There hasn't really been a spot on decision as to, exactly, which part of a game has the most power.
But a simple one can be broken down like this.
The programming is the cornerstone of the game (the lower limit), the art is the facade of the game (the main body), while the planning is the core of the game now (the upper limit), and the music is the parallel line of the game (the potential upper limit).
Generally speaking, big producers are basically crossover talents with a combination of strengths no weaker than the top independent producers.
There's even a rumor that some producers in neon come up with business cases by writing their own working game prototype demos. (Drawing your own game prototype teardowns seems to be a necessary skill ...... )
If you're a top indie game maker, like god master of the east, limbo, undead killer, saw a big A on b a while back who doesn't have top work but is all-around great ...... This field is full of monsters ......
There's actually a reason why big producers and indie gamers are compared together.
First of all, the big corporate producers and the top indie gamers are in the same category, the only difference is the resources they have at hand.
Indie gamers lack resources and have to keep squeezing themselves, while big producers?
They are 'tyrants', they don't just squeeze themselves, they squeeze all the resources available to them (programming, art, planning, music, marketing). Communication is a meaningless thing for them.
To give a crossover example, for example, Apple's Joe senior is a typical representative of this kind, but of course, to avoid misunderstanding, or to explain in detail, a long time ago I personally had quite an aversion to Joe senior, the reason is because his imitators are, without exception, all sb.
Genius types can drive themselves to the maximum in order to get 100% utilization of all resources around them, but all imitators, first of all, have no self-awareness, and secondly, they only squeeze the resources around them without driving themselves at all.
It's like top gamers with top equipment playing top action, and sb's crying to their parents for money to buy top equipment and play spicy action and gloat.
But here's where the biggest disagreement with indie gamers arises.
Is the game that the big producers are going to finish even if they are transformed into 'tyrants' belongs to them?
They make games that indie gamers can't match at all, but, minus resources, everyone is actually the same in terms of ability. So, does the game belong to the producer, or to the resource?
The answer is given in the comic.
The company's games, and not the producers. (I don't know why, but the phrase, '
The team isn't here for you, the team needs you, you're here』）
It's not you the company needs, it's the 'Sword 4' sign.』
That's right, when the big producer leaves, a random producer can continue making 『Sword Chronicles』 instead.
When away from those top resources, a big producer is nothing more than an indie game maker.
Impact of the game
Gaming is a virtual realm, but it literally has a huge impact on real people.
A game will usually have players spending hours, if not dozens of hours on it. What's the point of making something like this when it takes up so much of a person's life without leaving any impact at all?』
Since there are influences, there must be good and bad, and often only the negative ones are infinitely magnified by the media.
How would you feel if one day a child died because he or she imitated your behavior in a game?』
That's an almost unanswerable answer.
The protagonist, however, speaks his answer.
Take the responsibility that is due and move on.
Still, the late stages of the comic seem to kind of try to circumvent the subject; after all, this isn't something that can be afforded in a sentence or two.
"Please ...... Start your own family, preferably have a child if you can, and then please ...... Cherish your family. 』
There are many more bits and pieces in the comic, so you're better off reading them for yourself. Discusses a lot of stuff about the game, though the beauty is that the comic doesn't have much ink on the process of making the game ......
The only two settings that ring a bell are the 'Everything can be chopped' setting of 'Flavor Chef' and the 'Subdivision Shift' setting of Flight Design ......
As for the trippy characters in it, I actually liked it.
The heroine has only been making the game with the hero's team since the beginning to get back to the head office, and now that he's faced with the hero's game being taken away from him by someone else, the hero is furious and starts souring the heroine.
Yeah, the female lead did start out working with the male lead just to get back to the head office. But that doesn't mean the heroine doesn't take the job seriously.
My intent was to put my own interests first, so what? No matter what anyone thinks, you've got to be single-minded and only thinking about the game!!!』
"If someone gives you $500 for free, do you want it? 』
"For free? Of course you do. 』
"But when he gives you money, he'll get 10,000 for it, so that's okay, right? 』
『what?！？ Why should he get it?10000？ Then I don't want this.500 I can't let him get that much money for no reason.！』<—— most people
Yeah, it's only right to be single-minded and only think about the game, no matter what anyone else thinks!!! Recommended
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