Hyperbole on the wave of cash has come quick and fast. It‟s the definingmoment of the year for games already, predict some; it‟s changing the
model for funding, claim others.
The more fanciful claims say this is gaming‟s „Radiohead moment‟,
referring to t
he UK band‟s pay
-what-you-want strategy for a suddenlyreleased album (hopefully our description alone there can help youunderstand how the two are nowhere near similar).
Double Fine‟s own pitch is similarly enthusiastic: “For anyone interested
in the inner workings of the game industry, either professionally or as a
fan, this project will be a landmark in exploring the art of development.”
Certainly, the success for Double Fine is not to be ignored
and this isshaping up to be the most public, openly developed game with a hugebudget.But this singular success needs to be understood with some reasoning.
Tim Schafer‟s big money boom on the site is just a one
-off; a blip drivenby the word of mouth that only top-flight status as an iconic designer canencourage.