Eh, that's like saying CDPR chopped out Blood and Wine and charged for it.
Wow. Firstly the Witcher books where very popular in Europe, they where never dead. The whole reason CDP even made a witcher game because it was a popular book series. What CDP did not expect was how popular it would turly be in the west and that's when Witcher truly got the spotlight in the west. It was never a dead or successful book series in Poland and that part of Europe.
The books were never popular in all of Europe, only in east Europe. That's hardly success, not even close. I live in west Europe and the books were practically none existent and barely translated to English. Now after the games you can find German and French translations.
Uh, CDPR's been talking about their expansions for a very, very long time, less than a month after the game's release. The had the content planned out.
Gauging by the quality of the content (the lesser side-quests, the gear and alt appearances, and finishing movies), I find it hard to believe otherwise.
I do believe they crafted NG+ in response to player feedback, though, and didn't originally have that planned.
I know. But two expansions that have no connection to the main plot of the game and come out well after release because work barely got started on them is one thing. A Javik, a Kasumi, thats another.
I know about the theories. I made some myself. They gave, howewer, different legends. Unless the Maker is a distorted version of Solas, the elven legends might've been only a legend based on DAO.Based on consistency of the lore. Slowly introducing elven gods and making sure we know Fen'Harel is not trapped beyond the veil, also hinting he created the veil. Many players made theories that when Fen'harel imprisoned the elven gods he made the veil.
Its a lot more likely than all of it being spontaneous.
The books were never popular in all of Europe, only in east Europe. That's hardly success, not even close. I live in west Europe and the books were practically none existent and barely translated to English. Now after the games you can find German and French translations.
Considering he was a Polish writer, it being a massive success in Poland and eastern Europe which was the target base, was a success. Saying it was dead or unsuccessful is factional wrong, it was just not a international success, that's not the same as a failure.
I know. But two expansions that have no connection to the main plot of the game and come out well after release because work barely got started on them is one thing. A Javik, a Kasumi, thats another.
Not to mention B&W saw a delay and considering the content in B&W, that delay was cleary there for a reason. While I will agree HoS most likely was a planned quest turned into an expac, considering just how enjoyable HoS was, I say it was worth it because it was not overpriced or a rip off not to mention had no real connection to the main story.
I know. But two expansions that have no connection to the main plot of the game and come out well after release because work barely got started on them is one thing. A Javik, a Kasumi, thats another.
Neither Javik nor Kasumi were in Inquisition.
Not really since Trespasser concludes the story of the Inquisition while B&W is a stand alone adventure that has nothing to do with the Wild Hint. AND since Trespasser reveals some VERY important lore which will be major plot points in future games, while TW is done.
It has to do with the conclusion of Geralt's story, though, which draws very clear similarities to Trespasser and does, indeed, have to do with the core Witcher 3 experience.
Is it somehow a problem that Tespasser planted seeds?
Neither Javik nor Kasumi were in Inquisition.
Aye, but we're not in the Dragon Age section. I'm not limiting things to just DA here.
Every TES game is seen as a dumbed down, pale copy of the previous ones by many fans. Morrowind happens to be beloved probably because it was the first game which cemented the ''modern'' Bethesda and wasn't too pruned compared to Oblivion and Skyrim. Personally, I never liked the franchise all that much, and the only good that came out of Fallout 3 and 4 is that Bethesda could give the licence over to Obsidian so they could do a really great and, IMO, proper Fallout game with New Vegas.
Anyhow, one thing CDPR does do better than Bioware is the value in DLCs. There's no question that Hearts of Stone and Blood and Wine give you loads of bang for your buck. My only beef with them is that they are entirely self-contained and divorced from all the other game content, while I myself like to see DLC content weaved into a main plot, like Trespasser did for Inquisition or New Vegas's DLCs did for that game.
That said, it's unknown how much of that is a result of their ''generosity'' or simply that they have a unique place in the market. Since they employ loads of Polish workforce, I assume the cost of building games and DLCs is much lesser for CDPR, and the GoG platform adds a steady source of revenues too.
It's kind of the same as Valve with Steam (albeit less pronounced); they can afford to be generous with their in-house games, since they make so much money off their platform. The low prices are a way to attract consumers to said platform. Which is a great system, but I don't think we can just say they happen to be oh so generous. They just make their money via other means.
Considering he was a Polish writer, it being a massive success in Poland and eastern Europe which was the target base, was a success. Saying it was dead or unsuccessful is factional wrong, it was just not a international success, that's not the same as a failure.
They could have translated it anytime to make it global, many good books are discovered this way. Even now the books are not that popular globally, only the hardcore fans read them. I have actually read some of it. Story aside the writing style of the writer is horrible. Probably why the books never had global fame.
Aye, but we're not in the Dragon Age section. I'm not limiting things to just DA here.
Inquisition didn't do this, though, an indication that this situation has changed.
Inquisition didn't do this, though, an indication that this situation has changed.
Something I liked about it. I commended Bioware for not having day one DLC they were gonna charge us for. I'm just not gonna leap to the, "This is how it is from here on out" train of thought as ME2's Cerberus Network was a one time thing and Bioware's burned fans far too much for me to be as optimistic as I used to be/like to be.
International success=/=success. That's not how the world works.
Every TES game is seen as a dumbed down, pale copy of the previous ones by many fans. Morrowind happens to be beloved probably because it was the first game which cemented the ''modern'' Bethesda and wasn't too pruned compared to Oblivion and Skyrim. Personally, I never liked the franchise all that much, and the only good that came out of Fallout 3 and 4 is that Bethesda could give the licence over to Obsidian so they could do a really great and, IMO, proper Fallout game with New Vegas.
Anyhow, one thing CDPR does do better than Bioware is the value in DLCs. There's no question that Hearts of Stone and Blood and Wine give you loads of bang for your buck. My only beef with them is that they are entirely self-contained and divorced from all the other game content, while I myself like to see DLC content weaved into a main plot, like Trespasser did for Inquisition or New Vegas's DLCs did for that game.
That said, it's unknown how much of that is a result of their ''generosity'' or simply that they have a unique place in the market. Since they employ loads of Polish workforce, I assume the cost of building games and DLCs is much lesser for CDPR, and the GoG platform adds a steady source of revenues too.
It's kind of the same as Valve with Steam (albeit less pronounced); they can afford to be generous with their in-house games, since they make so much money off their platform. The low prices are a way to attract consumers to said platform. Which is a great system, but I don't think we can just say they happen to be oh so generous. They just make their money via other means.
International success=/=success. That's not how the world works.
Or maybe because the books are not for this timeline or for polish teenagers.
Most of the Witcher stories are basically rewritten fairy tales. They're pulpy fantasy stories about a magic man who fucks a lot of hot women and fights a lot of things and doesn't give a f***. The style of the writer is dialogue fest, its outdated and simply horrible.
Example:
Witcher: "I am here to do X."
Generic character: "Then you must do Y! Now I will delve into a 2 page recounting of the backstory."
Similarly, adjectives and adverbs abound. The same phrasing is used over and over again (i.e. "he smiled nastily/ominously/ugly-ly").
Above is basically just a third of the way into The Last Wish. They're total schlock. The game gets most of the credit here, the books were just the start of it. The game has changed a lot of the lore anyway.
Something I liked about it. I commended Bioware for not having day one DLC they were gonna charge us for. I'm just not gonna leap to the, "This is how it is from here on out" train of thought as ME2's Cerberus Network was a one time thing and Bioware's burned fans far too much for me to be as optimistic as I used to be/like to be.
Fair enough. Inquisition had zero day-one DLC and added content for free through updates. That's the most recent evidence of how they're handling things.
They still charged for weapon/gear packs, though, which should've been included with their respective DLCs.
CDP does have alot more freedom which does help in their case, it's no secret EA tends to think fast profits instead of long term as shown greatly with Battlefront,
If anything, the ME:A team *should* take some pointers from The Witcher. If anything, ME3 and DA:I were a bit too politically correct, and had too many "social and moral themes" to put it very mildly. It doesn't have to get as crude as The Witcher, but it definitely shouldn't follow in the footsteps of a sitcom like ALF, which had a great starting season but then got more and more moralizing.
Fair enough. Inquisition had zero day-one DLC and added content for free though updates. That's the most recent evidence of how they're handling things.
They still charged for weapon/gear packs, though, which should've been included with their respective DLCs.
Oh yeah, I heard about those. Rolled my eyes at them.
CDP doesn't have enough Tumblr, Bioware has too much. I like just enough Tumblr in my games, thank you very much.
Oh yeah, I heard about those. Rolled my eyes at them.
EA is still their boss. All points considered, that's not too shabby.
Andromeda needs as little Tumblr as possible.
TW2 and 3 have enough tumblr in it.
EA is still their boss. All points considered, that's not too shabby.
Does Tumblr have stock in EA? Because then I'm really worried.
Andromeda needs as little Tumblr as possible.
I'm expecting another transgender with Iron Bull session, with even more tumblr!
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