Kambsha
Selective Perception
ياخي عطوا الفريق ذا ميزانية مايصير الكلام هذا
لان بالفعل كما قلت الاستدبو محدود بالميزانية وعدد العاملين مقارنة ب استديوهات سوني الاخرى مثل نوتي دوق - انسومياك -جيريلا -سانتا مونيكا
مؤسس الاستديو أجرى مقابلة مطولة من كم يوم مع VGC وتحدث فيها عن اختيارهم انهم يضلوا استديو صغير من لما تأسس، وفوق هذا حسب كلامه يظن ان سكر بنش لديه اطول متوسط فترة توظيف خارج اليابان، بمعنى ان الموظفين يعمروا بالاستديو ومايتركوه خلال كم سنة او لما ينتهي المشروع مثلما ما نشوف بكل الأستديوهات الأخرى حتى ولو أصدروا العاب ناجحة نقديًا وتجاريًا. فالأمر ما اظن له علاقة بميزانية محدودة اكثر من التحديات والصعوبات اللي تواجههم كفريق تطوير صغير للعبة بهذه الضخامة تُقارن بألعاب من صنع اكثر من 2000 شخص مثل اساسن كريد.هو اعتقد لان الاستديو عمره العابه ماباعات بشكل كبير من ايام سلاي كوبر حتى.
However, perhaps the studio’s most unique characteristic – outside of Japan, at least – is its determination to stay small by triple-A standards, at just a few hundred employees. According to the studio head, this has allowed it to maintain its culture and retain its employees
“Our median tenure might be the highest of all the non-Japanese studios,” he said. “In the Japanese studios, the culture around hiring is a little different. But I believe we have the highest median tenure [outside of Japan].
“And again, I’m not pounding my chest. I just think it’s part of this whole ecosystem that we’ve tried to build. We did not want to be big. Even during the Sly 1 timeframe, I remember there were conversations like, ‘if we’re ever bigger than 40 people, the company will explode’. And that felt like gospel at the time.
“But the reality is, you learn, and you build a management team and a leadership group that can handle, ‘hey, that guy’s really special. Maybe he can run part of it’. And ‘wow, we never had a recruiter before’… There’s a lot of little steps that it takes to be where we are. But you’re right that our bias has always been [to stay small].”
In the seven years between Sly Cooper and the first InFamous, Sucker Punch went from developing a game in a year, to needing to dedicate double or triple that amount of time. Faced with the decision to expand, or spend longer building its games, the studio didn’t hesitate to opt for the latter.
“The decision was to grow a little bit and take two years [building InFamous], or we could have the same amount of people, but do it over three years. That was like the world’s easiest decision for us: give us less headcount, and let us work on it for three years.”