Duke Nukem Forever is a textbook case. Announced in 1997 in a frenzy of successes from Apogee Software and then from 3D Realms, it takes on the trappings of an ambitious game, using at the start of its development the brand new and flashy Quake II engine. The sequence of events is less bright, with cascading delays, chaotic new starts and acrobatic technology changes. It only sees the light of day in 2011, recovered by Gearbox Software, bloodless and patched up with visions of game design contradictory. An industrial accident that comes out because it has to and a stab in the license’s glottis. The case Beyond Good & Evil 2 turns out to be more vague. Announced in 2008 at the turn of a cinematic scene, the title of Ubisoft then only shows itself in small touches, in particular because of a first setback, only two years after the start of development. The first parenthesis of a long line, BGE 2 only being talked about again around E3 for a while, with more or less reassuring speeches about the good performance of the site. At least until 2018.
After a first trailer during the Californian show of the same year, followed by a controversy on the collaborative aspect of the creation of visual elements, and another video of gameplay in December, it is announced that the game will pass its turn in 2019, despite the teasing around future information on its narrative aspect. Which will never happen. In 2020, the well-known Michel Ancel, one of the thinking heads of the game, left Ubisoft against a backdrop of toxic management, and the project seemed compromised to say the least. However, not officially canceled, Beyond Good & Evil 2 continues to wander in production limbo, having recovered in its ranks last April an old narrative designer from Blizzard, Sarah Arellano. Now heir to a not really prestigious crown, the project seems to evolve in a certain artistic vagueness, from which it is difficult to see it extricate itself.
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