Por que os jogos mudam de tom?



Jogue War Thunder GRATUITAMENTE no PC, PS5 e Xbox Series X|S: https://playwt.link/designdoc . Siga o link para baixar o jogo e ganhe seu bônus exclusivo agora. Obrigado por apoiar o canal! Algumas séries de jogos fazem uma grande mudança de tom. Os desenvolvedores ficam com medo de que o design de um jogo esteja ficando obsoleto, ou pensem que os gostos do público estão mudando, ou algo mais aconteça que os faça decidir mudar as coisas. Mas quais são essas razões, e isso funciona? Vamos falar sobre 5 séries de jogos que tiveram mudanças drásticas de tom e como isso funcionou para eles. Apresentando: Jak and Daxter Advance Wars Conker’s Bad Fur Day Fuse Tetris Effect Patronos recebem episódios sem anúncios antecipadamente, além de acesso ao nosso podcast de bastidores. Suporte Design Doc no Patreon: http://www.patreon.com/designdoc Design Doc no Twitter: https://twitter.com/Warbot400

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43 thoughts on “Por que os jogos mudam de tom?

  1. I personally hated Jak2's tone shift. (And should point out that its sales figures and metacritic aggregate is lower than the original.) The original Jak was better than Mario and Zelda and any other platformer when it first came out. And there really weren't many high-quality PS2 games like it. The sequel Jak2 tried to follow trend by copying Ratchet's guns and copy GTA's car theft – but those games already existed. If kids wanted to play GTA, they would just play the real GTA instead.

  2. Games always seem to go darker, grittier. Why isn't there a cartoon-ified Diablo or Doom? Why can't a properly executed headshot pop an enemy like a water balloon, spraying rainbows everywhere.

  3. The Digimon franchise as a whole has undergone a bit of a tone shift lately (Or it's purely coincidental that both latest Digimon entries that's got more plot than the handheld virtual pets (part of Bandai Namco's fitness watch brand this time around), the anime Ghost Game and the game Survive are both more horror themed than… I'd honestly argue even Tamers got? Not necessarily darker than Tamers – Unless Ghost Game went in a very different direction since I wound up waiting until it ended to use a crunchy role premium trial to binge it but… More horror than Tamers. It's more a tone thing than a content thing)

    But Digimon seems to do constant tone shifts, never really sticking with the same tonal premise for it's take – or sometimes it's take – on the Kids and Monsters genre for too long.

  4. I finished Jak and Daxter once. I never played the second or third games. I did wonder what happened to Jak and the world in the other games to have them look so wasteland-ish

  5. I remember as a kid not being allowed to play GTA, But Jak II was fine, and I absolutely loved beating the shit out of the cops. All 4 of those games have become my favorites.

  6. Only example that immediately comes to mind:

    Metal Gear Solid 4 felt like such a departure from the last 3. I can't really explain it, though. Each game has its share of brooding on the misery of war, but 4 starting out on an active battlefield, rather than an infiltration mission felt really weird to me.

    Couple that with the controls being traded for modern shooters, which I wasn't used to, and the game felt like quite a shift to me.

  7. A consequence is not inherently a bad thing. Jack and Daxter is a good example of that. The game made the tonal shift for the better, and people liked it better as a result, or I guess in this case, a consequence.

  8. Ummmmmmmm, if it wasn't released in Japan until 5 years later in some odd small online way, that's kind of a huge hint that whatever quote you just read from the developer is total nonsense, and the truth is they were given orders to Americanize it, make it dark and gritty for the Call of Duty Americans who loved to cheer invading foreign countries with "Shock and Awe" and had no need for cartoony anything, we double tap those first responders and just put it on the news….. oh…. wait…. what's going on? Oh that literally never has been played on any of their news channels, and the guy who published it is an international fugitive? Ah… America makes no sense and is totally contradictory and propagandized, we should stop trying to "cater to their tastes", it almost turned our whole domestic game industry to trash trying to chase after GTA/CoD money.

    (The truth is that people who are super into only those kinds of games are also guess what super racist and xenophobic and plain dumb and have zero interest in Japanese games or artistry or quality, if there's a giant ugly suitcase with a PC inside slapped together in Mexico with zero engineering put into it, they will buy it instead of a Gamecube, one of the best engineered consoles ever in history, if they feel that's the "fully American product" and it makes them feel like they have the BBC, the Big Black Console, it makes them more manly and adult, just like having a giant "pickup truck" is the only option for so many Americans regardless of whether they have any need for it or the gas mileage, hell they probably feel more manly destroying the environment faster with their vehicle)

    Be at least a little bit honest about things dude, come on.

  9. Bloody fantastic mate, while change in tone plays big dividends I want the devs to focus on great content and not the wants of modern society. Every game doesn’t need to be like every game. Variety and ingenuity is awesome in games.

  10. Twisted Metal: Black was the most drastic tone shift to me. The older games had a dark sense of humor, but they were a lot more whacky. For TM:B, they went fully dark, so dark that you might even say it's…..black. They took all whackiness out of the game's humor and took the new mature tone so seriously that they even made the graphics almost pure black! Seriously, the new color pallete was so dark that I actually had to turn up my TV's brightness just to see what's going on! It was a drastic shift in tone, in literal color tones and the overall "edgyness" of the game and I think went overboard.

  11. The way I see it there are 2 Teen demographics. Teen and Edgy Teen. The difference is Teen is a balance between Serious and Lighthearted at different moments in time where Edgy Teen is when any form of levity is pulled out becouse "I can't consider myself an adult if I like something that has any light"
    Teen can apeal to anyone but some Edgy Teens where Edgy Teen only apeals to Edgy Teens.

  12. I feel so bad for Advance Wars. The first game releases just before 9/11, and now the remake got delayed due to more worldly conflicts. How are you fated to have such crappy timing?

  13. I regret not giving Days of Ruin a shot. At the time, the shift was too jarring for me, and I'd grown attached to the cast of the previous 3 games. Now I just wish Re-Boot Camp would get released. May as well, before the nukes fly.

  14. It baffles me that some game devs STILL think that mature = desaturated grey and brown color palette, especially when some of the more remarkable mature games I can think of have a pretty colorful palette.

  15. Need For Speed is also a good example of this. I miss the good old days of driving stock cars in believable locations. Now is just racing on a boring city with riced cars.

  16. I think the shift of Monster Hunter from pre to post World is my most interesting tone shift for now. Post-World is still the most successful jump in brand recognition for the series but it came at a cost of alienating fans who've gotten used to the old world formula of arena fighting with more lighthearted design aspects. People who've only played World/Iceborne extensively probably have more of an attachment to immersive hunts with realistic leanings on aesthetics or even mechanics. And it didn't help that Rise was sort of a compromise of both aspects where, at least to me, most of the interesting stuff was the entirely new stuff rather than what came before. I liked wirebugs and being able to parkour most of the map without invisible walls… I didn't like how obviously late in development it was that they scrapped loading zones because higher ups probably thought Worlds immersive map design was important; monsters still act in ways that seem like they are coded to leave or exit areas and never hang in transitional points, because they used to be loading areas, unless you bully them to a standstill in those places. So even with the improvements Sunbreak brought it still feels like a half-baked game where it's direction is muddied between trying to retain fans of the disparate interests I mentioned while innovating where it can. Whatever the next game in the series is like I'm hoping they cut it more heavily one way or the other because I think fans could still reasonably play both styles on and seasonal basis with the two switching like they've been doing with the portable vs console team (although that's even blurring with the Switch now).

  17. I'm kind of curious what the sources are regarding the Conker section considering a lot of details are just flat out incorrect, such as suggesting Bad Fur Day was the first game (it wasn't)

  18. Because middle managers are hacks who wouldn't know what their demographic is if it kicked em' in the shins. It typically isn't the designers who make these jarring tonal shifts, but idiots who listen to focus groups. Which you prove immediately within this video. It should have been alarming that the feedback he was getting from the audience he was aiming for was playing a game that was so far outside their demographic and those of the previous games.

    See also the dichotomy of Call of Duty vs Pokemon. One is meant for serious adults and is played by 9 year old children, the other is meant for 9 year olds but is played by serious adults.

    Shadow the Hedgehog didn't happen because Yuji Naka said "Let's give Sonko a Gun", it happened because bosses at Sega didn't know how to read a room.

  19. Sometimes art is hard. Sometimes as the artist you have a major blind spot that the fans can see right through. And sometimes you are the only one with the fundamental understanding of your own work. My takeaway? Always seek to fairly understand the perspectives of anyone you can, but never act on a line of reasoning that you can't back up yourself.

  20. The Saints Row games are a series that comes to mind for me. The first game was a fairly serious gangster game, the 2nd game started getting whacky with its side content, the third game brought in a more lighthearted tone, and the fourth game was balls to the walls crazy.

  21. I think Conker's tone shift was also in response to the N64's "family friendly" image when compared to PS1. It was released late in the system's life cycle as it had already gotten walloped in the console wars. Rare just said "screw it" and ran with it.

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