By An ex God of War producer is sounding the alarm regarding AAA production, asserting that prominent publishers like Activision and Sony should broaden their offerings as ample chances exist within smaller games.
In a discussion with Game Developer at Gamescom Asia, ex co-head of Sony Santa Monica Studio and product development director Meghan Morgan Juinio (who took on the role of producer for 2018’s God of War) voiced her worries over the unsustainable choices the gaming industry is making in the wake of the pandemic. In view of the numerous extensive layoffs and studio shutdowns affecting the gaming sector over the previous five years, Morgan Juinio believes that although the “returns could be exceptionally substantial” for major publishers chasing franchises like Call of Duty, there are also prospects for AA and indie titles both within and outside of these franchises as players are looking for experiences that challenge mainstream game norms such as inflated budgets, lengthy playtimes, and overly complex developments.
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“I also believe there exists a chance for those major players to explore diversification into double-A and single-A, and possibly indie as well right?” she remarked. “And what dimensions, forms, or shapes could that assume? I’m uncertain […] but I think we should transcend the impulsive reactions from the pandemic and the subsequent couple of years and sincerely contemplate who we aspire to become? What type of product do we wish to release? We must deliberately chart our course on how to reach our goals.”
Morgan Juinio highlighted titles such as Astro Bot and Split Fiction—two titles comfortably nestled within the AA category due to their limited scope, shorter development phases, and modest budgets. She specifically noted that these games triumphed not only due to their non-AAA connections but also because they offered enthralling and groundbreaking gameplay that was often more engaging than the offerings of many (or even most) AAA titles at present. Additionally, these two games—Astro Bot and Split Fiction—present a slightly lower price point compared to, for instance, Battlefield 6 and Call of Duty: Black Ops 7, which was an additional appealing factor toward their commercial triumph. Bear in mind that some analysts recently asserted that nobody desires to pay $100 for a game, much less for one as promoted as Grand Theft Auto 6.
“What I assert is that we must create exceptional video games,” she continued. “The form doesn’t hold significance. I believe gamers at this moment are somewhat desensitized to stunning graphics, size, and scale. It’s virtually a given, right? If a game lacks enjoyment, it doesn’t matter how attractive it appears. If a game fails to engage or provide a distinctive hook, it will not resonate with players.”
There’s a prevailing sense of despair surrounding the gaming industry lately. Game costs are escalating. Developers are facing job losses. And, oh dear, shareholders are dissatisfied with the sales figures of their pricey titles. It can be disheartening for individuals in the gaming sector. Nevertheless, Morgan Juinio identifies as “an eternally optimistic thinker” and is confident that as long as creativity and innovation continue to thrive, there will be structural transformations that will benefit everyone broadly—especially if publishers invest further in smaller ventures.
“I believe that our fundamental nature, as developers and creators, won’t permit it to remain bleak. They won’t tolerate that reality,” she elucidated. “Does that imply that we’re destined to revert to the styles of games released five years ago or in the pre-pandemic era? No. I foresee something novel coming. We do not yet know what it is, but I fundamentally trust in the influence of creativity and innovation within our industry. And I am convinced that even if the ruling powers undergo structural alterations or are entirely overturned, there remains a demand for outstanding games.”
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