
Amy Hennig Maligns Ballooning AAA Game Budgets and Static Price Points
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Tuesday, April 16, 2019
Having enjoyed a storied career working on games like the Uncharted series and The Last of Us for Naughty Dog, before moving to EA to work on Visceral's ill-fated Star War title, Amy Hennig has spoken out recently about the spiralling cost of AAA budgets, and the problem that comes with static game price points.
Talking at the recent Reboot Develop Blue conference, Hennig stated that the industry is "at an interesting crossroads," where something needs to change regarding the ballooning budget and scale of most AAA projects and the non-inflation of purchase prices for games, despite the increase in scale and production costs.
Citing examples like a God of War game before the advent of the more open-world God of War released in 2018, and Insomniac's early 2000s output before the far larger Spider-Man launched for PS4, Hennig observed that everything has doubled in size, but price points haven't changed to compensate.
"Across the board, we've doubled everything in size; we've also doubled our development time, and doubled our team sizes - probably more than doubled in each of these cases - and yet our price-point hasn't changed," Hennig said [via GamesIndustry.biz]. "A lot of where we're at now in terms of scope and complexity and cost is sort of self-inflicted. We've changed from intentionally creating these finite experiences to creating experiences that just don't end."
Hennig adds that shorter games are perceived by many to be worth only renting, or purchasing then trading in, which obviously takes money away from the developer and publisher alike. What's more, huge games that take tens or even hundreds of hours to complete aren't even being finished, according to statistics distributed within the industry.
"We're in a world where we're not even making finite games, and when we are they're 20, 40 or 100 hours, and the common wisdom is that most players don't finish them," Hennig continued. "We have these statistics inside the industry; some publishers, they realise that 10% of their audience is going to see the entire story. And that's upsetting."
Hennig used TV as an analogy, stating that "nobody [in television] is creating something and going, 'Open wide, here's ten hours of television.' Because the viewer might go, 'I can't.' But in games we're saying, 'You gotta play Red Dead, it gets really good about 30 hours in."
She also finds herself in the same boat as many people, simply not having the time to finish games that are 30 hours-plus. "You hear that and don't you just die inside? I don't have 30 hours," she said.
Presumably something has to give, then. Should we be paying more for games that do serve up tens or hundreds of hours worth of content to better correlate with the development costs poured into such large and ambitious projects? Would a return to more finite AAA games that clock in at the 8-10 hour mark over sprawling open worlds make more sense? Or is there room for both as long as the price point fits accordingly?