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Notes -
Who has been following the drama around Disco Elysium? Disco Elysium, of course, is the 2019 CRPG that has received numerous accolades for being the savior of Western computer role-playing gaming, the best game in a long time etc. I've played it through, and it deserves the accolades; many here have played it as well, and it is not surprising that a forum like this would have many aficionados for a game that basically consists of reading vast oodles of texts about one drunken failure cop's personal psychodramas and politics and a well-realized fictional somethingpunk setting, and so on.
The game was been made by ZA/UM, an Estonian developer / art collective, around a world created by Estonian novelist Robert Kurvitz, and is quite obviously Estonian-influenced if one knows anything about Estonia (starting with the fact that Revachol, the city where the game happens, is very visually remiscient of Tallinn, the capital of Estonia, once known as Reval).
What's the drama? According to Wikipedia:
How Kurvitz and Rostov explain it:
I've also seen suggestions that Kurvitz et al believe that Tütreke, Kender etc. are planning to compromise their vision specifically for upcoming Amazon Disco Elysium series, presumably so that the political (anti-capitalist - Kurvitz is a self-described communist, very much a rarity in Estonia) aspect of their work would be compromised.
What ZA/UM says:
More context from an Estonian Redditor
Perhaps it's not necessary to specifically mention all the ironic aspects involved in this, and if we indeed see Disco Elysium as an art project, it feels like a fitting capstone to the project, in a way.
Nothing to say except this is a fairly strong case in favor of generative AI. The smaller a studio needs to be for viability, the lesser is the probability of such shitshows with extra hires, HR, publishers, complex ownership structures, and Gervais-style dynamics.
I'm a fan of games made by artists and writers, even extreme barely playable examples. Mor.Utopia and Turgor are great! Planescape:Torment is rightfully considered a masterpiece, Disco is fantastic. And in general, daring genre experiments with a focus on worldbuilding and narrative, even to some detriment of gameplay, are to be encouraged. I liked Hellblade a lot, Morrowind is of course a work of genius, Perimeter and Vangers are gems of my youth (btw their creator has died a few days ago in Kaliningrad, RIP). We need more of that, and therefore we need artisan studios.
But artists are barely able to function in a friendly collective. People who optimize for business process can run circles around them.
Unfortunately, this sort of problem seems present even for incredibly small projects, even separated from conventional ideological frustrations. The NeosVR Saga had a lot of 'developers', but they overwhelming majority were only not volunteers because they were paid in monopoly money; the real crux was a battle between the two guys at the heart of the project. And I've seen non-game business battles with a half-dozen employees, generally split between the Growth Uber Allies and the internal designers.
It's not even necessarily the business guys running circles around them -- even when they take really simple approaches, or have the right position (after all, 'artist goes so far up their ass you don't have a sellable product before you run out of burn' is a failure mode that happens often!) -- so much that there's a lot of tools each side has for a really phyrric victory, really easily.
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