Overall comments

[GustavMcMagnus]

Got to 1937 or so, 60m in the bank.

The game needs a different type of balancing. By this point, most of my movies are above 9. I'm even using 4.0 scripts and they still end up above 8 at the end. Happiness bonus, all the jewish talent, lvl 3 soundstage and filming indoors pushes everything very high. Makes sense, but then I'm curious what happens later in the game. And what do the extra tech and research do, that it takes years to develop and I don't know if I have the patience to wait for.

Majority of scripts end up >9 even with my 6.8 scriptwriter. I'm happy, but wondering how do we avoid doing the same thing every year, it's too repetitive. And please don't add random challenges just make it harder, like the FSAA bans on genres etc. It's a bit lazy and not fun for a 2025 tycoon game.

Tech equipment doesn't seem to do much for the movies, besides costing more. Using lvl 1 tech or lvl 5 tech still gives me a 9 movie.

I've been bottlenecked by the amount of theaters for years at this point, just trying to squeeze the movies in the calendar and end up having 3 movies 8.8 running at the same time for 4k showings each. I can't buy more theaters, there aren't any. I can't build any either. Also, now that I have 60m, I'm half way through the tech tree but what's my incentive to play further?

Tech tree - some of it seems out of balance. By the time I get +50% exp for Directors etc, they are already maxed out. What's the point to research it? Same with scriptwriters, when they get exp from movie release - by that time WW2 happened and I have the jewish scriptwriters. They are already more than able to put out 9.9 scripts all the time.

When you start, a cheap movie costs 200k, max around 500k to produce (without distribution or marketing). At around 1937, I have 9.9 movies costing 200k too, and I splurge on fancy costumes, fancy sets, all the extras money can buy. I get it, economies of scale, but I'm happy I started with Behemoth otherwise I can't get a movie to cost 1 mil for some reason. After some research the movies are very cheap to make.

We could also use:
- dashboard to show when contracts expire
- ability to extend contract before they expire, since I don't know why extending the contract until the end of the movie costs 1k, but if I wait a few days to extend the contract I can get 5 years out of that 1k.
- skip the pollux awards ceremony.
- if I dont like FSAA and I want out, I should be able to build my own awards and invite independent artists to submit.
- what are the competitors for - besides launching movies (minor or any impact on my ability to make movies or money from them), having some talent that you want, but by the time they are out of contract so you can get them, you have the 1935 crises and you can get plenty anyways. They don't seem to do anything, will we be able to destroy them, buy them etc?
- limitation of how many movies you have in the pipeline - I get it, there should be a limit I guess, but I have an abundance of staff that I don't know what to do with.
- animated movies, Disney stuff, with different staff
- ability to redeploy the same script formula as before. A writer knows that a script did good, he even got a Oscar from it and there's only 2-3 combos you can do of the same genre, so why doesn't he remember. Having to select the same stuff all the time is tedious.
- synopsis seems empty all the time
- script ideas need to pop up more. Using the workshop to do the same thing every time is tedious and time consuming.

Stardom - seems to happen very arbitrarily and not organically. An actor is either a rising talent, star etc, or he isn't. No matter how many 9 movies I put him in, he never becomes a star.

[Argos]

Hell I can't even figure out how to make money

[Pedroig]

There is research which has elements pop up every X months.

There are way more than 2-3 combos which work with same combo.

The only real limitation on number of movies in the pipeline is how many soundstages one wants to use and have, and number of editors and composers one has.

Dashboard for contract status/emlployee status is great idea.

The employee has the company over a barrel when trying to extend for that one movie, it is too harsh though, almost like it is multiplying the one movie and current contract considerations together.

[Gaz]

there is no contract negotiation currently. they make demands, and you either accept or you dont get them.

i assume this will be improved in future.

[Ovomaltine]

Originally posted by GustavMcMagnus:

Got to 1937 or so, 60m in the bank.

The game needs a different type of balancing. By this point, most of my movies are above 9. I'm even using 4.0 scripts and they still end up above 8 at the end. Happiness bonus, all the jewish talent, lvl 3 soundstage and filming indoors pushes everything very high. Makes sense, but then I'm curious what happens later in the game. And what do the extra tech and research do, that it takes years to develop and I don't know if I have the patience to wait for.

Majority of scripts end up >9 even with my 6.8 scriptwriter. I'm happy, but wondering how do we avoid doing the same thing every year, it's too repetitive. And please don't add random challenges just make it harder, like the FSAA bans on genres etc. It's a bit lazy and not fun for a 2025 tycoon game.

Tech equipment doesn't seem to do much for the movies, besides costing more. Using lvl 1 tech or lvl 5 tech still gives me a 9 movie.

I've been bottlenecked by the amount of theaters for years at this point, just trying to squeeze the movies in the calendar and end up having 3 movies 8.8 running at the same time for 4k showings each. I can't buy more theaters, there aren't any. I can't build any either. Also, now that I have 60m, I'm half way through the tech tree but what's my incentive to play further?

Tech tree - some of it seems out of balance. By the time I get +50% exp for Directors etc, they are already maxed out. What's the point to research it? Same with scriptwriters, when they get exp from movie release - by that time WW2 happened and I have the jewish scriptwriters. They are already more than able to put out 9.9 scripts all the time.

When you start, a cheap movie costs 200k, max around 500k to produce (without distribution or marketing). At around 1937, I have 9.9 movies costing 200k too, and I splurge on fancy costumes, fancy sets, all the extras money can buy. I get it, economies of scale, but I'm happy I started with Behemoth otherwise I can't get a movie to cost 1 mil for some reason. After some research the movies are very cheap to make.

We could also use:
- dashboard to show when contracts expire
- ability to extend contract before they expire, since I don't know why extending the contract until the end of the movie costs 1k, but if I wait a few days to extend the contract I can get 5 years out of that 1k.
- skip the pollux awards ceremony.
- if I dont like FSAA and I want out, I should be able to build my own awards and invite independent artists to submit.
- what are the competitors for - besides launching movies (minor or any impact on my ability to make movies or money from them), having some talent that you want, but by the time they are out of contract so you can get them, you have the 1935 crises and you can get plenty anyways. They don't seem to do anything, will we be able to destroy them, buy them etc?
- limitation of how many movies you have in the pipeline - I get it, there should be a limit I guess, but I have an abundance of staff that I don't know what to do with.
- animated movies, Disney stuff, with different staff
- ability to redeploy the same script formula as before. A writer knows that a script did good, he even got a Oscar from it and there's only 2-3 combos you can do of the same genre, so why doesn't he remember. Having to select the same stuff all the time is tedious.
- synopsis seems empty all the time
- script ideas need to pop up more. Using the workshop to do the same thing every time is tedious and time consuming.

Stardom - seems to happen very arbitrarily and not organically. An actor is either a rising talent, star etc, or he isn't. No matter how many 9 movies I put him in, he never becomes a star.

+1. Same situation

I love the basis of the game, the core part, but need balancing and improvement.

i would add :
- Age and personnality of an actor/actress should matter for a part. I find funny that i can have a 56 cop with a 19 mentor.
- Hiring is frustrating. I have choose the policy that allows you to see the maximum level for employees and the recruitement pool is really meh. In my 3 games, i never have a sreenwiter or composer in the hiring pool better than the ones we start with.

[Nei]

Originally posted by Gaz:

there is no contract negotiation currently. they make demands, and you either accept or you dont get them.

i assume this will be improved in future.

I really hope so

[GustavMcMagnus]

Originally posted by Ovomaltine:

+1. Same situation

I love the basis of the game, the core part, but need balancing and improvement.

i would add :
- Age and personnality of an actor/actress should matter for a part. I find funny that i can have a 56 cop with a 19 mentor.
- Hiring is frustrating. I have choose the policy that allows you to see the maximum level for employees and the recruitement pool is really meh. In my 3 games, i never have a sreenwiter or composer in the hiring pool better than the ones we start with.

Yeah, that's what I said with the Jewish talent. You get 3 writers 6-7 I think, and they get to 8 pretty fast. By this point, I had 20 mil already and could hire freelancers for 150k a script that delivers a 9.9 movie that nets me 6mil in profit easily. And the ones I had I was farming with them and they got to 6.5 as well. There is nothing in the pool to start with (thats fine i guess), but then I had 7 writers that can do 9.9 if I use the workshop.

Also some actors are world stars, but lvl 5 stars professionalism. The star level is meant to be how well they behave on set I guess, so then it shouldn't matter how many stars they have if you put up with them, you can get an Oscar with a 1 star. But then my lvl 10 Jewish actor was never declared a star - which makes sense, he's just hardworking but probably not talented. Then where do we see the talent? Just randomly allocated but never achieved in the game, just predetermined from the pool and that's it. Which is limiting at this point.

Maybe we can get some buildings where we can send the actor on a PR campaign, to do fashion shows etc to make him a star. Throw the ball at the super bowl I dunno.

[Zy Soua]

Originally posted by Ovomaltine:

i would add :
- Age and personnality of an actor/actress should matter for a part. I find funny that i can have a 56 cop with a 19 mentor.
- Hiring is frustrating. I have choose the policy that allows you to see the maximum level for employees and the recruitement pool is really meh. In my 3 games, i never have a sreenwiter or composer in the hiring pool better than the ones we start with.

The age actually does matter for the role. When you get analytics department you will see that audience reacts to "improper age for the role"

[Nei]

Originally posted by Zy Soua:

Originally posted by Ovomaltine:

i would add :
- Age and personnality of an actor/actress should matter for a part. I find funny that i can have a 56 cop with a 19 mentor.
- Hiring is frustrating. I have choose the policy that allows you to see the maximum level for employees and the recruitement pool is really meh. In my 3 games, i never have a sreenwiter or composer in the hiring pool better than the ones we start with.

The age actually does matter for the role. When you get analytics department you will see that audience reacts to "improper age for the role"

I didn't know that, that's awesome actually

[Spookbuster]

Originally posted by Zy Soua:

Originally posted by Ovomaltine:

i would add :
- Age and personnality of an actor/actress should matter for a part. I find funny that i can have a 56 cop with a 19 mentor.
- Hiring is frustrating. I have choose the policy that allows you to see the maximum level for employees and the recruitement pool is really meh. In my 3 games, i never have a sreenwiter or composer in the hiring pool better than the ones we start with.

The age actually does matter for the role. When you get analytics department you will see that audience reacts to "improper age for the role"

It's really cool that that's a thing. At the same time, it would be neat if there were circumstances where having a younger character in the mentor role works better(A kid teaching their grandparent how to use a radio in 1929, or how to use a computer in 1989). It would probably make sense to have a story element for this, maybe something relating to inter-generational bonding.