logo
Wētā Workshop's first video game Tales of the Shire launches amid mixed reviews

Wētā Workshop's first video game Tales of the Shire launches amid mixed reviews

NZ Herald3 days ago
Tales of the Shire was conceived in late 2020, Wilks says.
Pandemic lockdowns led to a boom in so-called 'cosy' games, many based around building a simple farm, that provided relaxation and respite from real life.
'At the time, it was described as a game the world needs right now, which is probably still true,' Wilks says.
'It's very much aimed at the cosy audience.'
A number of reviewers were given an early look. One of the largest, IGN, with 19.2 million followers on YouTube, was brutal (see clip below), with the website calling it 'a promising idea that turned out dreadfully boring and extremely buggy'.
'Which Tolkien nerd among us hasn't daydreamed about living a relaxing life as a halfling?' IGN reviewer Travis Northup wrote.
'But instead of the warmth and comfort of the Shire, I spent 25 hours feeling like I was marching through the Dead Marshes in this cosy misadventure.
'It's regrettably dull from start to finish, and runs so badly I wasn't even allowed to be bored out of my mind in peace.
'The bare bones life sim mechanics offer some of the most shallow versions of classic activities like fishing and farming that we've seen done much better in dozens of other games, and building social links with the inhabitants of Bywater is monotonous, repetitive, and never worth the effort.'
A still from Wētā Workshop's Tales of the Shire: A The Lord of the Rings Game, which has been released today.
Wētā Workshop game studio director Tony Lawrence says there have been good reviews, too.
Indie Informer called Tales' world 'a joy to exist in'.
Aggregator Metacritic (the Rotten Tomatoes of gaming) gives Tales 60 out of 100 overall, based on the reviews of 15 critics (user reviews will follow after today's release).
'We've opened it up to the community for the past three days,' says Lawrence.
'Some people have had early access to the game and their response has been very positive.
'It's got what they want, which is a relaxing game set in the Lord of the Rings lore, where they can sit and be their best hobbit and explore and decorate to their hearts' content.'
Tales of the Shire: A The Lord of the Rings Game is described as "a relaxing game set in the Lord of the Rings lore".
But even some of the good reviews noted bugs.
'We have a first-day patch arriving tomorrow that will address many of the issues that have been brought up,' Lawrence told the Herald the day before the game's official release.
'We spent a lot of time getting to a point where we're very comfortable. But over the next couple of months, as you do when a game is released into the wild, we'll keep on improving based on feedback.'
Game over for nine staff
Wilks confirms industry chatter that nine staff were laid off from Wētā Workshop's game studio last October, leaving around 30 working on Tales of the Shire.
'Look, when you're making games, you do have ups and downs in terms of the head count. We were at the end of our production period and we didn't require as many people.'
Lawrence expects staff numbers to increase again as Wētā Workshop ramps up development on its next game, which is said to be more front-foot like Diabolo (an action role-playing game). Wētā isn't sharing details at this point.
'Crunch culture' allegations
A July 27 article by US tech publication The Verge carried allegations of 'crunch culture' at Wētā Workshop.
'There is nothing indicating Wētā Workshop acted illegally, but staff who spoke to The Verge said there were definitely crunch periods during the development of Tales of the Shire. One staff member said they could not remember a time when they were not working beyond 50 hours a week,' it said.
The video game industry – particularly in the US – is notorious for pushing staff to work long hours.
Wētā Workshop game studio director Tony Lawrence acknowledges there have been good and bad reviews for the new game.
'Among video game developers, it's called 'crunch': a sudden spike in work hours, as many as 20 a day, that can last for days or weeks on end,' the New York Times said in a general report on the sector.
'During this time, they sleep at work, limit bathroom breaks and cut out anything that pulls their attention away from their screens, including family and even food. Crunch makes the industry roll – but it's taking a serious toll on its workers.'
At one of the industry's largest game developers, 'crunch' could involve staff working 12 to 14-hour shifts per day, the Times reported, implying a five-day week of up to 70 hours.
Wētā Workshop co-chief executive and chief operating officer Dave Wilks says Tales of the Shire is 'about living the simple life of a hobbit'.
Complaining about 50 hours per week might make some in the US game sector – and its tech and business sector in general – snort in derision, but Wētā Workshop tamps down even that figure.
'There was no 'crunch' during the development of Tales of the Shire,' Wētā Workshop chief marketing officer Jessica Wallace told The Verge. 'We extended deadlines to prioritise the wellbeing of our team, and all staff worked under New Zealand employment agreements, which ensure fair and adequate compensation for all hours worked.'
The newly paywalled US publication said there was a culture shift after studio director Amie Wolken quit Wētā in November 2023 to take a position as CEO at Dinosaur Polo Club, a New Zealand indie studio (Wolken told the Herald she had no comment) and Lawrence was hired in her place six months later.
'I've never seen crunch in my time here,' Lawrence told the Herald.
'Every now and again, certainly as with any job and certainly when you're close to a deadline, hours might increase somewhat. But I wouldn't say it's outlandish.
'What I would say – and I've been working in games for nearly 20 years now – is that crunch is usually mandated, as in someone like me will say, 'We're working 10 to 12 hours, five to seven days a week'. It's never happened here, ever, and it's not going to.'
Wētā Workshop, best known for its costumes and props, is owned and independently run by Sir Richard Taylor and Tania Rodger while WētāFX is majority-owned by Sir Peter Jackson and Dame Francis Walsh.
The pair sold Wētā Digital's technology to US gaming and film software firm Unity in 2021 for $2.2 billion, only to rehire 265 engineers to WētāFX after Unity hit problems in late 2023.
Wētā Workshop had a previous foray into gaming through an alliance with US firm Magic Leap, the maker of a steampunk-looking pair of virtual reality goggles that, in the mid-2010s, were seen by some as the next big thing in gaming as the start-up's value ballooned to US$4.5 billion.
Magic Leap, now backed by Saudi money, is still chasing breakthrough success for its headgear.
But it is no longer in the entertainment market, which it exited in 2020 as it laid off 1000 staff worldwide, including 15 at Wētā Workshop Interactive, its joint venture with Wētā Workshop.
The culled staff formed a start-up, which was in turn bought by Pokemon Go maker Niantic.
Tales of the Shire is being published (marketed and distributed) by US firm Private Division, which is connected to Middle-earth Enterprises, the company that owns the intellectual property rights for J.R.R. Tolkien's works.
Wētā Workshop won't say how much the Tales of the Shire cost to develop, or the clip of the ticket that Private Division will take on sales.
The single-player only Tales of the Shire: A The Lord of The Rings Game is available from 4am today for PC (via Steam), Nintendo Switch, PlayStation 5 and Xbox Series X|S. Pricing varies by platform. The Switch version is $89.99.
Chris Keall is an Auckland-based member of the Herald's business team. He joined the Herald in 2018 and is the technology editor and a senior business writer.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

‘Even when I hate it, I love it': Rachael Craw and Hannah Marshall in conversation
‘Even when I hate it, I love it': Rachael Craw and Hannah Marshall in conversation

The Spinoff

time2 hours ago

  • The Spinoff

‘Even when I hate it, I love it': Rachael Craw and Hannah Marshall in conversation

Writers Rachael Craw (The Lost Saint) and Hannah Marshall (It's a Bit More Complicated Than That) discuss AI, teaching teenagers, and snobbery around writing for children and young adults. Rachael Craw: Hi Hannah, I get a little thrill when I go into the bookstore and see your lovely bright yellow cover with my blurb at the top. It makes me feel fancy! How does it feel seeing your name on a book cover for the first time? Hannah Marshall: It's a bit strange seeing my name in print. I feel like I'm harbouring some kind of secret when I'm in a bookstore full of people and my book is right there and nobody knows it's mine. You, on the other hand, are a veteran writer, with five books now to your name. Do you find that writing novels gets easier over time? RC: Oooh, yes, it is such a funny, secret feeling! No, it hasn't gotten easier for me at all. HA! Soz. I always find writing hard. I love it. Even when I hate it, I love it – but I almost never find it easy. I don't think I have a very orderly brain. I do love seeing my book on a shelf though! Did you always know you would write a young adult (YA) novel? HM: I can hard relate to the love-hate aspect of writing. It's so frustrating, and most of my writing process is scribbling down problems on a whiteboard, staring out my window in dismay, and stress-watching YouTube shorts when the story feels too impossible to fix. And yet it's my favourite thing to do in the world. It makes no sense. I didn't necessarily intend to write for the YA market, but it naturally slot in there since I was a teenager myself when I wrote the book – the characters were teenagers going through the same teenage problems and joys and dilemmas that I was. It's a little bit disheartening seeing how much harder it is to get YA taken seriously. Do you feel like writing YA is a losing battle? YA is a harder sell, and I've definitely noticed just how much less coverage YA books and authors get over those who write for adults. There are also some pretty patronising views about those writing for younger audiences held by some big names in the NZ literary world (anyone who's read the Surrey Hotel writers residency pitch will know what I mean). What motivates you to keep writing YA when the environment can feel so discouraging? RC: (Cue manic cackling) Indeed. Literary snobbery is alive and well. People are well entitled to like what they like but the snide can get in the bin. Firstly, massive respect and admiration for you, writing a whole bloody novel as a teenager! I do think YA and children's books are given little credit by the fancy higher ups but I really can't be arsed giving that sort of nonsense attitude the time of day. I love writing for teens. It's joyous. Even writing hard, difficult things! But I don't know that I am always thinking about writing for teens – I just go with the voice that presents itself in the world of the story. My current WIP is an adult horror. For The Lost Saint, I knew I wanted to take a heartbroken character on an adventure and I just drew on my first devastating heartbreak (I was tragically dumped) to inspire the voice. Your Zelle goes through a dumping! Did you find it hard to write her experience with disappointing romance? HM: It was a little bit hard. I think the worst part of being dumped is that it almost feels like a loss of your dignity – you feel safe and secure and happy and then suddenly someone just takes that from you. It's brutal, especially when you're young and experiencing that pain for the first time. Heartbreak can really shatter your confidence. I felt really bad putting Zelle through that! I guess as Hemingway (supposedly) said, writing is just letting yourself bleed. I do find it a bit jarring, though, when people ask me about the aspects of my own life that have informed my writing, especially with the trickier issues in the novel like alcohol abuse. How do you maintain that boundary between the personal and the fictional? RC: I think it's a gift you give to others, sharing that pain because it gives people permission to be vulnerable. However, for yourself as a public author, you don't owe people anything you don't want to share. Keeping healthy boundaries is very important. It can be handy to pre-prepare some diplomatic responses to inevitable inquiries. I think writing can be a lot like method acting. You're trying to reach authentic emotion and truth in the words and actions of your characters. It can feel mighty raw sometimes. In It's a Bit More Complicated Than That, Zelle's friendship with Callum is the heartbeat of the story. I really appreciated the way you explored a complex platonic relationship. My dear sister-in-law invokes the saying: 'Friends for a reason, friends for a season, friends for life.' Which I always loved! It's like giving yourself permission to move on, or let certain relationships go because your worlds no longer intersect. But then there are people who you can always come back to because the bonds are deep and essential. Is that the nature of Zelle's friendship with Callum? Friends for life? HM: I hope so! I think their friendship is super layered because it's not just that they get along and have fun together, but they also have a lot of shared pain, and they have to help each other. I think going through such major challenges with a friend bonds you for life, even if you do eventually lose contact, because those experiences are extremely formative. I partly wrote the novel to resist that kind of toxic positivity mindset that had such a huge hold on popular culture while I was at uni: the idea that you shouldn't maintain connection with someone who 'doesn't serve your needs' or whatever. I feel like that mindset basically encourages giving up on a friendship when the going gets tough or you're forced to step up a bit. I think that's so harmful. I know some people will probably think Callum should cut Zelle loose because she's so messy – but their love for each other runs deeper than that. RC: Something I thought about a lot while reading your novel was the power of forgiveness. I noted often amongst my students how sad it was when they would bust up over an offence and then cut their 'bestie' out of their lives, and treat them like a stranger because forgiveness was seen as weakness. I would sometimes have conversations with students navigating friendship implosions and say – this person has been your closest confidante for this many years and that's it? One strike and they're out?! Okay, I'm missing complexities and I'm not talking about putting up with being repeatedly used/abused but being willing to forgive and move forward can actually deepen a friendship. For Callum and Zelle there's a whole lot of forgiveness needed all over! Zelle has to learn to forgive herself, right? In The Lost Saint, Ana's hurt, humiliation and resentment towards her ex is buried deep behind a brittle facade of indifference – but it's all just self protection. How would you describe Callum or Zelle's masks? HM: I wanted to show two people harbouring the same hurt but hiding behind it in very different ways – Callum is very internal and tends to shut down, whilst Zelle is very much the opposite, impulsive and destructive. They need to forgive not only each other but also themselves. Self-forgiveness is probably one of the hardest things you ever have to do; confronting your mistakes and shame and guilt whilst also letting yourself believe you deserve self-love. I still struggle with that. We both work in high school education, so we both know our audiences very well. I don't know how I feel about all the moral panic that kids these days are getting 'dumber' and losing their ability to focus, especially when it comes to reading. What are your reckons about the state of the modern teenage psyche? RC: Hmmm, I sometimes feel very glum about it. I am reaching the Crone end of the spectrum. When I started teaching in the late 90s I could generally expect my junior classes could read a novel by themselves and write, with guidance and scaffolding, for themselves. There might be some cases where kids needed extra support with different learning needs or disabilities. Now, I have to read the whole novel to the class – which I don't mind because I love reading aloud and I'm really good at it and should be a voice actor for sure. HA! I only have a handful of students who read ahead and finish it themselves. And for many of them – hearing that novel will be the only book they read all year. It makes me really sad. Then there's the joy of marking 30 essays and having to check them for AI use which takes ages and of course you can't really be sure and it's so so depressing how much is simply generated by bots. Like crushingly depressing. Oh no, I'm going to get on my soapbox now. But the thing that makes me so, so sad is how easily we abandon process for the sake of speed and 'efficiency'. We are losing something so integral to our humanity. It's the ultimate capitalist scheme to make us consumers. The first thing to suffer is the arts. We are eating our own faces and the bots keep us quiet and compliant and we give away our spark and let the Zuckerbergs and Musks pillage it all, grind it up and sell us a facsimile of 'spark'. HM: I can't even talk about AI to my students because it makes me SO ANGRY and I cannot have a rational discussion about it. I am naively hopeful that in a world increasingly saturated by AI, human-made art will increase in value. Like, I watched this influencer go crazy about a tiny business in Italy that's been making leather sandals by hand for hundreds of years. I think people will always appreciate a book written by a person who slogged through years of research, drafts and edits more than some slop regurgitated in five seconds by ChatGPT. RC: Gosh, I hope you're right. I worry that 'real' art will become more and more separated from the people. Like only the rich will be able to afford it and the common folk are left with the mass-produced dross – like an extreme version of what is already happening. HM: This has turned very existential very quickly. RC: That's because we are very deep and erudite YA authors. HM: That's so true. People who don't take YA seriously have clearly not read this interview. RC: This will change everything. The literati will come running. *sits back and waits for invitations to literary soirees* The Lost Saint by Rachael Craw ($30, Allen & Unwin) and It's a Bit More Complicated Than That by Hannah Marshall ($25, Allen & Unwin) are both available to purchase at Unity Books. Rachael Craw will appear at WORD Christchurch in an event called 'The Romance of Fantasy' on August 31.

Escape the world into the shire
Escape the world into the shire

Otago Daily Times

time3 hours ago

  • Otago Daily Times

Escape the world into the shire

The game centres around the business of making hearty meals. Just when you thought the Lord of the Rings product train had run out of steam, Wētā Workshop has more, Bill Hickman writes. Wētā Workshop has released a new video game that allows players to build their own home in a Hobbit village in Middle Earth. Tales of the Shire is billed as a "cosy game" providing a calmer, more meditative experience than the frenetic pace of traditional video games. Players create Hobbit characters — from choosing the possessions that adorn their Hobbit-hole homes to selecting the extent of hair on their little feet. The Hobbit avatars move about in a picturesque Middle Earth world buffeted by seasonal winds and are guided by birds as they tend to their gardens, fish, cook and interact with other townsfolk. Wētā Workshop founder Sir Richard Taylor said as the world emerged from the height of the pandemic, it made sense to create a game that was a departure from the conflict and drama that fuelled much of the Lord of the Rings films. "Tolkien described The Shire as Warwickshire circa 1890 type of world. This is pastoral England, this is beautiful days of slashing down the corn in the fields and harvesting, making hearty meals for your family," Taylor said. He said the game's look was purposely designed to emphasise the beauty and calm of the idyllic setting that was home to the Hobbits. The Shire is pastoral England, Warwickshire circa 1890. "We wanted to create a wonderfully, painterly watercolour world so it felt like you were stepping into a living picture, dotted with trees and hobbit holes," Taylor said. Game studio director Tony Lawrence said, at its peak, 54 people collaborated on the game, working out of Wētā's Miramar workshop as well as from Italy, Australia and California. The game's creators were able to draw on the studio's 25 years of bringing Middle Earth to life to add authenticity to the settings and activities players encountered, he said. "If there's a question about Lord of the Rings we've quite a few experts just lurking around the place that can help us with anything. If we wanted to understand how a character might make a sword, having a master sword [maker] onsite is pretty good to come watch. They're the kind of things that you can't do anywhere else in any other studio," Lawrence said. Lawrence said the government's rebate for game developers was an important factor in helping Wētā take the time to develop the game's detail and depth. — RNZ

Everything you need to know about tsunami risk after Russia quake
Everything you need to know about tsunami risk after Russia quake

NZ Herald

time2 days ago

  • NZ Herald

Everything you need to know about tsunami risk after Russia quake

Jenni Mortimer talks entertainment on Herald NOW. Herald NOW reporter chats to this year's supreme pie baker. Aussie music legend Guy Sebastian on Herald NOW. Herald NOW Business with 2degrees. Air New Zealand has announced the appointment of Nikhil Ravishankar as its next CEO. Broadcaster Paul Henry remembers his friend Sir Michael Hill after the jewellery entrepreneur died, aged 86. Cotality NZ Head of Research Nick Goodall talks to Herald NOW as a a record number of existing mortgage holders changed lenders in June. Health NZ chief medical officer talks to Ryan Bridge on Herald NOW as the nurses begin a 24-hour strike. Greenpeace Executive Director Russel Norman joins Ryan Bridge on Herald NOW on the Government's decision to overturn ban on oil and gas exploration. Act minister David Seymour and Green MP Chlöe Swarbrick join Ryan Bridge on Herald NOW to discuss oil and gas exploration, the nurses' strike and electoral law changes. Number of patched gang members on the rise, nurses on 24-hour strike, and orange rain warning remains in effect. MetService Weather: 30 July. Video / MetService Today on The Front Page, Massey University Associate Professor Claire Matthews, is with us to break down what scrapping PayWave charges means for you. Reporter Kitana is at Monte Cecilia Park, where neighbourhood kids are banding together to protest a new leash rule targeting their four-legged-friends. Video / Kea Kids News Wellington's Wētā Workshop is celebrating the release of its first major video game Tales of the Shire: A The Lord of the Rings Game. Video / Wētā Workshop

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store