkur, the Estonian defense minister: biting off a small piece of territory and then going for more. There is a fear that Putin might be able to destroy one part of NATO before the alliance’s political leaders have the ability to respond.

“For us, there is no difference [if] they are coming to Tallinn or [if] they are coming to Berlin,” he said. “There is no difference if it’s just a localized partial attack or a full-scale attack.”

Other allies agree. “You can’t rule out anything when it comes to Russia,” said Billstrom, the Swedish foreign minister. “The only thing Russia understands is power and strength.”

The alliance’s military plans are still currently in peacetime mode, Pevkur said. The question is whether NATO nations will have the political willpower to make the tough decision to activate Article Five in a wartime scenario—and to resist Russia’s efforts to paralyze the North Atlantic Committee, the panel of military decision-makers who would make that call.

“I hope that everyone behind that table—32 members—are crystal clear that if there is a need, we have the votes,” Pevkur said.

NATO is still filling in some of the gaps in its war plans to make apparent to Russia the costs of dipping its toe into a wider regional conflict. The alliance needs more munitions and air defense, weapons that are in short supply all over the world. It even needs to look toward putting down more of its own military bases in Europe, U.S. House Foreign Affairs Committee Chairman Michael McCaul told Foreign Policy in a recent interview.

The West has to be ready to respond to Russian nuclear coercion. And it has to be ready for a challenge in any domain, or at any level.

“The reality is we have to be ready for a hybrid challenge, a conventional challenge, possibly a nuclear challenge, or all three,” the second senior NATO official said. “That’s the way the Russians think: They see a continuum of war.”

NATO can dial up and dial down the response, but officials say that the allies have to be postured permanently to manage Russia’s activity and threats. “We have to get away from this idea that it’s either on or off,” the second senior NATO official added.

That’s a stark contrast from where NATO allies have been for decades: letting war plans and troop contingents on the eastern flank atrophy.

“There was hope after [former Russian President Boris] Yeltsin came,” Pevkur said. “There was hope after the collapse of the Soviet Union.”

What NATO countries hope—especially the front-line Baltic states—is that the allies have learned their lesson about Russia.

“This is the consequence [of] what we did, hoping that Russia will be on a new political system,” Pevkur added. “They weren’t.”

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the-olympics-olympics · 11 months ago

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The 1984 Winter Olympics, considered a success, made it possible to further modernize Sarajevo and develop winter sports in Yugoslavia, but the war in Yugoslavia, which broke out in 1992, heavily damaged the city and the Olympic facilities. Some sites have been renovated after the war but others remain abandoned, the former bobsleigh/luge track being one of the more well-known abandoned sites

“The Olympics can no more run a deficit than a man can have a baby,” Mayor Drapeau had said. The final cost of the Games would come in a staggering 13 times the original estimate because of incompetence, inflation, fraud, kickbacks, horrid weather, security concerns and militant unions. It was not all Drapeau’s fault but the blame, deservedly, given the power he wielded at the time, would attach almost entirely to him.

#olympics #poll

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graduatetrack · 3 months ago

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Study in Lithuania from Bangladesh 2025

Explore top universities, affordable tuition, and a seamless visa process to study in Lithuania. Start your journey today with Graduate Track!

Lithuania offers rich academic opportunities, an affordable living cost, and a high-quality education system, making it an attractive destination for students from Bangladesh. With globally recognized universities, English-taught programs, and excellent post-graduation prospects, Lithuania has become a preferred choice for international students.

This blog provides extensive knowledge on the courses you can study, how to apply, the average cost of tuition fees, steps to apply for a Lithuanian student visa from Dhaka, Sylhet, Chittagong and estimated living expenses.

Available Courses to Study in Lithuania Lithuania offers a diverse range of academic programs across various fields, making it a great destination for international students. Many universities provide English-taught programs, especially at the Bachelor’s, Master’s, and PhD levels. Here are some of the most popular courses for international students:

Business & Management Business Administration International Business Marketing & Digital Marketing Finance & Accounting Supply Chain Management Engineering & Technology Civil Engineering Mechanical Engineering Electrical & Electronics Engineering Renewable Energy & Environmental Engineering Artificial Intelligence & Robotics Information Technology (IT) & Computer Science Software Engineering Data Science & Big Data Analytics Cybersecurity Computer Science & AI Game Development Health & Medical Sciences Medicine Dentistry Nursing Pharmacy Public Health Social Sciences & Humanities Psychology International Relations Political Science Sociology Law Arts & Design Graphic Design Interior Design Visual Arts Music & Performing Arts Fashion Design Tourism & Hospitality Management Hotel & Restaurant Management Travel & Tourism Event Management Many Lithuanian universities collaborate with European institutions, offering Erasmus+ exchange programs, internships, and research opportunities.

Top Universities to Study in Lithuania Lithuania is home to several high-ranking universities that offer globally recognized degrees and a variety of English-taught programs. Here are some of the top universities in Lithuania for international students:

Vilnius University (VU) The oldest and largest university in Lithuania. Ranked among the top universities in Europe. Offers programs in Business, IT, Law, Medicine, and more. Strong research facilities and international collaborations.

Kaunas University of Technology (KTU) Best for Engineering, IT, and Business studies. Strong industry partnerships and innovation-driven education. Member of many international academic networks. Affordable tuition fees with scholarship options.

Vytautas Magnus University (VMU) Popular for Humanities, Social Sciences, and Arts. Offers flexible study programs and interdisciplinary courses. Active in student exchange programs like Erasmus+. Research-focused with international collaborations.

Vilnius Gediminas Technical University (VILNIUS TECH) Specializes in Engineering, Architecture, and IT. Strong focus on research, innovation, and technology. Provides students with internship and work opportunities. Has a modern campus with state-of-the-art facilities.

Lithuanian University of Health Sciences (LSMU) Best for Medicine, Dentistry, Nursing, and Pharmacy. Recognized by WHO and other medical organizations. Provides clinical training at affiliated hospitals. High acceptance rate for international medical students.

ISM University of Management and Economics One of the top universities for Business and Economics. Has strong industry connections for internships and placements. Offers globally recognized business degrees. Partnered with leading universities worldwide. These universities offer world-class education with affordable tuition fees, making Lithuania an attractive destination for Bangladeshi students.

Lithuanian Student Visa Processing Agency in Dhaka & Sylhet Applying for a Lithuanian student visa from Bangladesh requires expert guidance to ensure a smooth and hassle-free process. Graduate Track is the official student visa agency of Lithuania in Bangladesh, which specializes in helping students secure admission to top Lithuanian universities and obtain their visas successfully.

With offices in Dhaka and Sylhet, Graduate Track provides end-to-end support, including university selection, application processing, document preparation, visa assistance, and pre-departure guidance. If you’re planning to study in Lithuania, Graduate Track is your reliable partner to make the journey seamless and stress-free.

Admission Process to Study in Lithuania The application process for studying in Lithuania involves several steps:

⭐ Choose a Program and University The first step is to select a university and program that aligns with your academic background and career goals. Lithuania offers a variety of English-taught courses in fields like Business, Engineering, IT, and Health Sciences.

⭐ Check Admission Requirements Each program has specific admission requirements, including academic qualifications, English language proficiency tests (IELTS/TOEFL), and other essential documents. Some universities may also require additional entrance exams or interviews.

⭐ Prepare Documents Commonly required documents for Lithuanian student visa from Bangladesh include:

✅ Completed application form ✅ Certified academic transcripts and certificates ✅ Passport-sized photograph ✅ Copy of passport ✅ Proof of English proficiency (IELTS/TOEFL) ✅ Statement of Purpose (SOP) ✅ Letters of Recommendation ✅ CV/Resume (if required) ⭐ Submit Your Application You can apply directly through Graduate Track, the official Lithuanian student visa processing agency in Bangladesh.

⭐ Pay Application Fees Application fees vary by university but typically range between €50 – €150.

⭐ Entrance Exams or Interviews Some universities may conduct online interviews or entrance exams, particularly for competitive courses like Medicine and Engineering.

⭐ Receive Admission Letter Once your application is accepted, you will receive an offer letter from the university. This document is essential for your student visa application.

⭐ Where to submit Lithuanian visa application in Bangladesh? Once all your documents are ready submit your category D visa in Dhaka VFS Sweden visa application centre. Bangladeshi students no longer need to go India for Lithuanian student visa. VFS Sweden application centre located at Gulshan 2. Connect with our advisor for admission and visa support.

Average Tuition Fees in Lithuania Tuition fees at higher education institutions in Lithuania vary based on the university, chosen study program, and academic level. On average, the cost of studying in Lithuania is:

Program Level Fees in Euro Fees in USD Fees in BDT Bachelor Studies 1500 – 3000 EUR 1300 USD 171,628.32 BDT Master Studies 2300 – 4000 EUR 2300 USD 303,650.11 BDT PhD Studies 8400 EUR 8400 USD 1,108,983 BDT Living Cost of Lithuania Lithuania is a budget-friendly destination for international students. Here’s a breakdown of typical monthly living costs:

EUR USD BDT 535.80 EUR 580.60 USD 70,758.22 BDT Here’s How Graduate Track Can Assist You: Personalized Consultation: We provide expert guidance on the Lithuanian student visa process, ensuring you meet all requirements and submit the necessary documents for a successful application.

University Admission Support: Our team assists you in securing admission to top universities in Lithuania, helping you choose the right program based on your academic background and career goals.

Comprehensive Visa Assistance: Whether it’s filling out application forms, preparing documents, or visa interview support, Graduate Track is here to make the process smooth and stress-free.

Local Offices in Dhaka & Sylhet: With offices in both Dhaka and Sylhet, you can visit us anytime for expert assistance and personalized services.

Don’t let visa challenges hold you back. Your pathway to studying in Lithuania is in safe hands with the Graduate Track. Contact us today to begin your journey.

Conclusion Lithuania has become an increasingly popular destination for Bangladeshi students due to its high-quality education system, affordable tuition fees, and diverse academic opportunities. With globally recognized universities, a range of English-taught programs, and a smooth visa process, Lithuania offers a great environment for international students to pursue their higher education.

If you are planning to study in Lithuania, expert guidance can make the application and visa process easier. Graduate Track is the official student visa agency of Lithuania in Bangladesh with its experienced team and offices in Dhaka and Sylhet and is here to assist you at every step—from university admission to visa processing.

Start your journey to studying in Lithuania today with the Graduate Track and take a step closer to achieving your academic and career goals.

#study abroad #education #study in canada #Study in Lithuania

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