Bayonetta

ForceStealer

Double Growth
Well, I dunno that these games ever sold millions, but yeah I'm sure it'll be fine

I'm willing to trust that it was likely 3k-4k per session because that sounds a hell of a lot more reasonable than as the full wage. But am I crazy or does $20k still feel low for the star of a AAA budget game??? Idk.

I mean part of me feels inclined to say that $20k sounds pretty good for 20 hours of work, but I know the acting and game development worlds are different beasts than the normal world. :flipmonster:
 

looneymoon

they/them
AKA
Rishi
I was more thinking along the lines of how many roles are realistically out there for it to be a viable as a main source of income I suppose. It seems like even the higher profile people don't have more than 3ish credits in a year? Which I suppose is somewhat ok if youre doing that much. I guess this is probably why for a lot of cartoons/dubwork/video games we see the same few people in more or less everything, as there's only so much that can go to "full-timers" so to speak.

But yeah I suppose voice work is typically within an umbrella of other acting work people can do.
 

Tetsujin

he/they
AKA
Tets

I feel like...she basically just confirms what Schreier's article said?

I don't quite understand why she thinks Bayonetta made almost half a billion, that's a ridiculous number?!

And the 250,000 she mentions she didn't ask for...this is literally the first time anyone brought up an exact amount, the article just said "six figures + residuals" and didn't specify any amount
 
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Makoeyes987

Listen closely, there is meaning in my words.
AKA
Smooth Criminal
Taylor just blew her credibility so far into Hell, not even Rodin himself would be able to find it and make a cool weapon out of it. :monster:

It's just gone forever.
 

Strangelove

AI Researcher
AKA
hitoshura
in general i want side with the actual people making things and think they should get paid better. depending on how much work you can find and living situation $15k might not be enough to get by on, and no one in history has ever said "i really appreciate the contributions of bobby kotick made to this game, he has earned his multi million dollar bonus"

but this does seem like a more complicated issue if the platinum side of the story is true. $4k per session is a lot better than $4k flat fee which is what taylor made it sound like. i was surprised by the sales figures she gave, i thought it was a more niche title. i just assumed she had more info than the public but maybe not lol. i do think she (and other actors) should get residuals. i haven't kept up with new developments to this

although ngl i thought her saying the new actor can't 'sign things as bayonetta' was a weird thing to say. are people regularly signing things as characters? i get maybe doing a little reference or nod to the media but it was an odd way to phrase it

unless she thinks she is bayonetta
 

Strangelove

AI Researcher
AKA
hitoshura
i played 2 on a switch lite (which is all i have) and one of my complaints was that the screen size made it hard to always keep track of a tiny model of bayonetta on screen when in the big fights

finding out this game is majority big fights is making me consider if i should look for a full switch now lol
 

ph14basicbitch

shinra merch buyer
AKA
koda
https://www.ign.com/articles/bayonetta-3-voice-actors

IGN wrote an article about some of the things that have been discussed about voice actor pay that came up after the initial wave of stuff with Bayonetta.

The market for English voice actors seems insanely oversaturated, in that there are too many voice actors for how much work there is to go around. This is probably true of America just by itself, but if you need English voice actors, you can pool from talents in multiple countries around the world for English, not just America.

Some might see the numbers from Taylor, the "$4k" and "$15k", and think, "Wow, that's a lot for 4 days of work". IGN commenters certainly think that the actual $15k figure and also the $250 / hr union rate means VAs should get bent, but I feel like those are the words of a person who has never actually worked a day in their life, is unemployed to begin with, has never done anything creative, and/or has never done any kind of gig work. Cause "$250/hr (pre-tax and pre-union dues) for infrequent gig work is living the life" seems like a fucking stupid conclusion to make. If everyone is trying to get the same few roles, then only a handful of people per year are actually going to get these top billing, leading roles. It's not like you wake up and get paid $1k every day for 4 hours of work, nor are you landing roles that pay $15k every other week.

The situation Sean Chiplock described that's printed in the IGN article seems pretty shitty. It seems rather, "Hey, you're here for an hour, so do these bit voices too, you're getting paid anyway". Chiplock talks about the kinda, idk, unseen physical aspect of the job. It might sound like an overly first world problem. On the other hand, I sure can't imagine talking for 4 hours on demand lmao. I believe it was Barret's English FF7 Remake voice actor who mentioned in the Reddit AMA that in order to do the stairs part, the director had them run in place in the studio to actually make them winded so it sound realistic... Did they still have to record more after that...? :mon:

Japan tackles voice actor payment quite differently than America. Solid Snake's JP voice actor, Akio Otsuka, has talked about voice actor pay before in depth - voice actors are ranked based on seniority, and for video games, you get paid per word, and the price per word goes up based on said seniority ranking. But Japan is also a different environment for voice actors. They do have issues with saturation (there is a whole "rookie" voice actor system that is probably intended to "help" with saturation), but there is also a lot of media that comes into Japan and gets dubbed over whereas not everything that comes to America gets dubbed over, and the pool of voice actors is limited only to Japan rather than potentially all of the English speaking world.

Personally, I'm all for VAs getting paid more. In a story heavy game, it helps add to the storytelling and having multiple audio languages make things more accessible. But it's suffering to figure out a way to do it that doesn't just instantly piss people off. Like I don't know if America could adapt a system like "pay per word". Japan also does "the agency takes everyone's paycheck, then dishes out a monthly monthly salary to everyone + more based on how much you did" which I can't see flying in America at all lmao. We also live a world where any kind of creative field gets scoffed at as "college degree to Starbucks employee" so some don't see jobs like that as "worth being paid much" to begin with.

You can't cull 75% of the VA population, you can't pull more jobs out of your ass, nor can you make tech bros and finance bros understand that creative fields are respectable, so hmm. :hohum: And of course, what Taylor did is absolutely going to make people think VAs are all "spoiled", living cushy lives cause they must *all* be getting paid $15k to work for 4 days, hurr durr.
 

looneymoon

they/them
AKA
Rishi
anyone playing this and feeling like its kinda of not great? :T idk I'll reserve judgement until I'm done but I feel like this game has massive problems and feels a bit disappointing.
 
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Lulcielid

Eyes of the Lord
AKA
Lulcy
At one point in development Bayonetta 3 was scoped as a semi open world game.

A question that got asked a lot since Bayonetta 3’s announcement was a fair one: what on Earth took so long? We’re accustomed to games coming out usually within a few years of their announcement, but Bayonetta 3 ended up sliding just under the five-year door.

The answers are mostly not shocking — it was announced very early, there was a pandemic that really slowed things down, the initial director left fairly early on in the project, etc. But another reasons that most people don’t know is that, at one point in development, Bayonetta 3 was scoped as a semi-open world game.

The design was going to draw more off Astral Chain than Nier Automata, but the idea was that a large hub world would send Bayonetta (or whoever else) to different worlds which would themselves be fairly open. Maybe Super Mario 64 would be a good reference point for this. There was a lot of work and experimentation on this idea, but it kept falling apart when it came to pacing, and eventually Nintendo wanted them to scale back. It was, I hear, also not particularly well-performing on the Switch hardware either.

There’s still a lot of vestiges of the semi-open world design in the final game. The hub world, Thule, is broken up into smaller pieces that Bayonetta and Viola navigate to get into the next major world. The chests were redesigned a bit to be searched for in larger areas and provide a lot more variety to make use of the environment. Even the various weapon transformations were going to play into traversal a bit.

This was never a meaty enough story to report as its own thing, so it feels like it can slide in here and no one is going to care in a negative way after the game itself is already out.

I’m of the opinion that if it didn’t work and the developers don’t think it worked, then we’re probably not missing anything huge. Still, Platinum Games tends not to throw away old ideas, so I would not be shocked if something else gets this treatment later.

Also I liked the game. Finished it today. Very easy to see where the supposed cameo Taylor was offered was going to fit in and, had she taken it, I think people would have been celebrating that role.
 

looneymoon

they/them
AKA
Rishi

was gonna make a post but I'm just gonna put this dunkey video here instead cuz his impressions are pretty similar to mine. I wouldn't say the "story telling" is lackluster tho - it just feels like there's a huge lack of punch to the game's sense of humour.

The game made me wonder if the satirical nature of this series is just outdated in 2022. The more I played though, it becomes more apparent that the devs aren't exactly sure of what to do with these concepts they're juggling.

Mechanically, this is Bayonetta 1 and 2 with a bunch of other stuff stacked on top. The kaiju summoning thing never really felt like it flowed super great for me. This also causes a problem that Dunkey outlines - you need these massive stages that can contain your kaiju, but then it's easy to lose your character, and the camera is kinda just guessing where you want to be looking.

The mini game portions are pretty phoned in and definitely added for padding. Some of them are better than others but they are super hit or miss.

The environments are some of the most boring looking in the series (edit: I will say this is mixed bag though - some are really nice looking and cool, but then it all feels like its stripped back in order to fit on the switch). Which is a shame because the they definitely put a lot into the battles looking crazy. Also the characters/monster designs are some of the best imo. There's some platforming and collection type stuff that also feels like it's there for the sake of being there.

It seems as though Platinum felt like they already perfected the Bayonetta gameplay, so in order to elevate it they basically inserted stuff from other projects they have going on. Which is... fiiiine, because the game functions alright. But I'm not sure if a lot of stuff is working the way it meant to be.

That's not even going into the "it's not even so bad it's good" ending which was... yeesh yikes. What a deflating way to send off the character, lol.

All in a this game is definitely alright. It's playable, and it has its moments. It's the worst Bayonetta, but it's still a decent time.
 
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