FF7 cost about $90M when adjusted for inflation and was one of the most expensive games to developed in it’s time, but yh, yOu CaN’t MaKe A gOoD gAmE fOr LeSs ThAn $300M!!!
Equivalent to about $32m in 2024.
Not disagreeing, putting the value into perspective.
Also consider the scale of vice city compared to your average AAA, even AA game. Games have significantly higher expectations nowadays.
The expectations from gamers is pretty cooked nowadays man, pay attention to the louder and larger voices on game forums, x (formerly known as Twitter), Facebook, steam etc.
Would most people be happy with a 2025 AAA game with the graphical fidelity of GTA:VC, though?
Personally I would love it if those massive budgets were spent where it matters, but I suspect “this game looks like it came out 20 years ago” would be a common complaint, as if only indie devs get to sacrifice photorealism for style.
I have a couple of coworkers that hate Minecraft because it’s a voxel game. Whenever I tell them it’s alright to not like it but there’s nothing wrong with Minecraft’s art choice, their response is: “No it’s fucking stupid”. What’s weirder is that one of these guys plays a lot of retro games
Best guesses are somewhere between 100 and 200 million, if you allow me the slight hyperbole. It’s unclear if marketing is included in that.
I’m going to say if you are in nine digits territory the point in my post stands very well on its own. I come from a gaming industry where we were all clutching our pearls when games first broke past 50 million budgets and felt things were unsustainable then. These days people have the gall to mention a game at least twice as expensive as “not AAA”.
You mean I need to raise 300 million dollars to even try?
And that’s the brain rot in the industry.
They can make lower budget games. Not every game needs to be some sprawling open world game with multiplayer features. You don’t need a crafting system, complex RPG mechanics, and unique animations for every possible interaction in your action adventure game. I don’t need to see every pore, have accurate hair physics, and a full featured face designer in a looter arpg.
Yeah, pretty graphics are nice, but honestly, I only need a handful of those total. My favorite games have fun, focused gameplay and/or really good story-telling, and that doesn’t cost money, it simply requires talent. Balatro was incredibly cheap to make and really fun, in fact, I could probably create it myself given a year or two, but I probably couldn’t come up with the idea in the first place.
Instead of making one or two big games to impress journalists, how about making aw few fun games with 1/10 the budget (still overkill IMO) each year to impress players?
Well, yeah, I don’t have a problem with that observation. I fully agree.
Just as long as we all also agree that you’re not getting Baldur’s Gate 3 ever again, then. You’re getting Divinity Original Sin, maybe OS2 if you’re lucky.
Because BG3 WAS a 200 million dollar game where every single interaction is animated and voice acted and the amount of user branching paths is insane and all party NPCs can be used as PCs as well and they all have specific dialogue for all the options and all the other insanity that’s in that game. And it took six years to make with a team of hundreds.
Now, I loved Original Sin 1 and 2. I’d play that size of game again, probably indefinitely. But those weren’t the ones that exploded and sold tons, and they’re not the example used in the OP to show why everybody else “underdelivers”.
Disco Elysium had about the same amount of voice acted dialogue as BG3.
Granted, it gets away with that because it’s a point and click adventure game, but you don’t necessarily have to have a sky high budget to have tons of dialogue and a highly branching storyline. If you don’t have voice acting it’s even cheaper. Fallen London has roughly 4x the amount of dialogue as those games, though it’s basically a live service text adventure.
It absolutely does not. I haven’t played nearly as much Disco Elysium as BG3, but it has way fewer characters and way less content. DE is a 20/40 hour game, BG is a 80/200 hour game. And BG3 again includes full voice acting for eight PCs as well as a ton of side characters and branching paths.
Disco Elysium gets a ton of mileage of its inventive event system and branching situations, but it’s an order of magnitude less content than BG, easy. Baldur’s Gate cast was effectively on call for six years straight. They were studio employees for the duration. And that’s not even getting into the fact that every dialogue bit in BG3 is not just voiced but animated. Procedurally, most of the time, but there’s still a ton of tweaking and debugging and manual scripting being done that needs to match the audio in a way the portraits and text in DE does not.
I get how the end result may seem comparable, Pareto principle and all that, but one of those things is not like the others.
The question is whether the extra effort is part of the reason why BG3 is an all-time best seller and DE is a smallish indie hit. I don’t need all my games to be just as big as BG3, but I also own thousands of games, including both BG3 and Disco Elysium. Would the normies that heard of BG3 through the grapevine, maybe watched some Critcal Role once, have been just as willing to part with sixty bucks with a tenth of the voice acting, a fifth of the visual polish and a third of the content?
And I’m not saying I definitely know that answer, but it’s the answer your average publisher exec with greenlight decisionmaking powers has to make when they budget and finance whatever game they’re publishing next.
Baldur’s Gate 3 supposedly has 1,365,000 words of dialogue while Disco Elysium supposedly has “a little more than a million”.
I’m not talking about how the game feels, this is just raw stats.
EDIT: the Final Cut version of Disco Elysium is supposed to be completely voice acted, but for lines where the narration is mixed into the middle of a character’s line, it’s not. For example: “Yes,” Kim adjusts his glasses “I think that would be prudent”. The “Kim adjusts his glasses” part isn’t voice acted, so that might cut down on the amount of voice acting a bit more.
I’d have to go check the Final Cut version. I certainly remember a lot of unvoiced prose in there, but it’s hard to know what is included as “script” of that, or what percentage of each game’s reported script is voiced.
For what it’s worth, the number I see out there for Baldur’s Gate 3 is two million words, not one point three. That’s still twice as long, and the points about cast size, length and animation definitely stand, as does the overall point.
BG3 can happen periodically, it doesn’t need to be every game though.
Starfield is a perfect example of this. They wanted it to sell like Skyrim, but they didn’t commit to delivering what’s needed to make that happen. They should have limited the scope and delivered a really good game where you fast travel between planets without any of the space stuff and cut most of the procedural generation. That would’ve been a great game and probably would’ve gotten a lot of praise, especially if they put some of that saved budget into better animations. They could have later released the space stuff and procedural generation as a DLC or sequel, with all the polish needed to make that good.
GTA V would’ve been just as good or better with a smaller map, and I’m sure GTA VI will as well. The same goes for most big budget games. Make tighter experiences with incredible QA, good writing, and fun gameplay and it’ll sell. The indie scene proves that, and a lot of times the main ingredient missing is marketing. Give an indie studio a AAA budget and they’ll make a dozen good games, whereas the AAA studio will be late on one mediocre game, but it’ll look super pretty.
And that’s why I rarely buy AAA games. Yeah, it’ll probably be a decent experience, but for the same money, I could get a few great indie or AA games. The main issue is discoverability, which is something AAAs are great at solving.
But BG3 is at least as large in scope as Starfield. Likely bigger.
Why is scope the problem?
I mean, for one thing, BG3 isn’t every game. This year people can’t shut up about Balatro (which I like but not love, incidentally). Or about Metaphor Re:Fantazio (which I love and took a long time to make, but is decidedly mid-sized).
You’re assigning execution problems to scope as if the games that serve as a reference for being great were small. But they aren’t. They come in all sizes, including mind-bogglingly huge. Execution and scope aren’t the same thing.
This year people can’t shut up about Balatro (which I like but not love, incidentally)
Same. That said, the value for the overall budget was incredibly high. I’m not saying Balatro should’ve been done by a AAA studio, just saying I think many people would prefer more games like that than more Assassin’s Creed games with large, empty worlds. How many cool indie games could a typical AC game budget fund and market?
Why is scope the problem?
Big budget games have their place, and it’s awesome to have a few games with incredible eye-candy each gen, but the balance seems to be way off here.
Execution and scope aren’t the same thing.
They’re not, but it’s a lot easier to execute well when scope is limited.
For example, look at Tears of the Kingdom, it’s basically Breath of the Wild with a fresh coat of paint, yet both BOTW and TOTK sold like hotcakes. The scope of TOTK was merely a handful of changes from its predecessor, plus an all new story. The difference between TOTK and most AAA games is that TOTK put gameplay first and reused whatever it could from previous games. I’m guessing Echoes of Wisdom reused the Link’s Awakening engine as well, with some extra polish to make the gimmick in that game work.
I want AAA studios to act more like Nintendo than Ubisoft or Activision Blizzard. Nintendo tends to focus on gameplay first, QA second, followed closely by art style, and graphics aren’t really a consideration.
Give me a few big games with deep scope and execute really well on those, but fill it in with a bunch of high quality, lower budget games with great gameplay, writing, etc. Sometimes I’m in the mood for a mind-blowing, cinematic experience, but usually I just want to veg and have fun. I’ve largely written off the AAA industry for gaming because their cinematic experiences tend to be poorly executed (poor QA, mediocre writing, etc), yet they charge a premium.
Hey, the best game published by Ubisoft this year was a mid-sized Prince of Persia game. The second best was a small Prince of Persia roguelike. Neither did particularly well with audiences, both are great.
We’re still not agreeing in our definitions, though, because man, how can anybody put a first party Nintendo game, let alone their Zelda open world tentpole, anywhere outside AAA? TOTK is AAA as fuck. TOTK defines AAA. Six years in the making, insane polish, a seeming blank check to mess with design to blend Zelda and Minecraft and built by some mix of Nintendo’s top tier talent and massive, industrial outsourcing over to Monolith Soft, which itself has hundreds of employees.
The realization that even sensible, savvy people just don’t grasp cost, scope or size in game development is… not new, but still disappointing. I still think this entire conversation is entirely tautological. People are defining size and “AAA-ness” based on whatever vibes and superficial traits they’ve assigned to “AAA”, not any sort of measure of size, budget or scope.
how can anybody put a first party Nintendo game, let alone their Zelda open world tentpole, anywhere outside AAA?
I’m saying it is AAA, and that’s how other AAA games should be. BOTW graphics are good but not life changing, bugs were rare on launch, the game is fun, and it brings something new to the series. TOTK is the same way, but it gets to reuse a lot of the engine work from BOTW while feeling like a new game. BOTW was audacious in scope, and Nintendo rarely takes those kinds of risks, so they feel special when they happen.
Nintendo is perhaps the best example of what I’d like other AAA studios to be, as least from a game design standpoint. Take big risks occasionally, and ship fun, lower-budget games between them. If we look at Zelda games on Switch, we have:
BOTW - flagship for the console to show what it can do
TOTK - sequel to BOTW, which is a lot less risky given how popular BOTW was
Link’s Awakening - top down, relatively straight-forward Zelda game, remake from older game
Skyward Sword - remake from Wii
Zelda: Echoes of Wisdom - reuse engine from Link’s Awakening, but still takes a big gameplay risk
Only BOTW was truly risky here, and I imagine it cost way more than everything else.
If we look at Ubisoft, for example, they churn out massive AC games almost every year, and those cost hundreds of millions each time. Yeah, they have other games too (so does Nintendo), I’m talking more about the frequency of these massive world games they release, which is honestly absurd. I can’t speak for everyone, but I imagine many gamers would prefer to reduce the frequency of AC releases, improve the story progression (and eventually end it), and invest that budget into new IPs or smaller games.
That frequency is possible only because multiple studios are working on those. It’s not like people put together one of those each year, they are worked on concurrently.
I would argue that having too many games that are too similar is a major strategic mistake Ubisoft made for the past couple of gens. But that’s not because they’re big, or triple A or anything else. It’s a bad call by a mix of executives and creatives. It’s no more representative of AAA games or the industry than Nintendo having two iterations per franchise per generation or whatever they’ve decided is the sweet spot.
And once again, the budget has nothing to do with this. I am pretty sure that the open world Zeldas are quite expensive to make. All these good games people keep showing as examples of smaller games are not smaller at all. In Ubi’s case it’s kinda tragic, because they did invest in smaller games and it turns out those didn’t sell. Not only did they have the smaller PoP games, but they tried with a smaller AC game, too. At this point they’re throwing the kitchen sink at this. Hell, they have the very last AAA extreme sports title I can think of. I’m not sure when or if we’ll see another one.
And none of those have a problem with scope or are anywhere near as big as BG3 or Elden Ring, or probably even the big Zeldas. It’s not a budget problem. Which is not to say that games aren’t too expensive to make. The point is that they’re too expensive to make regardless of quality. The games you like are just as expensive as the ones you don’t.
It’s less “purposely underdeliver” and more “You mean I need to raise 300 million dollars to even try?”
But hey, Anon can gamble nine figures of their own money next time. I’m sure they’d do great.
FF7 cost about $90M when adjusted for inflation and was one of the most expensive games to developed in it’s time, but yh, yOu CaN’t MaKe A gOoD gAmE fOr LeSs ThAn $300M!!!
I’ll go even lower and say Grand Theft Auto: Vice City and it’s one of the more remarkable entries of the series.
It took $5 Million to develop.
$5m to develop + $13.2m to market
Equivalent to about $32m in 2024. Not disagreeing, putting the value into perspective. Also consider the scale of vice city compared to your average AAA, even AA game. Games have significantly higher expectations nowadays.
Who’s expectations?
Not the people playing, that’s for sure.
The expectations from gamers is pretty cooked nowadays man, pay attention to the louder and larger voices on game forums, x (formerly known as Twitter), Facebook, steam etc.
Hah. This thread is literally coming from some guy finding that every game should be like Elden Ring and BG3.
That’s not GTA VC size, so I’m gonna say Anon’s expectations, to your question.
Would most people be happy with a 2025 AAA game with the graphical fidelity of GTA:VC, though?
Personally I would love it if those massive budgets were spent where it matters, but I suspect “this game looks like it came out 20 years ago” would be a common complaint, as if only indie devs get to sacrifice photorealism for style.
I have a couple of coworkers that hate Minecraft because it’s a voxel game. Whenever I tell them it’s alright to not like it but there’s nothing wrong with Minecraft’s art choice, their response is: “No it’s fucking stupid”. What’s weirder is that one of these guys plays a lot of retro games
You can absolutely make a fantastic game for way less than 300 million.
You can’t make Baldur’s Gate 3 or Elden Ring, though.
Didn’t BG3 literally cost 1/3 of that to make?
Best guesses are somewhere between 100 and 200 million, if you allow me the slight hyperbole. It’s unclear if marketing is included in that.
I’m going to say if you are in nine digits territory the point in my post stands very well on its own. I come from a gaming industry where we were all clutching our pearls when games first broke past 50 million budgets and felt things were unsustainable then. These days people have the gall to mention a game at least twice as expensive as “not AAA”.
Calmly explaining why you can’t have a good Rogue-like anymore because Balatro’s budget was too high.
Casually dismissing Bloodborne and Divinity: OS as bad games, because they weren’t what came after.
And that’s the brain rot in the industry.
They can make lower budget games. Not every game needs to be some sprawling open world game with multiplayer features. You don’t need a crafting system, complex RPG mechanics, and unique animations for every possible interaction in your action adventure game. I don’t need to see every pore, have accurate hair physics, and a full featured face designer in a looter arpg.
Yeah, pretty graphics are nice, but honestly, I only need a handful of those total. My favorite games have fun, focused gameplay and/or really good story-telling, and that doesn’t cost money, it simply requires talent. Balatro was incredibly cheap to make and really fun, in fact, I could probably create it myself given a year or two, but I probably couldn’t come up with the idea in the first place.
Instead of making one or two big games to impress journalists, how about making aw few fun games with 1/10 the budget (still overkill IMO) each year to impress players?
Well, yeah, I don’t have a problem with that observation. I fully agree.
Just as long as we all also agree that you’re not getting Baldur’s Gate 3 ever again, then. You’re getting Divinity Original Sin, maybe OS2 if you’re lucky.
Because BG3 WAS a 200 million dollar game where every single interaction is animated and voice acted and the amount of user branching paths is insane and all party NPCs can be used as PCs as well and they all have specific dialogue for all the options and all the other insanity that’s in that game. And it took six years to make with a team of hundreds.
Now, I loved Original Sin 1 and 2. I’d play that size of game again, probably indefinitely. But those weren’t the ones that exploded and sold tons, and they’re not the example used in the OP to show why everybody else “underdelivers”.
Disco Elysium had about the same amount of voice acted dialogue as BG3.
Granted, it gets away with that because it’s a point and click adventure game, but you don’t necessarily have to have a sky high budget to have tons of dialogue and a highly branching storyline. If you don’t have voice acting it’s even cheaper. Fallen London has roughly 4x the amount of dialogue as those games, though it’s basically a live service text adventure.
It absolutely does not. I haven’t played nearly as much Disco Elysium as BG3, but it has way fewer characters and way less content. DE is a 20/40 hour game, BG is a 80/200 hour game. And BG3 again includes full voice acting for eight PCs as well as a ton of side characters and branching paths.
Disco Elysium gets a ton of mileage of its inventive event system and branching situations, but it’s an order of magnitude less content than BG, easy. Baldur’s Gate cast was effectively on call for six years straight. They were studio employees for the duration. And that’s not even getting into the fact that every dialogue bit in BG3 is not just voiced but animated. Procedurally, most of the time, but there’s still a ton of tweaking and debugging and manual scripting being done that needs to match the audio in a way the portraits and text in DE does not.
I get how the end result may seem comparable, Pareto principle and all that, but one of those things is not like the others.
The question is whether the extra effort is part of the reason why BG3 is an all-time best seller and DE is a smallish indie hit. I don’t need all my games to be just as big as BG3, but I also own thousands of games, including both BG3 and Disco Elysium. Would the normies that heard of BG3 through the grapevine, maybe watched some Critcal Role once, have been just as willing to part with sixty bucks with a tenth of the voice acting, a fifth of the visual polish and a third of the content?
And I’m not saying I definitely know that answer, but it’s the answer your average publisher exec with greenlight decisionmaking powers has to make when they budget and finance whatever game they’re publishing next.
Baldur’s Gate 3 supposedly has 1,365,000 words of dialogue while Disco Elysium supposedly has “a little more than a million”.
I’m not talking about how the game feels, this is just raw stats.
EDIT: the Final Cut version of Disco Elysium is supposed to be completely voice acted, but for lines where the narration is mixed into the middle of a character’s line, it’s not. For example: “Yes,” Kim adjusts his glasses “I think that would be prudent”. The “Kim adjusts his glasses” part isn’t voice acted, so that might cut down on the amount of voice acting a bit more.
I’d have to go check the Final Cut version. I certainly remember a lot of unvoiced prose in there, but it’s hard to know what is included as “script” of that, or what percentage of each game’s reported script is voiced.
For what it’s worth, the number I see out there for Baldur’s Gate 3 is two million words, not one point three. That’s still twice as long, and the points about cast size, length and animation definitely stand, as does the overall point.
BG3 can happen periodically, it doesn’t need to be every game though.
Starfield is a perfect example of this. They wanted it to sell like Skyrim, but they didn’t commit to delivering what’s needed to make that happen. They should have limited the scope and delivered a really good game where you fast travel between planets without any of the space stuff and cut most of the procedural generation. That would’ve been a great game and probably would’ve gotten a lot of praise, especially if they put some of that saved budget into better animations. They could have later released the space stuff and procedural generation as a DLC or sequel, with all the polish needed to make that good.
GTA V would’ve been just as good or better with a smaller map, and I’m sure GTA VI will as well. The same goes for most big budget games. Make tighter experiences with incredible QA, good writing, and fun gameplay and it’ll sell. The indie scene proves that, and a lot of times the main ingredient missing is marketing. Give an indie studio a AAA budget and they’ll make a dozen good games, whereas the AAA studio will be late on one mediocre game, but it’ll look super pretty.
And that’s why I rarely buy AAA games. Yeah, it’ll probably be a decent experience, but for the same money, I could get a few great indie or AA games. The main issue is discoverability, which is something AAAs are great at solving.
But BG3 is at least as large in scope as Starfield. Likely bigger.
Why is scope the problem?
I mean, for one thing, BG3 isn’t every game. This year people can’t shut up about Balatro (which I like but not love, incidentally). Or about Metaphor Re:Fantazio (which I love and took a long time to make, but is decidedly mid-sized).
You’re assigning execution problems to scope as if the games that serve as a reference for being great were small. But they aren’t. They come in all sizes, including mind-bogglingly huge. Execution and scope aren’t the same thing.
Same. That said, the value for the overall budget was incredibly high. I’m not saying Balatro should’ve been done by a AAA studio, just saying I think many people would prefer more games like that than more Assassin’s Creed games with large, empty worlds. How many cool indie games could a typical AC game budget fund and market?
Big budget games have their place, and it’s awesome to have a few games with incredible eye-candy each gen, but the balance seems to be way off here.
They’re not, but it’s a lot easier to execute well when scope is limited.
For example, look at Tears of the Kingdom, it’s basically Breath of the Wild with a fresh coat of paint, yet both BOTW and TOTK sold like hotcakes. The scope of TOTK was merely a handful of changes from its predecessor, plus an all new story. The difference between TOTK and most AAA games is that TOTK put gameplay first and reused whatever it could from previous games. I’m guessing Echoes of Wisdom reused the Link’s Awakening engine as well, with some extra polish to make the gimmick in that game work.
I want AAA studios to act more like Nintendo than Ubisoft or Activision Blizzard. Nintendo tends to focus on gameplay first, QA second, followed closely by art style, and graphics aren’t really a consideration.
Give me a few big games with deep scope and execute really well on those, but fill it in with a bunch of high quality, lower budget games with great gameplay, writing, etc. Sometimes I’m in the mood for a mind-blowing, cinematic experience, but usually I just want to veg and have fun. I’ve largely written off the AAA industry for gaming because their cinematic experiences tend to be poorly executed (poor QA, mediocre writing, etc), yet they charge a premium.
Hey, the best game published by Ubisoft this year was a mid-sized Prince of Persia game. The second best was a small Prince of Persia roguelike. Neither did particularly well with audiences, both are great.
We’re still not agreeing in our definitions, though, because man, how can anybody put a first party Nintendo game, let alone their Zelda open world tentpole, anywhere outside AAA? TOTK is AAA as fuck. TOTK defines AAA. Six years in the making, insane polish, a seeming blank check to mess with design to blend Zelda and Minecraft and built by some mix of Nintendo’s top tier talent and massive, industrial outsourcing over to Monolith Soft, which itself has hundreds of employees.
The realization that even sensible, savvy people just don’t grasp cost, scope or size in game development is… not new, but still disappointing. I still think this entire conversation is entirely tautological. People are defining size and “AAA-ness” based on whatever vibes and superficial traits they’ve assigned to “AAA”, not any sort of measure of size, budget or scope.
I’m saying it is AAA, and that’s how other AAA games should be. BOTW graphics are good but not life changing, bugs were rare on launch, the game is fun, and it brings something new to the series. TOTK is the same way, but it gets to reuse a lot of the engine work from BOTW while feeling like a new game. BOTW was audacious in scope, and Nintendo rarely takes those kinds of risks, so they feel special when they happen.
Nintendo is perhaps the best example of what I’d like other AAA studios to be, as least from a game design standpoint. Take big risks occasionally, and ship fun, lower-budget games between them. If we look at Zelda games on Switch, we have:
Only BOTW was truly risky here, and I imagine it cost way more than everything else.
If we look at Ubisoft, for example, they churn out massive AC games almost every year, and those cost hundreds of millions each time. Yeah, they have other games too (so does Nintendo), I’m talking more about the frequency of these massive world games they release, which is honestly absurd. I can’t speak for everyone, but I imagine many gamers would prefer to reduce the frequency of AC releases, improve the story progression (and eventually end it), and invest that budget into new IPs or smaller games.
That frequency is possible only because multiple studios are working on those. It’s not like people put together one of those each year, they are worked on concurrently.
I would argue that having too many games that are too similar is a major strategic mistake Ubisoft made for the past couple of gens. But that’s not because they’re big, or triple A or anything else. It’s a bad call by a mix of executives and creatives. It’s no more representative of AAA games or the industry than Nintendo having two iterations per franchise per generation or whatever they’ve decided is the sweet spot.
And once again, the budget has nothing to do with this. I am pretty sure that the open world Zeldas are quite expensive to make. All these good games people keep showing as examples of smaller games are not smaller at all. In Ubi’s case it’s kinda tragic, because they did invest in smaller games and it turns out those didn’t sell. Not only did they have the smaller PoP games, but they tried with a smaller AC game, too. At this point they’re throwing the kitchen sink at this. Hell, they have the very last AAA extreme sports title I can think of. I’m not sure when or if we’ll see another one.
And none of those have a problem with scope or are anywhere near as big as BG3 or Elden Ring, or probably even the big Zeldas. It’s not a budget problem. Which is not to say that games aren’t too expensive to make. The point is that they’re too expensive to make regardless of quality. The games you like are just as expensive as the ones you don’t.