[dahart]

Try not to take it personally, there are both devs who are replaceable and devs who aren’t, and with ~40 Call of Duty titles on almost as many platforms, a million and one people have worked on it, some doing more mechanical port work than others. There’s truth in there; the games industry is tough, and it’s relevant that some studios that (for example) demand lots of overtime haven’t seen any large exodus, or sometimes there is high turnover and the studio still survives, to parent’s point. There’s a higher level layer to this, that from a publisher’s point of view, there are a lot of smaller studios that are easily replaceable, and I’d speculate studios go out of business over contracts lost to other studios far more often than over employee walkouts (which of course fuels the need for overtime to be competitive). This is true for games and for VFX production in the US, enough people want these jobs that high turnover doesn’t seem to slow the business.

[jasonwatkinspdx]

It's particularly ironic that you mention CoD as an example of how you can treat gamedevs as replaceable cogs. Here's the history: https://news.ycombinator.com/item?id=32833895

[actionfromafar]

Call of Duty then and now are very different. Back then, it was more like an indie movie. Now, it's Disney size. Their animators are cogs.

[jasonwatkinspdx]

Well for what it's worth my friend is still with them, or at least what you could call the main descendant of that team. They don't treat him as a cog. In fact he was their first full time remote employee as I understand it, as he got sick of living in Tulsa. No offense Tulsans, but when you've lived in the PNW for a while it's kinda hard to give up all the trees, mountains, etc. I do miss thunderstorms though.

[dahart]

That is a great story, and should be an inspiration to aspiring gave devs. As you can clearly see in the thread, I did not bring up CoD. Two comments above me were discussing it. I was just pointing out that it’s now a huge franchise. All the franchises, large and small, have cycled through many, many programmers and artists and designers. It does not disrespect your friend to point out that there are multiple studios he didn’t start that are now developing CoD, or to point out that it has been ported to so many platforms that there has been a metric ton of unsexy porting work alongside the original content work. Having worked on both game and movie franchises, I can safely say that there’s less room for individual input. Not none, just less. I’ve witnessed whole studios (both in games and films) push and push to work on an original non-franchise production, because everyone knew it’d be more fun and felt less like being a cog. The fact that your friend made a wildly successful franchise is absolutely great for him, and for his business, but you can’t claim that it’s creatively great for everyone else involved, even if it does support them financially.