[CENSORED] JonTron removed from Yooka-Laylee -

[Piga Dgrifm]

ECH

 

[Trilby]

I can't blame the devs for dropping his voice acting to avoid their game stirring controversy.

There was no easy way out of that mess given the circumstances.

 

[Jewelsmakerguy]

There was no easy way out of that mess given the circumstances.

Thing is though, they are still stirring controversy. Admittedly it's rather stupid controversy on the part of their backers, but still.

In all honesty, I never even knew Jon was going to be a voice until I heard about this.

 

[Trilby]

Thing is though, they are still stirring controversy. Admittedly it's rather stupid controversy on the part of their backers, but still.

In all honesty, I never even knew Jon was going to be a voice until I heard about this.

I'm sure they wanted to keep that a secret until the game came out.

 

[Jewelsmakerguy]

I'm sure they wanted to keep that a secret until the game came out.

Probably.

Either way it's pointless now.

 

[StraightShooter]

who cares that much about this though

There was no easy way out of that mess given the circumstances.

Well they're inevitably going to get controversy either way, so in all honesty it would look better for them to just tell the left-side of the isle to fuck off back to their safe space, rather than come out looking like a company who lets spergs from NeoGaf tell them who they can or can't have in their game.

Things is it'd be interesting if there's someone who's done research and been able to estimate just how much actual profits companies accused of "controveries" which offended SJws have actually lost when they didn't back down; wouldn't suprise me if they often end up losing more revenue when they cave, especially in the case of video game marketed to younger audiences who typically aren't big on "censorship" of any form.

I wonder honestly how much they would've lost from all the folks who refused to buy the game if JonTron was in it, versus how much they're probably losing now due to the chargeback fiasco.

As far as the game itself, it looked like a massive hype-fest, and there have been plenty of "open world 3D adventure games" in recent decades, such as the Rachet and Clank games, or fiascos like Sonic Boom, so I don't see how it stands out from other games of this genre in any way, except maybe to Banjo Kazooie spergs, and the only people old enough to still care about Banjo Kazooie from 1997 should be too old to be sperging out over a game like this anyway.

 

[Trilby]

Well they're inevitably going to get controversy either way, so in all honesty it would look better for them to just tell the left-side of the isle to fuck off back to their safe space, rather than come out looking like a company who lets spergs from NeoGaf tell them who they can or can't have in their game.

Things is it'd be interesting if there's someone who's done research and been able to estimate just how much actual profits companies accused of "controveries" which offended SJws have actually lost when they didn't back down; wouldn't suprise me if they often end up losing more revenue when they cave, especially in the case of video game marketed to younger audiences who typically aren't big on "censorship" of any form.

I wonder honestly how much they would've lost from all the folks who refused to buy the game if JonTron was in it, versus how much they're probably losing now due to the chargeback fiasco.

As far as the game itself, it looked like a massive hype-fest, and there have been plenty of "open world 3D adventure games" in recent decades, such as the Rachet and Clank games, or fiascos like Sonic Boom, so I don't see how it stands out from other games of this genre in any way, except maybe to Banjo Kazooie spergs, and the only people old enough to still care about Banjo Kazooie from 1997 should be too old to be sperging out over a game like this anyway.

Some people never grow up I guess.

 

[StraightShooter]

Some people never grow up I guess.

Yeah that's the problem, games like Banjo Kazooie were primarily marketed for younger gamers, and just happened to mantain a cult following of adults fans; while this game was from the get-go intentionally marketed to manchildren who are old enough to still remember Rareware games from the 90s, but emotionally stunted enough to still care about them.

 

[CatParty]

Well they're inevitably going to get controversy either way, so in all honesty it would look better for them to just tell the left-side of the isle to fuck off back to their safe space, rather than come out looking like a company who lets spergs from NeoGaf tell them who they can or can't have in their game.

Things is it'd be interesting if there's someone who's done research and been able to estimate just how much actual profits companies accused of "controveries" which offended SJws have actually lost when they didn't back down; wouldn't suprise me if they often end up losing more revenue when they cave, especially in the case of video game marketed to younger audiences who typically aren't big on "censorship" of any form.

I wonder honestly how much they would've lost from all the folks who refused to buy the game if JonTron was in it, versus how much they're probably losing now due to the chargeback fiasco.

As far as the game itself, it looked like a massive hype-fest, and there have been plenty of "open world 3D adventure games" in recent decades, such as the Rachet and Clank games, or fiascos like Sonic Boom, so I don't see how it stands out from other games of this genre in any way, except maybe to Banjo Kazooie spergs, and the only people old enough to still care about Banjo Kazooie from 1997 should be too old to be sperging out over a game like this anyway.

Lol taking this subforum seriously

 

[Somsnosa]

Is being autistic and snobby a requirement to be hired as indie game company PR
Do these tards have any experience whatsoever
why would you threat your clients like that

 

[Trilby]

Yeah that's the problem, games like Banjo Kazooie were primarily marketed for younger gamers, and just happened to mantain a cult following of adults fans; while this game was from the get-go intentionally marketed to manchildren who are old enough to still remember Rareware games from the 90s, but emotionally stunted enough to still care about them.

No doubt the sort of illness that affected animated cartoons and comics has also happened to video games as well.

 

[projecteddrama]

The one video posted didn't seem to indicate the game "sucks" or even indicate what the title said. And while they're being complete douches, I don't care if they removed the sound effects of some fat dweeb I don't care about

 

[StraightShooter]

The one video posted didn't seem to indicate the game "sucks" or even indicate what the title said. And while they're being complete douches, I don't care if they removed the sound effects of some fat dweeb I don't care about

Is being autistic and snobby a requirement to be hired as indie game company PR
Do these tards have any experience whatsoever
why would you threat your clients like that

I think it's more of a matter of technical professions not caring if you're an autistic blue-haired freak so long as you can perform your primary function, since those types of professions like programming a computer require minimal human interaction, and will eventually just be replaced by more efficient robots.

 

[The Lawgiver]

Yeah that's the problem, games like Banjo Kazooie were primarily marketed for younger gamers, and just happened to mantain a cult following of adults fans; while this game was from the get-go intentionally marketed to manchildren who are old enough to still remember Rareware games from the 90s, but emotionally stunted enough to still care about them.

Bitch u never seen the penises hidden in the game or the character that's literally named minge

 

[ICametoLurk]

 

[millais]

 

[projecteddrama]

LOL! Even though I backed this game, I think Playtonic deserves this trolling. They're acting like uber dickheads

 

[Hui]

The PR guy on twitter HAD to have blue hair lol.

 

[Optimus Prime]

Yeah that's the problem, games like Banjo Kazooie were primarily marketed for younger gamers, and just happened to mantain a cult following of adults fans; while this game was from the get-go intentionally marketed to manchildren who are old enough to still remember Rareware games from the 90s, but emotionally stunted enough to still care about them.

If you have a rock solid game foundation, it will appeal to all ages, and that's what Banjo Kazooie has going for it (Jon goes in exhaustive detail in his 'Nuts and Bolts' review about why that game shits on what made the original so great).

Alternatively, Rareware also basically developed a game nigh-identical to Banjo-Kazooie except it was based on a Nintendo IP. Donkey Kong 64 is also very much a 'collect everything' kind of game but it made you work your ass off for every last one - most of the true game challenge is in the psuedo-puzzles and minigames to get these things.

Or, to provide a completely different example, the kirby games. In Crystal Shards, Stage 5-4 is a bright and happy mall type place. Stage 5-5 is a dark and depressing factory with one of the most iconic themes in the franchise (Factory Inspection) and the setting for Stage 5; Shiver Star, is widely believed to be post-nuclear apocalypse Earth. The most recent one; Planet Robobot, is fairly standard campaign for kids stuff with gratuitous extra lives. But if you go deeper, the story is shockingly dark (the guy you think is the main bad guy is actually an innocent, mentally broken man tricked by a supercomputer into giving it sentience, whereupon it casually states its intentions to literally kill everything that ever lived - and that's before you even see its true form as a reality bending mechanical star-comet that makes creepy cat noises) and the challenge modes feature far harder bosses intended for longtime Kirby fans (because no kid is going to know the Dark Matter Clone boss is from Dreamland 2, the first time he's shown up in that form in over 20 years). But, you know, the bright colors and friendly shapes everywhere totally don't give any hints to just how horrifying or mature oriented the game's entire foundation is. Even with 'Factory Inspection' being reused wholesale as 'Power Plant Inspection' - kids totally love soundtracks that sound like a perpetual train crash into a piano factory.

 

[Rat Speaker]

If you have a rock solid game foundation, it will appeal to all ages, and that's what Banjo Kazooie has going for it (Jon goes in exhaustive detail in his 'Nuts and Bolts' review about why that game shits on what made the original so great).

Alternatively, Rareware also basically developed a game nigh-identical to Banjo-Kazooie except it was based on a Nintendo IP. Donkey Kong 64 is also very much a 'collect everything' kind of game but it made you work your ass off for every last one - most of the true game challenge is in the psuedo-puzzles and minigames to get these things.

Or, to provide a completely different example, the kirby games. In Crystal Shards, Stage 5-4 is a bright and happy mall type place. Stage 5-5 is a dark and depressing factory with one of the most iconic themes in the franchise (Factory Inspection) and the setting for Stage 5; Shiver Star, is widely believed to be post-nuclear apocalypse Earth. The most recent one; Planet Robobot, is fairly standard campaign for kids stuff with gratuitous extra lives. But if you go deeper, the story is shockingly dark (the guy you think is the main bad guy is actually an innocent, mentally broken man tricked by a supercomputer into giving it sentience, whereupon it casually states its intentions to literally kill everything that ever lived - and that's before you even see its true form as a reality bending mechanical star-comet that makes creepy cat noises) and the challenge modes feature far harder bosses intended for longtime Kirby fans (because no kid is going to know the Dark Matter Clone boss is from Dreamland 2, the first time he's shown up in that form in over 20 years). But, you know, the bright colors and friendly shapes everywhere totally don't give any hints to just how horrifying or mature oriented the game's entire foundation is. Even with 'Factory Inspection' being reused wholesale as 'Power Plant Inspection' - kids totally love soundtracks that sound like a perpetual train crash into a piano factory.

Nice wall of text you got there.