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    Game Developer's 2024 Wrap-Up: 5 devs that made an impact
    It is redundant to the point of comedy to say 2024 was a difficult year to be a game developer (or a human being in general, but right now, we're talking about workers in an industry undergoing such turmoil). With layoffs, drought-like funding environments, and every other nasty thing implied by the changing market conditions we see referenced in the layoff announcements, it's a minor miracle that games still get made, still launch, and still make players smile (or think, or feel something).It's not especially easy to make gamesor game-making tools, or strong, inclusive workplace culturesin the best of times, let alone now.These are a few of the developers wed like to send some kudos, for working through the current reality and making some kind of positive impact on the industry.Image via Godot.Godot, the vanguard of a big-box game engine revolutionGodot isnt just one company. The Godot Foundation shepherds the engine, W4 Games is the corporate entity run by several Foundation board members that makes key contributions to the engine, and its open-source userbase has the collective power of a large workforce at commercial entities like Epic Games and Unity. But however you compartmentalize the engines architects, its stewards were among the standout developers of 2024.This was a game engine made for a moment like the Unity Runtime Fee debacle of 2023. It wasnt a competitor fiercely biting at Unitys heels, it was another toolmaker quietly working in the background to serve its existing audience. As Rmi Verschelde and Juan Linietsky told us at Gamescom 2024, they were never excited at the idea of a mass Unity exodus, worried both that Godot wouldnt be ready for primetime and that a flood of new users would expect it to behave like the tools theyd been trained on.The hard work they and their peers put into improving the engine paid off. Developers found Godot so flexible they could begin porting games made in Unity to the new engine, and frustrated new users found a network of independent contributors who could walk them through the changes in the engineor help create features that would bring parity for the two platforms.Godots success validated the idea that no one company guards the gates to the world of game development. If it or any other game engine fails its users, developers can breathe a little easier knowing somewhere out there will be another tool just as capable for their needs. Bryant Francis, senior editorImage via GSC Game World (via X)GSC Game World, launching a major game from a warzoneBringing a video game to market under normal circumstances is considered nothing short of a miracle. So, how do you describe the achievement of Ukrainian studio GSC Game World, which developed and launched massive open-world survival shooter Stalker 2: Heart of Chornobyl in the midst of a warzone.The team has been working in unimaginable circumstances since Russia invaded Ukraine in 2022, marking a significant escalation in the war that began in 2014. At the time, GSC was one of many Ukrainian studios to express defiance but acknowledged "our work will be impacted and our lives can be destroyed." Stalker 2 has since launched and sold over 1 million copies in two days. GSC is working hard to support the title by addressing a number of issuesreleasing three notable patches in the space of a week. Meanwhile, the fighting continues."The war is not over, and the enemy is not stopping," reads a statement on the GSC website. "Right now our families and friends are either trying to find shelter from bombings or are actively assisting those who has already suffered from the occupants. We need all the help we can get. Through pain, death, war, fear and inhuman cruelty, Ukraine will persevere. As it always does!" Chris Kerr, news editorImage via Xbox WireMicrosoft Gaming Accessibility Team, a stalwart champion of accessible playThe Microsoft Gaming Accessibility Team continues to fly the flag for inclusivity and accessibility within the game industry. The division has released a bounty of accessibility hardware and software over the years, and 2024 saw it continue that trend by unveiling the Xbox Adaptive Joystick to help those with limited mobility enjoy video games in a way that works for them.It also debuted additional accessibility devices and accessories, including adaptive thumbtacks that can be 3D printed at home, and two customizable wireless controllers created in tandem with 'Designed for Xbox' partners ByoWave and 8BitDo. The company's ongoing commitment to accessible design is well worth championing, not least because Microsoft remains focused on developing that technology alongside the communities it serves.Discussing that philosophy in a conversation with Game Developer earlier this year, Xbox senior accessibility product manager Kaitlyn Jones said the company believes a "rising tide floats all boats," which is why it doesn't view accessible design as a competitive undertaking. "We just want anyone to play regardless of the title or platform," said Jones. Microsoft isn't alone in advocating for accessibility. There are numerous individuals across the industry who help steer and shape the conversation, but it remains vital that a company with the visibility and resources of Microsoft continues to amplify the message. In a year dominated by hardship, there's some hope in that. Chris Kerr, news editorImage via Capcom.Capcom, the model for sustainable triple-A developmentOn paper, Capcom should have been among the many companies laying people off in 2024. It has over 3,000 employees and a business model led by premium triple-A games. Surely, the slowing growth of player spending that other companies have blamed on their business downturns on would have left it vulnerable for a body blow, right?Wrong. In March, the company announced it was raising its base starting salary and giving existing employees an average of 5 percent raises. And in May it reported its seventh consecutive year of record-high profits, and its next year is looking just as strong. Capcom may as well be asking "Downturn? What downturn?" while it pursues the same multipronged business model thats served it well for much of its lifetime.It didnt need billion-dollar franchises like Grand Theft Auto or Roblox to hit those numbers, either. This year, Capcom released Dragons Dogma 2, Monster Hunter Stories, and Ace Attorney Anthology. Its portfolio juggles a blend of series with cult followings, fan-favorite franchises, and older titles it can remake or re-release in "HD Editions." Companies with similar profiles have stumbled, but its stayed sustainable.At Gamescom 2024, Monster Hunter Wilds game director Yuya Tokuda, executive producer Ryozo Tsujimoto, and art director Kaname Fujioka explained to us that its sustainability has to do with a tight culture of communication and the shared use of RE Engine across several series. These processes have made the development of Wilds (which is gone on for almost six years!) to be a modest gamble for the company, instead of a teetering financial tower ready to collapse.Capcom is not a company without stains on its recordthe closure of Capcom Vancouver in 2018 shows its management can make missteps that cost developers their jobs. You also cant just copy and paste its operations onto another companymaking it to this point in 2024 took years of work. But its success should be a shining light for developers who want to make ambitious games on ambitious budgets. Bryant Francis, senior editorvia Epic GamesThe developers working on UGC platformsThe User Generated Content (UGC) development community made a huge impact in 2024, one we sometimes struggle to discuss on a site like game developer. There are many who deserve praise, but to describe their impact, we must stare the flaws of this demographic dead in the eye.When industry players sing the praises of UGC platforms they struggle to explain why they're so popular. For the most part Roblox Corporation has soaked up all the attention we'd normally heap on developers. It'd be like if we praised the App Store instead of Ustwo Games for the making of Monument Valley. There is some difference. Players move more fluidly between games in the Roblox ecosystem than they do on other app stores, but that fluidity leaves many developers making great games on the service on the sidelines.Praising this wide group of workers comes with complications. A minority of them are under the age of 18, caught in the Robux ecosystem that sells itself both as "baby's first game project" and "the ultimate way to self-monetize." People Make Games and other reporters have documented the stress these young folks have been through, and though the company promises ever-improving protections, they are still a part of the system powering its profits. Some might even say they're exploited.And then we must turn our gaze further up the age range, because many successful developers on these platforms are the ones doing the exploiting. Some take advantage of young folks to underpay them for popular games; others steal their suddenly successful ideas and clone titles, blurring the line between inspiration and theft. And an absolutely vile lot of them are the ones behind the horrendous experiences like "Escape to Epstein Island" and "Diddy Party" spotted by Hindenburg research in its blistering report explaining why it is shorting Roblox Corporation. It is the corporation's responsibility to moderate these games, but damnit, if you make one of these games, you should be permanently cut off from access to the internet.Without these developers, the dream of UGC, the metaverse, or whatever you call it, doesn't exist. As Roblox, UEFN, and other platforms enjoyed notable growth in 2024, we'd like to recognize the positiveand where needed, negativeimpact these workers made. With enough effort, the work of the former can outshine the latter. But the best time to make that happen is now.Bryant Francis, senior editorThank you for celebrating the years amazing devs with us! This article is one of many 2024 reflections hitting GameDeveloper.com this month, with more to come! For even more thoughts and insights on the best of 2024, check out our Game Developers 2024 Wrap-Up keyword to catch up on all our End of Year content.
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    15 percent of Steam users played 2024's game releases
    Valve's Year In Review for Steam recently launched, and revealed an interesting metric about its platform's playerbase.Next to a breakdown of the games users played this year is a factoid that only 15 percent of Steam players spent their time on games released in 2024. Conversely, 47 percent of players devoted their time to games from the past 1-7 years (or "recent favorites"), and 37 percent played titles from eight or more years ago ("classics").For comparison, 17 percent of Steam users played 2022's then-current games, and 2023 was lower at 9 percent. The ratio of recent favorites for 2022 and 2023 were 19 percent and 52 percent, respectively, and classics for each year were 62 percent and 38 percent.Throughout 2024, games like Helldivers 2, Marvel Rivals, and Balatro saw large player numbers or sales (or both). However, Steam's most-played titles are currently led by older, free-to-play titles: 2023's Counter-Strike 2, 2013's Dota 2, and 2017's PUBG.Behind those are Marvel Rivals and Path of Exile II, which both launched earlier this month. Sky's Banana is the third game of the year to round out Steam's Top 10 most-played, and it was also released this past December.As PCGamer notes, Steam also houses 201,695 games. According to SteamDB, this year had 18,687 releases, up 30 percent from 2023's 14,313 games.
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    Hothead Games has shut down after almost 20 years
    Chris Kerr, News EditorDecember 20, 20242 Min ReadLogo via HotheadCanadian game studio Hothead Games has closed its doors.Hothead president and CEO, Ian Wilkinson, broke the news on Linkedin and said the company "had a good run" but has now filed for bankruptcy. It's unclear how many people the studio employed at the time of its closure.The Vancouver-based studio was established in 2006 by former Radical Entertainment staffers Steve Bocska, James Ceraldi and Joel DeYoung. Initially, Hothead focused on developing and publishing digital console and PC titles, but eventually pivoted to focus on creating free-to-play mobile games (with mixed results)."We threw all kinds of small, inexpensive games at the wall to see what stuck. Surprise surprise, surprise nothing stuck," wrote Wilkinson, looking back on that period."So, we went back to our roots and created sports games under the Big Win brand and shooting games under the Rivals at War (RAW) brand and eventually the Kill Shot brand.These series of games were very successfulwe finally discovered lightning in a bottle.Those were the most successful years for Hothead."Over the past year, Hothead had been working on a playable prototype for a triple-A project. Wilkinson said the studio hoped to secure contracts with different publishers so it could develop mobile, PC, and console versions of the game, but explained that process took longer than expected."Unfortunately, it took far longer than we expected to secure contracts for these versions of the game," he said. "They were both ready to close two weeks ago and then the mobile publisher pulled out due to a change in strategy. Two weeks later the console publisher also pulled out.At that point our only remaining option was bankruptcy."Looking back on Hothead's legacy, Wilkinson said it wasn't the games that made the studio-but rather its people. "Hothead was chock full of incredibly, smart, talented, loyal, hardworking but mostly just really nice people.People that had your back at work and outside of work.Many of us made lifelong friends at Hothead," he continued."We grew up together, we laughed, we cried, we celebrated, we grieved, we found partners, we started families. I had the privilege of working with so many wonderful people at Hothead over the years."Hopefully, this wont be the last time you hear from us. We still believe we are destined to work together again and continue to do great things.But even if that doesnt happen, I am a better person for working at Hothead and I consider myself blessed to have spent 16 years shoulder to shoulder with my fellow Hotheads."About the AuthorChris KerrNews Editor, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, andPocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Reality check for VR: Omdia forecasts decline as Apples entry fails to galvanize market
    George Jijiashvili, Senior Principal Analyst, GamesDecember 20, 20244 Min ReadImage via Apple.We recently published our latest consumer VR market research, showing that headset sales fell by 10% in 2024 to 6.9 million units, down from 7.7 million in 2023. The market is expected to decline further in 2025, in line with Omdias earlier projections. The outlook reflects a challenging period for the consumer VR industry ahead of a forecasted rebound in 2026. In this blog I lay out key drivers behind the downturn in 2024, as well as the factors driving the assumed growth in 2026 and beyond.VR headset sales see two consecutive years of decline, following the pandemic-induced upswingThe consumer VR market continues to face significant challenges, with several indicators highlighting a lack of momentum and adoption. The highly anticipated Apple Vision Pro debut has failed to deliver the resurgence the industry hoped for, with limited developer enthusiasm and fading momentum ten months post-launch. Meanwhile, Metas recent entry-level Quest 3S has yet to spark a notable sales boost, as evidenced by my analysis of Black Friday headset sales across eight countries, which shows a 16% decline. PC VR adoption also remains stagnant, with Valves latest Hardware Survey revealing that only 1.5% of Steam users are engaging with VR hardware. Adding to this, Omdias supply chain insights confirm earlier reports of Sony halting PlayStation VR2 production due to unsold inventory, prompting the company to resort to heavy discounting to clear stock.The challenges are further exacerbated in other markets and segments. VR headset sales in China have collapsed due to weak consumer demand, and the future of Pico remains uncertain following layoffs and restructuring by its parent company, ByteDance. The TikTok owner, which acquired Pico in 2021, appears to be losing interest in the segment. On the content side, developers are increasingly questioning the return on investment for VR games, with a recent Game Developer Collective survey revealing that half of respondents perceive the VR market as either stagnant or in decline.The number of VR headsets in active use fell by 8% in 2024 to 21.9 million. This was primarily due to a low share of Quest 2 owners upgrading, over 20 million of which have been sold since 2020. Meanwhile, $904 million was spent on VR content in 2024; for context, games console content spend will generate $37.4 billion in 2024, highlighting the nascent nature of the consumer VR market. The current state of the VR market is characterized by waning consumer interest post-pandemic, a sluggish inflow of compelling new content, and growing skepticism among developers about the viability of VR as a profitable platform.Growth is predicted to resume by 2026, but mass adoption of VR headsets in their current form remains unlikelyThe expected return to growth in the VR market is heavily reliant on the anticipated launch of a more affordable Apple Vision Pro model in 2026, which is projected to drive the market expansion through 2029. Meta is also expected to remain a key player in the space, though its headset sales are likely to remain flat. Metas recent move to open its Horizon OS to third-party manufacturers underscores its continued commitment to VR, but the company faces an uphill battle. Meanwhile, Googles announcement of the Android XR platform last week represents a much-needed competition in this space, but its history of launching and shortly shuttering new projects tempers expectations. Developer and manufacturer approach to these initiatives will be cautious, therefore, only incremental progress is anticipated in the short-term.The form factor of current VR and passthrough mixed reality headsets remains a barrier to mass adoption. Consumer and manufacturer interest is shifting toward lightweight glasses, promising all-day, anywhere access to multimodal AI as exemplified by Meta Ray-Ban glasses, which is seeing early signs of success. Companies in this space hope that this approach will help normalize face-based spatial computing, which could ultimately spur mass-market VR adoption. However, the progress towards achieving this will be slow, and isnt expected to happen within this decade. In the near term, VR is likely to remain a niche market, constrained by its existing limitations and the growing industry focus on AR as the future of immersive technology.Read more about:BlogsFeatured BlogsAbout the AuthorGeorge JijiashviliSenior Principal Analyst, Games, OmdiaGeorge is a regular contributor to Game Developer and a principal analyst at Omdia, leading research into games and AR/VR markets. Based in London, he produces insights into the games sector through regular reports, market sizing and forecasting. His specialisms include the video games market, cloud gaming, and wearable technology. He previously worked at CCS Insight.See more from George JijiashviliDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Sony to become largest shareholder in FromSoftware parent company Kadokawa
    PlayStation maker Sony is set to become the largest shareholder in FromSoftware parent company Kadokawa Corporation.It was previously reported that Sony was in talks to purchase Kadokawa, which confirmed it received an acquisition offer from an undisclosed party in November.Now, as noted in a press release, Sony has signed a strategic capital and business alliance agreement with Kadokawa that will see it acquire 12,054,110 new shares in the company for approximately 50 billion yen ($318.5 million).Sony will hold 10 percent of Kadokawa's shares following the deal. That total includes the shares Sony purchased in 2021. Sony also owns a 14.09 percent stake in FromSoftware.Both companies said the move will maximize IP value globally and facilitate wider and deeper collaboration, including potential joint investments in the content field."In the future, the two companies plan to discuss specific initiatives for collaboration, such as initiatives to adapt Kadokawa's IP into live-action films and TV dramas globally, co-produce anime works, expand global distribution of Kadokawa's anime works through the Sony Group, further expand publishing of Kadokawa's games, and develop human resources to promote and expand virtual production," adds the press release.Back in November, Kadokawa outlined plans to expand its console and PC game publishing business, and said it was "developing a structure" to bolster its efforts in that arena.Elden Ring's significant contributionsThe company noted that Elden Ring continues to drive "high growth" within its gaming business. The title has sold over 25 million copies worldwide since launching in 2022 and has received additional content in the form of the sprawling Shadow of the Erdtree expansion.FromSoftware recently announced a multiplayer Elden Ring spin-off called Elden Ring Nightreign at The Game Awards 2024.Discussing its future in the wake of the Sony deal, Kadokawa CEO Takeshi Natsuno said the company hopes to bring its franchises to more users around the world."We are confident that this will greatly contribute to maximizing the value of our IP and increasing our corporate value in the mid to long-term," he added. "We intend to do our utmost to ensure that our collaborative efforts with Sony produce great results in the global market."
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    Tencent removes directors from Epic Games after Justice Dept. inquiry
    Two Tencent directors have departed from Epic Games' board of directors, according to the U.S. Justice Department. In a statement, the department explained these exits came about in light of concerns about their positions on the board being anti-competitive and in violation of Section 8 of the Clayton Act.Similarly, Tencent has amended a part of its shareholder agreement with Epic and "relinquished its unilateral right to appoint directors or observers to the Epic board in the future."As the statement explains, Section 8 stops directors and officers from "serving simultaneously on the board of competitors." Tencent has had a minority stake in Epic since 2012, and is the parent company of League of Legends creator Riot Games. The two studios are major players in the industry, and Tencent's investment in both previously drew scrutiny from the U.S.' Committee of Foreign Investment.The Department's inspection into Tencent and Epic's relationship "is the latest of the divisions ongoing Section 8 enforcement efforts, which to date have unwound or prevented interlocks involving at least two dozen companies.""Scrutiny around interlocking directorates continues to be an enforcement priority for the Antitrust Division," said the Antitrust Division's deputy director Miriam Vishio. "Due to the hard work of our tremendous staff, our increased enforcement around Section 8 over the last few years has achieved substantial results and become part of our fabric."Epic Games, epic legal battlesIn recent years, Epic Games has been subject to scrutiny by the U.S. government. Earlier this month, the FTC started sending refunds to Fortnite players who had been tricked into making unwanted purchases between 2017 and 2018.The entire saga first began in December 2022. At the time, the FTC and Epic reached a $520 million settlement after the latter had been accused of using various "design tricks" to "dupe millions of players into making unintentional purchases."Epic was also ordered to give $245 million of that settlement back to customers, and the FTC began the refund process in September 2023. The amount of refunds reportedly total over $72 million.The Fortnite maker has also actively used the country's court system to settle its affairs, namely with Apple. Its legal clash with the tech company led to a court ruling that Apple would lift some restrictions for third-party payments on its App Store. Last year, Apple successfully argued to the Ninth Circuit that it had not engaged in antitrust practices against Epic.Months later, Epic appealed that new ruling to the Supreme Court, which ultimately rejected both companies' appeals back in January.This story has been updated to clarify the Justice Department's concerns about Epic and Tencent were not a full-on investigation, and Epic's $245 million fine was already baked into its initial FTC settlement.
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    ZeniMax will pivot Elder Scrolls Online to seasonal content in 2025
    Starting in 2025, Elder Scrolls Online will go from releasing annual expansions (or "Chapters") to a more seasonal model.In a recent blog from ZeniMax Online's studio director Matt Firor, he explained the Seasons are expected to run for "three or six" months, and will feature "a mix of themed story content,events, store items, dungeons and more." According to him, the move from yearly Chapters is easier on the studio.Similar live-service games like Destiny 2 and Apex Legends have comparable three-month seasons. ZeniMax Online will gradually move toward making "smaller bite-sized content," in addition to "some larger items" that will release throughout the year."We'll be able to have teams launch content when it is ready throughout the year and not work to a date in Junethis will let us focus on a greater variety of content spread over the year," he said. "This supports the new Seasons model, and will enable us to release content, updates, fixes, and systems in a more efficient manner."Live-service is getting a refreshEarlier this year, Bungie outlined a series of changes to its own content model for Destiny 2. Like with Elder Scrolls Online, these changes will hit in 2025 and see the sci-fi shooter "explore and innovate" through medium-sized content drops rather than larger expansions in the vein of Destiny 2: The Final Shape.The first of these is Codename: Apollo, which will be split into a pair of paid updates that launch in the summer and fall. Codename: Behemoth will then follow Apollo with updates in winter 2025 and spring 2026. There will also be two free, individual seasons per update.According to Firor, ZeniMax is looking at doing quest content in Elder Scrolls Online in "different ways" with its upcoming model. Some of the plans he outlined included using existing zones and areas to tell new stories (or continue already existing ones), split large zones across multiple updates, and provide the team with "the space to find a new cadence that can mix new content and systems with addressing feedback, fixing issues, and adding new quests and activities to existing zones and stories."Firor's full outlook on Elder Scrolls Online and what's to come can be read here.
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    11 Bit Studios cuts staff after canceling console-focused 'Project 8' game
    Justin Carter, Contributing EditorDecember 18, 20242 Min ReadImage via 11 Bit Studios.Frostpunk 2 developer 11 bit Studios is laying off staff after it pulled the plug on the unannounced game, Project 8. The studio elected to "discontinue its development" after it was started years ago under "very different market conditions," said president Przemysaw Marsza.According to him, Project 8's development started back in 2018, when "narrative-driven, story-rich games held stronger appeal." As of this past September, its total production costs came to 48.4 million PLN (or $11.8 million).While specific team numbers were not provided, he added that half the current Project 8 team would be offered roles on other existing 11 Bit teams or "new, as-yet-unannounced initiatives...that will help fill the gap left by Project 8." One of those "highly promising" teams is working on the 2025 survival game The Alters.Despite putting Project 8 game to bed, Marsza indicated assets from the would-be game could be used elsewhere for other projects.Why cancel it? He explained the project had "breakthroughs and setbacks," including growing delays and several critical parts of its development that were said to be "problematic." The tipping point came with Project 8's most recent milestone, whose evaluation showed "unresolved issues...that would require further extensions of the production timeline and corresponding budget increases to address."As such, management reportedly "lost confidence" and ultimately opted to end the project. Had it been released, Project 8 would have been 11 bit's first game designed specifically for the console audience. While the studio has released its games for consoles in the past, those versions have typically come a year or later after their initial launches on PC. Frostpunk 2, for example, is coming to PlayStation 5 and Xbox Series X|S sometime in 2025 after its PC release back in September.This past October, it was revealed 11 Bit quietly eliminated eight roles toward the end of 2023. Those developers were working on an unnamed project the studio said underwent "production changes," which resulted in staff being let go or switching to other teams, similar to what's happening with Project 8's staff.Read more about:LayoffsAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Crush 40 singer sues Sega over Sonic Adventure 2's 'Live and Learn' theme song
    Sega of America is being taken to court by Johnny Gioeli, a musician for the rock band Crush 40. The band is best known for creating Sonic Adventure 2's theme, "Live & Learn," and he alleges Sega is in breach of contract over the iconic song. In addition to seeking financial compensation from Sega, he wants the court to "conclusively establish" who owns it.In the December-filed suit, Gioeli claims to have the "master recording and composition of the song," which he reportedly created and produced in his own home without any involvement from Sega. He further accuses the publisher of "exploiting and licensing" the song to over two dozen games, shows, and live performances without his knowledge.Gioeli states he was first made aware of the song's presence in other media earlier this year. Game-wise, "Live & Learn" has been featured in Super Smash Bros. Brawl, the Nintendo 3DS and Wii U versions of Super Smash Bros. 4, and Yakuza 4 and 5. Its inclusion in non-Sonic Adventure 2 titles is as recent as 2021's Monster Hunter Rise from Capcom.Since 2001, Crush 40 has become commonly associated with the Sonic franchise and made songs for later Sonic games like Sonic Heroes and Shadow the Hedgehog. However, he argued that in those instances, he and Sega reached "specific agreements" that addressed those songs' rights or master recordings, which did not happen with "Live & Learn."The lawsuit acknowledges that "Live & Learn" may be jointly-owned by the two parties. Should that be the case, it argues Sega's ownership would be "expressly limited to the lyrics themselves.""Without a direct claim for authorship of the master, no control or direct involvement in the process of creating the final master recording, and no clear written transfer of the master, [Sega] has no basis to claim sole ownership of the copyright in this sound recording," the suit reads. It further cited a prior statement from a Sega attorney which noted the song's rights are Gioeli's "and not Sega's, and we have no rights to these materials."Despite that and a letter from a separate Sega lawyer who called the song a "joint work" in April, Gioeli claims Sega refuses to name him an owner or give him 50 percent of the song's profits he is entitled to.Johnny Gioeli's full lawsuit against Sega of America can be read here.
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    Activision quietly recast Black Ops 6 Zombies actors during SAG-AFTRA strike
    Bryant Francis, Senior EditorDecember 18, 20244 Min ReadImage via Activision/Microsoft.At a GlanceActivision has recast some actors in Call of Duty: Black Ops 6' Zombie mode without making any public announcement.The recasting seemed to take place after SAG-AFTRA went on strike in July 2024.Black Ops 6 isn't a "struck" production as work on it began before the strike. The causes for the change are complicated.Call of Duty: Black Ops 6 developer and publisher Activision has acknowledged that it recast several characters in its "Zombies" mode in the wake of the ongoing SAG-AFTRA strike.Questions over the recasting began swirling as updates to Black Ops 6 rolled out new missions with returning characters suddenly sounding quite different. Players noticed that the characters William Peck and Samantha Maxispreviously voiced respectively by Zeke Alton and Julie Nathansonappeared by be played by new actors (Samantha Maxis appears in this game as an A.I character called "S.A.M.").Alton does not appear in Black Ops 6's credits. Nathanson is listed, but she and the other named performers are not credited by their individual characters, making it difficult to pin down where their voices appear in the game. It's unclear if the voices behind characters from prior Zombies campaigns have also been recast.Activision and Alton both acknowledged the recasting in statements to Game Developerbut careful language from both parties surrounding the "hows" and "whys" of the recasting speaks to the complicated reality of the SAG-AFTRA strike."To the best of my knowledge, that performance is not [mine]," Alton said when Game Developer asked if he reprised the role of Peck in Black Ops 6. "It's their character and they can do with it what they please. My only concern is for my brand as a performer. Fans of the game have reached out to me because the lack of crediting [of the replacement actor] implies that it may still be me which unfairly represents my abilities as a performer," he added.Related:"I have no issue with Activision's actions with a character and IP that they own. I absolutely adore the creative team and the opportunity I've had to collaborate with them in the past. I sincerely hope to collaborate in the future once all performers are protected against generative AI abuse."In response to a request for comment, an Activision spokesperson provided the following statement: "We respect the personal choice of these performers. Out of respect for all parties, we wont add new commentary about the ongoing negotiations with SAG-AFTRA. We look forward to a mutually beneficial outcome as soon as possible."Though these comments offer some confirmation about the sudden voice swap in the long-running PvE zombie-slaying mode, it's fair to acknowledge come confusion here and ask what drove the change. Breaking down what might be going on begins with one fact: Call of Duty Black Ops 6 is not a struck production.Why can't voice actors strike on Call of Duty: Black Ops 6?The ongoing SAG-AFTRA voice actors strike is more complicated than the film and television actors strike that preceded it in 2023. Under the terms of the film and television contract, actors on strike are legally able to stop work on an in-production shoot and not return to set. The Interactive Media Agreement signed in 2020 contains a unique clause known as "Side Letter Six" that allows actors to continue work on games under union contract so long as the game began production before the strike was called.Call of Duty: Black Ops 6 was in development before July 25, 2024. That means it is exempt from the strike under Side Letter Six, and striking it would be in violation of the IMA. However SAG-AFTRA notes that members working under "daily contracts" on exempt productions may choose to "not sign a new contract" to show solidarity with striking union members. If they do so, recasting their characters would not be same as hiring replacement labor on a struck production (informally known as "scabbing").Activision's referral to the "choice" of the performers may be alluding to their deciding to not sign a new daily contract after the strike began. The company may also not have chosen to offer a contract for other reasons.Daily contracts on in-production games aren't the only ways developers can retain union talent. They can also sign what is known as the "Interim Interactive Media Agreement," which includes terms contained in the union's last offer to its bargaining partners. Over 80 game developers have signed the Interim Agreement since the strike began.It is possible Activision chose to recast Peck, S.A.M, and other characters long before the strike began, but there's reason to think this isn't what took place. The most visible evidence of a mid-production recasting comes in the form of the intro cinematic for the level "Terminus." Reddit user "Heenix_" noticed that Peck's voice performance in the scene has changed between when Activision released the cinematic as a trailer in August before the release of Black Ops 6, and when it appeared in-game in November after it launched.Game Developer independently reviewed the audio from both videos and confirmed Peck's voice sounds different between the two versions, and that the former version closely matches Alton's prior work.But to repeat what Alton said above: the voice heard in the second scene from in Black Ops 6, to the best of his knowledge, is not his own.Game Developer has reached out to Julie Nathanson and SAG-AFTRA for comment and will update this story when a response is issued.Read more about:Top StoriesUnionization[Company] Activision BlizzardAbout the AuthorBryant FrancisSenior Editor, GameDeveloper.comBryant Francis is a writer, journalist, and narrative designer based in Boston, MA. He currently writes for Game Developer, a leading B2B publication for the video game industry. His credits include Proxy Studios' upcoming 4X strategy game Zephon and Amplitude Studio's 2017 game Endless Space 2.See more from Bryant FrancisDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Developer survey reveals surge in 'underperforming' studios in 2024
    A recent survey from the Game Developer Collective reveals many developers feel their studio underperformed in the third quarter of FY 2024-2025.Of those asked, 41 percent said their employer did "worse than expected." The survey notes it's a "major jump" from the 20 percent that shared this thought in the first half of the 2024-2025 year. Conversely, the developers who believe their team did better than expected has declined from 24 percent to 16 percent.While this year has been rife with layoffs, not many publishers have attributed those reductions specifically to weak sales. More often, it's common for layoff announcements to mention the "harsh realities" of the game industry or say their game "didn't hit our targets" with audiences.On the other hand, Don't Nod had no trouble saying in October that its first-half struggles and underperforming games this year meant reductions were on the horizon.41% of surveyed devs think their studio underperformed for 2024-2025's Q3.Looking at 2024-2025's current fourth quarter, about 50 percent of developers surveyed feel their studio will end up breaking even compared to Q3. That outlook is slightly ahead of the same sentiment shared during the fiscal year's first half.Of this group, nearly 30 percent feel they'll do worse this quarter. 20 percent believe they'll do better, and around 5 percent are uncertain.Industry concerns across live service and overall market conditionsDevelopers have been candid about their industry concerns in two prior Collective surveys this year. In April, 70 percent of participants were unsure if live-service games would continue to be sustainable. Since then, major entries in the genre like xDefiant, Suicide Squad, and Concord have or will soon lose support, and their teams have faced layoffs or been closed entirely.In June, 59 percent of surveyed developers felt the industry is in a bad place and facing "poor market conditions." 49 percent feel things will stay the same through 2025, as well.As for what's made things so dire, 61 percent of developers put the blame on "unreasonable" expectations from investors. Trailing slightly behind were 58 percent who pointed the finger at mismanagement. Allegations of mismanagement hovered around xDefiant and Don't Nod throughout the year, in addition to Greedfall II creator Spiders.
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    Pacific Drive is on the road towards a TV adaptation
    Justin Carter, Contributing EditorDecember 17, 20241 Min ReadImage via Ironwood Studios/Kepler Interactive.At a GlanceThe title is being adapted for the small screen by horror director James Wan's production company, Atomic Monster. Ironwood Studios' Pacific Drive has a new destination: television.Per Variety, the car-heavy survival title is being adapted for the small screen by horror director James Wan's production company, Atomic Monster. Michael Clear and Rob Hackett from the same company will serve as executive producers alongside Wan. A streamer or network has not been attached to the would-be series yet.Pacific Drive released back in February for the PlayStation 5 and PC. In it, players use a station wagon to try and escape an exclusion zone in the Pacific Northwest, home to gameplay-altering anomalies.In July, Ironwood revealed Pacific sold over 600,000 copies across the two systems. The game was nominated for Best Debut Indie Game at the Game Awards, and won Best Game at Gamescom Latam's BIG Festival Awards in June.Game adaptations along the roadThis is the latest game this year to get tapped for a future TV or film adaptation. Mass Effect, Minecraft, and Alan Wakeand Control have all been picked up by major studios for eventual expansions onto Prime Video, Netflix, or theaters.At the same time, adaptations for Tomb Raider, Like a Dragon, and Fallout have came out this year to strong reviews and renewals for more seasons. The most recent game series, Arcane: League of Legends, wrapped with its sophomore season back in November.Not every game is making it to TV and film, though. Ubisoft finally put its Splinter Cell adaptation to bed after it'd been announced back in 2005, and Netflix's plans for a TV show based on PlayStation's Horizon games fell apart after showrunner Steven Blackman was accused of workplace abuse.Read more about:TransmediaAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Dungeons & Dragons: Dark Alliance fails death saves, gets delisted in 2025
    Invoke Studios is pulling the plug on Dungeons & Dragons: Dark Alliance. On February 24, 2025, the action-RPG will be delisted from all platforms and "no longer available to purchase."The game initially released in 2021 (back when Invoke was Tuque Games) for PlayStation 4 and 5, PC, and Xbox One and Series X|S. While unrelated to the original Dark Alliance games from Snowblind and Black Isle, this title was an attempted revival of that subsect of D&D games.According to Invoke, Dark Alliance's base game and DLC will remain playable through offline single-player after February 24. A week prior on February 18, Sumo Digital's Hood: Legends & Outlaws will similarly be delisted and rendered unplayable.Invoke's Dungeons & Dragons futureInvoke seemed to have moved on from Dark Alliance about a year after its release. In fall 2022, it revealed it was already at work on a new triple-A game, set once again in the Dungeons & Dragons universe. Currently, that project is not one of the five titles canceled by Wizards of the Coast in early 2023.Last year's Larian-made Baldur's Gate 3 was a massive hit for both companies, and Wizards has made clear it would like to try and make more D&D games, either internally or with partners. At the same time, it's also hoping to start a new franchise with Exodus, Archetype Entertainment's sci-fi RPG that just got a gameplay reveal earlier today.
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    'This is comedy': Balatro developer Localthunk baffled after PEGI hands title 18+ rating
    Chris Kerr, News EditorDecember 17, 20243 Min ReadScreenshot via Localthunk / 18+ sticker via PEGIAt a GlanceLocalthunk said they're more disgruntled at what they perceive as inconsistency on PEGI's part than the decision itself.European rating agency PEGI has handed Balatro an 18+ rating because it could teach players how to dabble in real-world poker.The decision looks to have surprised developer Localthunk, who questioned why Balatro has been deemed "adults only" when other titles that feature in-game spending and randomized item packs are considered suitable for children."Since PEGI gave us an 18+ rating for having evil playing cards maybe I should add microtransactions/loot boxes/real gambling to lower that rating to 3+ like EA sports FC," reads an X post from the developer. "This is comedy."In a follow-up post, Localthunk said they're more disgruntled at what they perceive as inconsistency on PEGI's part than the decision to give Balatro an 18+ rating."Just to clear it upI'm way more irked at the 3+ for these games with actual gambling mechanics for children than I am about Balatro having an 18+ rating," they added. "If these other games were rated properly Id happily accept the weirdo 18+. The red logo looks kinda dope."Then PEGI ratings explainer for Balatro states the 2D deck-builder is being restricted because it "features prominent gambling imagery" and essentially teaches players how to navigate a poker game."As the game goes on, the player becomes increasingly familiar with which hands would earn more points. Because these are hands that exist in the real world, this knowledge and skill could be transferred to a real-life game of poker," adds PEGI.Localthunk doesn't want Balatro to become a 'true gambling game'By contrast, PEGI has handed EA Sports FC 25 a 3+ rating that indicates the title is "suitable for all ages." That's despite the ratings agency acknowledging the soccer sim "offers players the opportunity to purchase in-game items, in the form of an in-game currency, which can be used to purchase random card packs and other game items.""Some parents or carers may want to be aware of this," it adds.It's worth noting that Balatro doesn't let players place bets in-game. Instead, they must accrue points by collecting offbeat joker cards that imbue regular playing cards with new abilities, dish out score multipliers, and generally turn the concept of poker on its head.It's possible to obtain new jokers and other special cards by opening randomized booster packs, but those packs can only be purchased using in-game currency obtained through play. There are no microtransactions in Balatro.In August, Localthunk said they "hate the thought" of Balatro becoming a "true gambling game" and have created a will that stipulates the IP may never be sold or licensed to any gambling companies or casinos.The ESRB, which handles video game ratings in Canada, the US, and Mexico, gave Balatro an 'Everyone 10+' rating and noted it contains "gambling themes" but "no interactive elements.""The game has a poker theme, which includes the names of hands, scoring system, and types of playing cards, but does not include making wagers," it added.Game Developer has reached out to PEGI for more information.Read more about:Top StoriesAbout the AuthorChris KerrNews Editor, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, andPocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    How newspaper games like Wordle became behemoths
    One of video games' biggest recent success stories involves Wordle, a once-per-day word guessing game developed by software engineer Josh Wardle for him and his partner to play. It has a simple interface, is easy to understand, features no ads, and is free to play. Guess a five-letter word in six tries, come back the next day for another. So when it was released in October 2021 during the COVID-19 pandemic, it caught on very quickly.Just a few months later, The New York Times bought it for a price "in the low seven figures." A few years later, it's still a gigantic hit, having been played more than 4.8 billion times in 2023 alone. It's so big that when the organization's tech union went on strike in November 2024, workers made versions of its games, including Wordle, that users could play instead of crossing the picket line.Wordle's massive popularity is just one inflection point in the history of newspaper gamestypically word or number puzzles, crosswords, Sudoku, and other games you play once per day. These kinds of games have been popular for over a century, and almost every mainstream subscription publication you can think of has their own.via New York TimesBut there was something about Wordle that made publications and platforms take notice. LinkedIn launched three "thinking-oriented games" in May 2024, while Vulture unveiled Cinematrix, a grid-based movie trivia guessing game, in February. Subscription-based games platform Puzzmo launched in late 2023, offering standard fare like crosswords along with experimental endeavors like Pile-Up Poker, an oddly satisfying and challenging combination of poker and Sudoku. It was acquired by Hearst Newspapers a couple months later, and can be played across multiple websites like the San Francisco Chronicle.Wardle says Wordles success is tied to its simplicity. "I think people kind of appreciate that theres this thing online thats just fun, he told the New York Times. "It's something that encourages you to spend three minutes a day Like, it doesnt want any more of your time than that."Experts interviewed for this article agree on this to a point. Wordle is a simple yet effective game that appeals to almost everyone. However, it also benefited from great timing, releasing during a pandemic where people were aching for community in a world where building it felt impossible, and showed what still needed to be done to push daily games to the next level. It was time for a change.Is The New York Times a gaming company?The leader in the newspaper games space is undoubtedly the New York Times. Its crossword is one of the most well known, and puzzle editor Will Shortz might be as close to a household name as puzzle editors get. It was already a huge draw before the publication bought Wordle, and has become even more important in the age of digital subscriptions.As traditional publications struggle with subscriber counts and making a profit, the New York Times has increased its numbers almost every year since 2014. This is thanks in part to a bundle that costs $25 per month and packs in subscriptions for both its games app and the paper itself. Its investment into Wordle is just one part of its growth strategy. As of November 2023, it had around 100 team membersup from around a dozen over the past decadeand has since hired more in community and design. The half joke that is repeated internally is that The New York Times is now a gaming company that also happens to offer news," one anonymous staffer told Vanity Fair.You'd be forgiven for wanting to call the New York Times a gaming company. According to Semafor, the NYT Games app was downloaded more than 10 million times in 2023. But despite this success and growth, Times executive editor Joseph Kahn maintains it's not looking to create a games studio, telling Vanity Fair that the company is not "Activision, and I dont think were looking to become that." "These are brainteaser games for smart people who want a challenge in the course of the day. So I see them as very complementary, but not replacement, products for a news organization."The New York Times is very much a media organization first, but since buying Wordle, it's launched Connections, which requires players to find four groups of words among 16 new ones each day. Semafor reports that it's been played around 2.3 billion times. It also released Strands, a game inspired by word searches, and is currently testing Zorse, a phrase guessing game."Its undeniable that Wordle was a big tipping point for us, chief product officer Alex Hardiman told Vanity Fair. But its not Wordle only. Its Wordle driving more attention to other games, allowing us to invest more in games.The pandemic's affect on daily gamesWordle's massive popularity isn't the only reason for the rise in daily games. It was also spurred on in part by the pandemic, where people stuck inside with little to do were looking for a bit of routine to fill their day. Video game popularity and sales surged during the pandemic, with even the World Health Organization encouraging people to play games during lockdown. Wordle capitalized on that by being one of those tiny daily tasks. You solve one puzzle per day, and you're locked out until the next.Stella Zawistowski, a puzzle constructor for Vulture, the New Yorker, and other publications, says that the pandemic "accelerated" the daily games space because people were looking for something that "makes you feel a little smarter." Wordle also had a secret weapon: a feature that automatically created a colored grid of your results that you could copy onto Twitter/X or a group message."I don't think [Wordle] would have been successful if you could just play as many times as you want every day," Zawistowski said. "I don't think it would have been nearly as successful if you couldn't post your score on Insta, on Twitter, on Facebook because then it gets people talking about it."That community building is one of video games' greatest strengths, and that's all the more relevant with daily games. The New York Times has been slowly building up community, adding stats to its games and allowing people to join forums (although they're mostly just links to comment sections), but its success is often in spite of its lack of features. So many people play New York Times games, and there are a lot of chances to go viral. For example, Connections has become a viral hit in certain circles thanks to the chaotic nature of some of the solutions (a long running joke about how users see editor Wyna Liu as their nemesis has been the subject of many TikToks and memes). That's why Puzzmo co-creator Zach Gage believes that it doesn't have a lot to offer for many online players."Their platform is terrible," Gage said. "It's terrible in the sense that it is non-existent. Their platform is a website with a bunch of links to games, and then you go and play the games, and the games don't really interact with that website where you started."Gage noted that during the pandemic, he noticed that his wife was playing Words with Friends, a mobile, multiplayer version of Scrabble, with family through multiple group chats. I see something similar among people who play Wordle. Even in 2024, I know people in group chats that are specifically for sharing Wordle results."If this was any other game that was big, there would be a social space that was connected to this game that everybody would just be able to enjoy Why isn't there a social space for players like that?" Gage said.Via PuzzmoGage, known for daily games like Really Bad Chess and SpellTower, launched Puzzmo in 2023 with engineer Orta Therox not only as a place to house his games, but to fill a gap that the New York Times left behind in terms of community building. There are leaderboards, social features like friend requests, easy access to a Discord server where players and constructors gather, and daily announcements discussing how well people did on puzzles.Even LinkedIn noted the potential for games to connect people as its reasoning for adding daily games to its platform. You play one of the three four available at the time of this writingPinpoint, Queens, or Crossclimbthen see which of your connections have played. You can also then head over to leaderboards or immediately hop into the official post to talk with other people. It's barebones, but it works as a little push to socialize over its games. "You share your knowledge and get knowledge back, you share your experiences and hear about others own roads. And with games, you finish a puzzle and then talk about it with colleagues, friends, and distant connections," editor in chief and VP at LinkedIn said in the games announcement.The evolution of an old formatIt makes sense that the New York Times would be the market leader in the daily games space just due to age and brand recognitionit debuted in 1942, so it's had the time to build up a name for itself. But it's been making changes to keep it up to date for 2024. It's fallen behind in regards to community building, but it's been working on its reputation for being stodgy, traditional, highbrow, and almost completely inaccessible. The only way to get good at a New York Times crossword isn't to know random trivia, but to do them over and over again so you start learning the answers to favorite clues and notice patterns.There are better ways to do this, if you want them. A priority for Puzzmo was to provide multiple difficulty experiences in one app. If you want to solve a crossword without any hints, you can. If you want to go for some extra sidequests in Pile-Up Poker and engage further with a game's mechanics, you can do that as well.Via Puzzmo"One thing I've noticed is The New York Times tends to target either super high-end players or super low-end players," Gage said. "Their crossword is not very approachable for people who've never played a crossword, and their game Tiles is not very interesting for people who are really deep into games and want a deep experience In Puzzmo, our focus is on building games that work for anybody."Puzzle constructor Brooke Husic leads the Puzzmo crossword, which is a great example of this balancing act. Puzzmo crosswords vary in terms of difficulty, but that's not defined by the obtuseness of the clues. The crossword allows you to use multiple hints before revealing the answer, and"We want somebody who's like, we have some of the best speed solvers in the world solving [the crossword] every day. And I want them to be there. I really want them to be there," Husic said. "But at the same time, I want someone who's never solved a crossroad before to go to post about any day and have it be their first crossword, and have a good experience."The New York Times, for what it's worth, has been making changes to increase the accessibility of its puzzles, specifically its crossword. Everdeen Mason became the newspaper's first editorial director of games in 2021, and she told Vanity Fair that while the Times had to maintain the difficulty it's known for, it wants to be more accessible for newer players. "If were asking people to pay for a product thats primarily this thing that they cant access, then thats not very smart," she said.Beyond the sheer amount of thematic variety out there that lets players choose which crosswords or games they might prefer, a more diverse array of constructors and editors have also been behind some of the most well-known puzzle sections. The New York Times is no longer run by purely white men; Mason is a black woman who dyes her hair, wears anime shirts in interviews, and immediately wanted to challenge the team and "get people out of their comfort zones" with a Black History Month theme and more freelance constructors of different backgrounds.Zawistowski has written before about how crosswords are mostly constructed by men, and began her career struggling against that establishment. "The partner I was working with was an older, retired, white guy, and so he would put Boomer references in his puzzles, and then I would have to clue them. It's just that's not who I am, whereas now I can put in the things that I love and then the puzzle feels more like me," Zawistowski said. But now, she's been able to stop freelancing in advertising and make puzzles full-time, and can make them on her terms.Making puzzles feel more personal has been successful for Puzzmo. Husic ensures that crossword players have the chance to learn about the constructor and the process behind making that particular puzzle in notes that pop up after you've completed it."What was important to me was to make it very clear that humans made these, individuals made these and they cared so much about every choice," Husic said. It's a chance to engage with the player beyond just presenting a daily puzzle. "I have always wanted to exalt individual voices. Yeah, there's so many people who don't know that humans write crosswords. People think that computers are generating them, or they think Will Shortz writes every New York Times crossword."How long will this boom last?Like with many fads and industries, there will be players who get tired and get interested in something else. The New York Times is invested in its games because of how much they do for the company, and it's hired dozens of staffers to get that done.But daily games must continue innovating to stay relevant. Puzzmo releases new games all the timemost in an experimental, early access phase, and ropes in its audience for feedback. It also tries out twists on old formats. Crosswords typically fit inside a standard square grid thanks to old-school paper restraints, but Husic and the constructors literally think outside the box by playing around with the size and shape of the puzzles. "Puzzmos approach to grid design exemplifies its goals in bringing a human touch to games," wrote one intern back in August."There are, like, over 100 million people who are ready for the next Wordle game and will jump in and play it when it happens that's the sort of thing that all these businesses that are looking into the space are looking at right now. They want to be the people who have that game when it happens, because it's going to happen," Gage said.That's all expected. Industries ebb and flow, and the same will happen to daily games. But in the meantime, the daily games surge is providing new outlets for constructors and new ways to play. It's unclear if we'll ever get another Wordle, but the daily games space and its millions of players will be there when it's ready.
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    League of Legends skins won't get custom VO while SAG-AFTRA strikes Formosa Interactive
    Justin Carter, Contributing EditorDecember 16, 20242 Min ReadImage via Riot Games.At a GlanceThe ongoing voice actors strike is forcing Riot to change up its approach to voice work for different League skins.The video game voice actors strike is entering its fifth month, and Riot Games is making "temporary changes" to how it handles voices for in-game Leage of Legends skins. These changes come months after SAG-AFTRA called for Formosa Interactive, the popular MOBA's voiceover studio, to be struck back in September.Since League's PC version is a struck title, union actors aren't allowed to record lines for it while the strike is active. As such, skins for champions with actors based in the United States will use already-recorded "base voiceovers (VO)" rather than lines done by different actors. When the strike ends, the studio will update those affected skins with new lines from their original actors "as soon as scheduling and availability will allow."Some skins alter a character's voice, and actors change their performance and record new lines to reflect that theming. Riot said its new 'policy' only affects English-language voices, so other languages will have custom VO "as planned." It also noted that while the mobile game League of Legends: Wild Rift is not struck, it will ship character skins with similar base VO if an actor for that title opts to not record in solidarity with their peers."We know this isnt ideal, and we understand its frustrating to have to wait for custom VO," said Riot. "But this approach lets us respect the ongoing strike while continuing to deliver new content. Were committed to bringing you updated VO with the quality you expect as soon as we can."Riot was pulled further into the strike's orbit when the actors union filed an unfair labor charge against Formosa and accused it of seeking non-union talent on a struck game from Riot.Shortly after, the developer released a statement saying it was uninvolved in Formosa's alleged behavior, and that the project in question "relates to a non-Riot [title], and has nothing to do withLeagueor any of our games."For its part, Formosa had also dismissed SAG-AFTRA's accusations at the time, saying it "has not acted in any manner to undermine employee or union rights, nor our relationship with the union. [...] We stand with developers, publishers, platform holders, and talent to support global game development in a way that is safe and ethical for all."Read more about:UnionizationAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Catly developer denies it's using generative AI or blockchain technology in its cute cat game
    At last week's Game Awards ceremony, developer SuperAuthenti debuted a teaser for its in-development open-world adventure cat game Catly, a video that was short on gameplay details and long on exceptionally cute cats with oversized, colorful eyes. After the trailer debuted, viewersmany of them game developersbegan speculating that the game or the trailer are using generative AI technology.As internet sleuths dug through the business profiles of SuperAuthenti and its executives, some began to wonder if the game might also use blockchain technology.The company (like a cat) played coy at first, first telling Digital Trends it would share more details on the game in 2025. That seems to have changed. Today, a SuperAuthenti PR spokesperson told Game Developer that there is no generative AI in Catly or its teaser. Additionally, they said Catly is "not a blockchain game," and there are no non-fungible tokens (NFTs) or other blockchain currency affiliated with the product."We did not use generative AI to produce the video and the game," the spokesperson said. "In fact we are very surprised by such speculation. We do not think there are any existing AI tools that could produce a video like that. Industry experts have echoed this opinion."SuperAuthenti shared a work-in-progress video of the Catly trailer with Game Developer, which contained a number of before-and-after shots showing the pre-rendered kitties bouncing around their playroom. The cat's models did not appear to contain telltale signs of generated 3D models (no unusual symmetry, no melded limbs, and no baked-in textures), and the environment also appeared to be created with traditional 3D animation. Some shots featured the cats rendered with full fur, others showed models implemented before fur animations were added.Related:The cat models did appear to have been fully mapped and rigged before these clips were captured, but it otherwise didn't seem that different from other behind-the-scenes clips of CG animation.SuperAuthenti says any there isn't any blockchain technology in CatlyAs spotted by Digital Trends, Speculation over Catly's possible use of blockchain tech was based on a possible connection to blockchain game developer TenthPlanet. TenthPlanet was "started" by William Wei Chen and colleague Kevin Yeung. Yeung is registered as the founder of SuperAuthenti. Animation and VFX news outlet 80 Level stated it reviewed documents saying SuperAuthenti is the sole shareholder of Shanghai Binmao Technology, which previously developed a blockchain-based "botanical and gardening experience."SuperAuthenti's spokesperson did not address these business connections, but did push back on the idea that Catly uses any blockchain technology. "Catly is not a blockchain game," the spokesperson said. "There are no NFTs. Our company/project has never issued any blockchain currency and any NFTs. Our company does not and has never owned any blockchain currency and NFTs."The spokesperson said that SuperAuthenti is "excited to reveal more about the game," and its own background in 2025.
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    Epic Games secures deal to preinstall Fortnite onto Android phones in UK and Spain
    Justin Carter, Contributing EditorDecember 13, 20242 Min ReadImage via Epic Games.At a GlanceEpic is working with service provider Telefnica to make Fortnite more accessible to British and Spanish players.Epic Games has teamed with telecommunications provider Telefnica to ensure its titular store and Fortnite both come preinstalled on Android phones. This "long-term partnership" applies to players under the Telefnica network in the UK, Germany, Spain, and Spanish-speaking territories of Latin America.In its announcement, Epic says the partnership "makes Fortnite and the Epic Games Store more accessible on millions of Telefnica Android devices. [...] This strategic alliance aims to provide a more competitive ecosystem for Android players, empowering them with a choice beyond the conventional app marketplaces."Telefnica operates in Europe and Latin America, and Epic said the provider was the first mobile carrier to implement direct carrier billing in the Epic Games Store. The two also previously teamed on an interactive music experience within Fortnite.Under the deal, players in those regions have easier access to Epic's storefront and battle royale, plus Rocket League and third-party games.Epic still wants a free app market to do what it wantsBoth Epic and CEO Tim Sweeney have repeatedly preached the dream of an open app marketplace for phones. The EGS and Fortnite are on (or will be) iOS in regions like Japan and the European Union, which he's called the first steps toward "eliminating the anticompetitive terms that Apple and Google impose on developers and consumers, so we can build a better store for everyone."As part of its years-long legal feud, Apple locked Epic's European developer account earlier this year to prevent Fortnite and the EGS from releasing on iOS in that region. The account was later reinstated, but not before Sweeney used the event to decry Apple for "[not] allowing true competition on iOS devices."Last year, Epic admitted it personally created an advocacy group with companies like Bandcamp and Spotify to help build its antitrust case against Apple. The two music streaming services were reportedly unaware of Epic's true intent at the time.According to Epic, it and Telefnica hope to bring "more benefits" to mobile players throughout 2025.Read more about:[Company] Epic GamesTop StoriesAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Microsoft is not ready to deprioritize Xbox consoles
    Microsoft is running a new global marketing campaign in the 4Q24, dubbed, This is an Xbox, highlighting many consumer devices that it deems to be an Xbox. While this messaging reaffirms a shift in Microsofts strategy to attract Xbox users off-console, questions are raised over Microsofts readiness in the cloud, mobile, PC, and handheld segments.Console contraction drives subscriptions saturationOver ten years ago, Microsoft launched Xbox One, a singular device to drive Xboxs ecosystem of games, software and services.Fast forward to today, and Microsofts new This is an Xbox campaign attempts to raise consumer awareness that smartphones, laptops, TVs, handhelds, streaming sticks, and VR headsets are also Xboxes, de-emphasizing the console as the center of the Xbox ecosystem.To understand how we got to this point, consider the following:Xbox has endured two generations of console decline. As Xbox Series X/S ends its fifth calendar year on the market, Omdias Games Hardware Database estimates that its installed base will fall short of its Xbox One predecessor by 5m units (see Figure 1). This threatens the active installed base long-term.Xboxs content ecosystem has become subscriptions driven, impacting full game purchase revenues as key blockbuster games content sees day-and-date releases on the platform.Game Pass subscriptions remain console-driven despite cloud offering. Omdias Game Subscriptions and Cloud Gaming Market Forecast reveals that the penetration rate of subscriptions for console-focused Game Pass tiers among active Xbox consoles will surpass 66% in 2024.Microsoft is now the steward of valuable multi-platform content. Its $69bn acquisition of Activision Blizzard King gives it control of Call of Duty, World of Warcraft, and Candy Crush Saga, following its ownership of Bethesda series Fallout and Elder Scrolls.These key events facilitate a situation where revenue from Xbox Game Pass has evidently not grown fast enough to offset the cannibalization of full game purchase revenue on Xbox consoles. This is why Microsoft begun releasing key first party games on competing consoles that it wouldnt have dreamt of doing so previously.Figure 1: Xbox Series X/S falls behind Xbox One by 5 million units at the same point in its cycleSource: Omdia Games Hardware DatabaseThere are big shifts happening, then, and the identity of the Xbox console a loss leading box that earns its keep through software and services revenue has been called into question. Add on top of this the decision to acquire significant content that is simply too costly to make exclusive to Xbox consoles and Microsoft has been forced into a position where it must look beyond its console audience.Xbox is not ready to be unshackled from its console corePCs are among the devices Microsoft is calling Xboxes, and it is here where Microsoft has the most potential to reach new players, as PC Game Pass offers access to high value first-party content such as 2024s Call of Duty: Black Ops 6.Omdias Game Subscriptions and Cloud Gaming Market Forecast estimates subscriptions to PC Game Pass at the end of 2024 will stand at under a sixth of all Game Pass tiers combined, so the platform represents plenty of potential for Microsoft to exploit.Yet Microsoft remains in close competition with incumbent player Valve, whose Steam distribution platform is synonymous with PC gaming. While some major publishers such as Sega and Square Enix have begun publishing their Xbox console games on Microsofts PC storefront day-and-date, many remain content with Steam.Omdia analysis of annual Xbox console game launches reveals that the bulk of titles continue to launch without an accompanying Xbox PC release via the Microsoft Store, as indicated by the lack of Play Anywhere support (see Figure 2).Figure 2: Xbox console software continues to lack PC versions via Microsoft Store at launchSource: Microsoft, OmdiaOn mobile, Microsoft has also been keen to highlight smartphones as an Xbox that makes calls, yet the launch of an Xbox mobile store on Android is now off the table for 2024. This has left it without a means of directly engaging with its audience, standing in contrast with Epic Games, which has begun doing so with Fortnite and its recently launched Epic Games for Mobile.PC gaming handhelds are another device that Microsoft also highlights as Xboxes. But the user experience is far from perfect Windows 11s poor user suitability for handhelds continues to hold back partnering PC manufacturers. Omdias Games Handhelds Database estimates Valves Steam Deck will continue leading this product category in global sell-through in 2024.This leaves cloud streaming as the key means of turning devices like smartphones, tablets, and smart TVs into Xboxes. Yet cloud streaming also presents several hurdles:Xbox Cloud Gaming continues to require the top tier Game Pass Ultimate subscription, making it a hard sell to anyone who doesnt already own an Xbox console or gaming-capable PC. An ad-supported tier of Game Pass with a limited selection of games has yet to materialize.Microsoft cannot guarantee a console-quality experience via cloud streaming. While Xbox console hardware is used in data centers to stream games to players, the resulting quality and latency of streamed gameplay depends on several factors outside Microsofts control. These include the location of Microsofts servers, the quality and type of connection, and the video codec used.Additional friction remains. Games designed for large, 4K TVs arent guaranteed to look or play their best streamed to a small phone screen without a physical controller, which the audience off-console may not already own.The full Xbox games library remains unavailable for streaming. This creates a mismatch of expectations, especially for lapsed or long-time Xbox console players who have invested in physical and digital console games that persist in the console library today.Microsofts reach to customers on iPhones and iPads remains limited. Xbox Cloud Gaming continues to be unavailable on the iOS App Store. Apples core technology fee presents a tax on iOS users engagement that Microsoft has deemed not worth paying.Put simply, the Xbox ecosystem off-console is not yet ready to shoulder Microsofts ambitions to truly grow off-console. On mobile, Microsoft lacks a distribution platform to build up long-term engagement with new customers. And while PC Game Pass shows the most promise, the lack of third-party support for the Microsoft Store re-affirms Steams dominance.While cloud offers the most reach, it continues to present the same challenges to both Microsoft and consumers many of the same challenges which hampered uptake at the beginning of Xbox Series X/Ss console cycle. In 4Q24, This is an Xbox ultimately presents a vision of where Microsoft would like Xbox to be, rather than where it is today.
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    New developer Clovers Studio teams with Capcom on Okami sequel
    Last night's Game Awards featured several reveals, one of which was a sequel to Okami. The original cult classic was developed by Clover Studio, and its sequel will be developed by...Clovers Studio.The developer was spun up in 2023 and is headed up by director Hideki Kamiya, who also helmed the first Okami. Unlike its predecessor, Clovers is not a Capcom subsidiary, and is working with staff from Capcom's M2 and Machine Head teams on the sequel.In his announcement post, Kamiya admitted that he "didn't think the day would really come where I'd return to Okami and continue the story with my own hands. [...] All of this has come together to create this miracle, for which I am deeply grateful.""This project is finally in motion," Kamiya concluded. "We are ready to fill this new Okami with many colorful flowers, and to do our best to fulfill the promise of 'next time' in the best way. Everyone please wait with anticipation."The once and future OkamiOkami released in 2006 for the PlayStation 2, and was Clover's penultimate game before the studio closed the following year. Prior to its shutdown, Kamiya was one of several high-profile exits alongside Shinji Mikami and Atsushi Inaba. Mikami went on to found the once dead, now revived Tango Gameworks, and Kamiya started PlatinumGames before leaving in 2023.In August 2023, Capcom revealed Okami and the 2010 Nintendo DS game Okamiden have collectively sold over 4 million copies. In the 18 years since its initial release, Okami has been remastered for successor consoles like the Nintendo Switch and PlayStation 4.The unnamed Okami project wasn't last night's only surprise blast from the past. Capcom also revealed another project at the Game Awards: Onimusha: Way of the Sword, the first new major entry in its samurai hack-and-slash series since 2006's Onimusha: Dawn of Dreams. Unlike Okami, that game has a release target of 2026.
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    Astro Bot, Balatro, and Metaphor: ReFantazio sweep the 2024 Game Awards
    Geoff Keighley's Game Awards aired last night, and the 10th annual awards show once again presented some awards in between those big game reveals.The top Game of the Year prize was granted to Team Asobi's Astro Bot. The PlayStation platformer was nominated alongside Black Myth Wukong, Metaphor: ReFantazio, Final Fantasy VII Rebirth, Balatro, and Elden Ring: Shadow of the Erdtree.Astro also won awards in the Game Direction, Action/Adventure, and Family Game categories. Balatro and Metaphor also took home three wins each: the deckbuilder won for Best Independent Game, Best Mobile, and Debut Indie, while Atlus' RPG was rewarded with Best Narrative, Art Direction, and Best RPG.A partial list of winners is down below, and the full roster of winners can be seen here.Game of the YearBalatro(Localthunk)Metaphor: ReFantazio(Atlus)Final Fantasy VII Rebirth(Square Enix)Black Myth: Wukong(GameScience)Astro Bot(Team Asobi/PlayStation)Elden Ring: Shadows of the Erdtree(FromSoftware/Bandai Namco)Best Game DirectionBalatro(Localthunk)Metaphor: ReFantazio(Atlus)Final Fantasy VII Rebirth(Square Enix)Black Myth: Wukong(GameScience)Astro Bot(Team Asobi/PlayStation)Elden Ring: Shadows of the Erdtree(FromSoftware/Bandai Namco)Best Innovation in AccessibilityCall of Duty: Black Ops 6(Treyarch/Activision Blizzard)Dragon Age: The Veilguard(BioWare/EA)Diablo IV(Blizzard Entertainment)Prince of Persia: The Lost Crown(Ubisoft Montpellier/Ubisoft)Star Wars Outlaws(Massive Entertainment/Ubisoft)Best PerformanceBriana White (Aerith Gainsborough,Final Fantasy VII Rebirth)Hanna Telle (Max Caulfield,Life is Strange: Double Exposure)Humberly Gonzlez (Kay Vess,Star Wars Outlaws)Luke Roberts (James Sunderland,Silent Hill 2)Melina Juergens (Senua,Hellblade II: Senua's Sacrifice)Best AdaptationArcane (Riot/Fortiche/Netflix)Knuckles (Sega/Paramount)Fallout (Bethesa/Prime Video)Like a Dragon: Yakuza (Sega/Prime Video)Tomb Raider: The Legend of Lara Croft (Powerhouse Animation/Netflix)Best Ongoing GameDestiny 2 (Bungie/PlayStation)Helldivers 2 (Arrowhead/PlayStation)Diablo IV (Blizzard/Xbox)Final Fantasy XIV (Square Enix)Fortnite (Epic Games)
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    Ex-Marathon director Chris Barrett sues Sony and Bungie after 'unfounded' firing
    Justin Carter, Contributing EditorDecember 12, 20242 Min ReadImage via Bungie/PlayStation.At a GlanceBarrett was fired from Bungie after being accused of misconduct and inappropriate behavior by several female employees.Christopher Barrett, director on Bungie's Marathon before his firing in March, has filed a lawsuit against his former employer and Sony. Per VentureBeat, he argues he was fired so the two companies could avoid granting him a $45 million payout from his employment agreement.Barrett was let go from the Destiny 2 developer for alleged misconduct and "behaving inappropriately" toward at least eight women in various departments at the studio. In August, Bloomberg published a report alleging he told female staffers he could help them "advance their careers" and sent them a "barrage" of unwanted text messages.At the time, Barrett told the outlet he was "always respectful and supportive" of his coworkers, and gave an apology to anyone he made uncomfortable with his behavior. Prior to being dismissed, he'd been with Bungie since 1999. He was a designer on several games, Destiny 2 included, and served as a top-level executive at the studio.Barrett's allegations against Sony and BungieIn the suit, he alleges Bungie and Sony "deliberately destroyed [his] reputation. [...] Defendants did not care that none of it was true; they had blatant motivations for their brazen scheme.""Barrett was never asked whether he had ever engaged in inappropriate sexual conduct...or whether he ever retaliated against a co-worker for rebuffing his advances or discriminated against a female colleague on the basis of her sex," it continues. "Barrett was not asked those questions because Barrett did not engage in, and has not been accused of, any such conduct."In a separate statement, Barrett said he has "endured rampant speculation, unfounded attacks on my reputation, and innuendo about what happened behind the scenes to cause me to be fired after 25 years of service." He filed his suit with the aim of "holding Bungie and Sony accountable for their conduct and the damage that has been done to my reputation and my career.""I am confident that the facts are on my side and look forward to clearing my name in the legal process," he concluded.This is the latest development in a turbulent year for Bungie, which laid off 220 employees after June's Destiny 2: The Final Shape. Before that, employees alleged to IGN in 2021 that the studio had been tolerating a culture of sexism and sexual harassment.Game Developer has reached out to Sony and Bungie for comment, and will update when a response is given.Read more about:Lawsuits[Company] PlayStationTop StoriesAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    WB Games Montreal lays off 99 developers
    Developers at WB Games Montreal have been laid off, according to French outlet Radio-Canada.The outlet claims 99 employees were impacted, and that the most affected were subcontractors through Keywords, a game service provider that's previously worked with BioWare and NetEase. Those workers handled QA for WB Montreal, which helped Rocksteady develop Suicide Squad: Kill the Justice League.Earlier this week, Rocksteady revealed it will stop supporting the live-service shooter on January 14, 2025. Developers told Radio-Canada those let go will have to leave WB Montreal in eight weeks, or around the start of February.WB Montreal's future movesSpeaking to the outlet, one source said laid off staff were offered the chance to join a contact list for upcoming Montreal projects. However, that source said any opportunities might only come in 2026.Others explained they had been previously assured Montreal had "enough projects to work on." Prior to Squad, the studio developed 2022's Gotham Knights, another live-service game starring Batman characters like Nightwing, Robin, and Batgirl. It's also best known for 2013's Batman: Arkham Origins.As of February 2023, WB Games Montreal appears to be working on an unannounced single-player DC Comics game as its sole (or lead) developer.
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    Balatro, Thank Goodness You're Here win at Apple's 2024 App Store Awards
    The end of the year means awards season, and Apple has revealed the winners for its 2024 App Store Awards. In its announcement, the tech company said the recipients "highlight the endless opportunities across the App Store and the Apple ecosystem."For its game categories, Farlight Games' AFK Journey won Best iPhone Game, and Supercell's Squad Busters for Best iPad Game. The former also won Game of the Year for Google Play's awards in November, and the latter for Best Multiplayer.Panic Inc's Thank Goodness You're Here! was deemed the year's best Mac game, and Thrasher: Arcade Odyssey was the inaugural winner for the Apple Vision Pro. Finally, LocalThunk's Balatro took the Best Apple Arcade award. The roguelike deckbuilder is nominated for several industry awards this year, including "Best Game Direction" and "Game of the Year" at tomorrow's Game Awards.Apple also recognized the New York Times' games division, Pixel Hunt's The Wreck, and Gamtrophy's Do You Really Want to Know 2 as part of its "Cultural Impact" winners. The category highlights games and apps that have made a "lasting impact" on players' lives and communities.Do You Really Want to Know 2, for example, is a text adventure game chosen for "exploring the nuances of living with HIV, offering users local resources and educational materials to navigate conversations with family and friends." NYT Games was selected for "connecting family and friends across generations with a variety of fun and simple daily games."The full list of App Store Award winners can be read here.
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    Mobile dev Glow Up Games shuts down after five-year run
    Justin Carter, Contributing EditorDecember 11, 20241 Min ReadImage via Glow Up Games.At a GlanceGlow Up is the latest studio to close its doors as industry layoffs and closures continue throughout 2024.Glow Up Games, the studio behind Insecure: The Come Up Game, is closing down.Co-founder Mitu Khandaker explained on LinkedIn the studio was "not able to continue weathering the challenges we fought so hard to overcome for all these years." It was founded in 2019, and the game based on the popular HBO show is its sole credit."Our mission was to build games & tech which centers and celebrates Black and brown joy, and we were proud of what we were able to achieve," she continued. A similar statement is published on Glow Up's website, which further noted "the impact we were able to have.""We celebrated so many firsts," Khandaker continued, "such as being the first all-woman of color founded studio in the mobile space to raise over $1 million in equity funding. [...] We're grateful for those who are continuing that important & necessary work."This marks the latest studio closure as 2024 winds down. Last week, Ubisoft shut down its San Francisco and Osaka-based studios ahead of xDefiant going offline in June 2025. Fellow indie developer Sweet Bandits of Deceive Inc. fame also closed its doors after its staff hit a "breaking point."Studios have also conducted several layoffs this week: People Can Fly, Deck Nine, and outlets like IGN and GamesIndustry have eliminated roles or spurred employees to take buyouts.Read more about:LayoffsAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Xsolla and StarNest start game incubator academy in Azerbijan
    Justin Carter, Contributing EditorDecember 10, 20242 Min ReadImage via Xsolla.At a GlanceThis marks Xsolla's fourth development academy after previously established ones in Busan, Saudi Arabia, and Uzbekistan.2024 is almost over, and Xsolla is still establishing game development academies across the world.The game commerce firm recently teamed with telecommunications firm StarNest and the Innovation and Digital Development Agency (IDDA) to create an academy and incubator program situated in Azerbijan. Beginning next year, developers, game designers, and studios based in the country will receive "specialized training, mentorship from international gaming leaders, and access to financial and technological resources."Yevgeniya Bikmurzina, the innovation ecosystem head for the IDDA, indicated teaming with Xsolla and StarNest would lead to "extensive opportunities for implementing joint projects that will drive the development of Azerbaijan's gaming sector."In its announcement, Xsolla also outlined plans to further build a regional headquarters in the country's capital city Baku, further serving as a "hub for innovation and technology" that provides extra support to developers in Central Asia. IDDA will also be on hand to provide "strategic oversight" and ensure Xsolla and StarNest's aims align with Azerbijan's national goals for digital transformation.Xsolla academies are in sessionThroughout the year, Xsolla has worked with governments and tech companies in areas like Uzbekistan, Busan, and Saudi Arabia to build academies for their local developers. As with those regions, the StarNest Academy will turn Azerbijan into a "global hub for game development" and "create pathways for Azerbaijani talent to showcase their work on the global stage."According to the company's global partnerships SVP, Rytis Joseph Jan, the partnership "represents a significant milestone for Xsolla as we collaborate with Azerbaijani leaders to unlock the regions potential. By combining our global expertize with the visionary leadership of our partners, we aim to empower the next generation of talent in Azerbaijan and drive meaningful innovation with global impact."More information on the Xsolla StarNest Academy can be read here.About the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    People Can Fly restructures studio by laying off 120 devs and icing projects
    Justin Carter, Contributing EditorDecember 10, 20242 Min ReadImage via People Can Fly/Square Enix.At a GlanceEarlier this year, People Can Fly laid off 30 employees on Project Gemini and canceled Project Dagger.Outriders developer People Can Fly is making layoffs and putting one of its game projects on hold.In a statement from the company, CEO Sebastian Wojciechowski explained it was "suspending or parting ways with" over 120 employees working on the unannounced 'Project Bifrost.' The studio is also restructuring some of its support teams and fully pausing development on 'Project Victoria' in an effort to "reduce our self-publishing strategy."According to Wojciechowski, "external market pressures persisted beyond our forecasts... and we have to adjust to where things are today." He affirmed People Can Fly's belief in its various projects, but admitted it needs to "tailor our plans to our financial capacity."Going forward, he said the studio is focusing on a single independent game, and pursuing new work-for-hire opportunities.The rocky year for People Can FlyVictoria is the latest project from the Polish developer to be set aside. In late April, People Can Fly canceled 'Project Dagger' after re-analyzing its development plans. The end result was a writedown of nearly $20 million in production costs.This is also its newest round of staff cuts: it started off 2024 by laying off over 30 developers from the Square Enix-backed 'Project Gemini.'Last year, People Can Fly revealed it opened a Montreal studio to increase production on a triple-A project, and entered a work-for-hire deal with Microsoft. At the moment, the status of the latter (dubbed 'Project Maverick') is unknown, as are Gemini and Bifrost after these recent cuts.Wojciechowski concluded the statement by stressing the studio's focus on "approaching this moment with compassion and to ensure our team feels supported as we work together to build a stronger future.""In this hard moment, our dedication to excellence and creativity remains strong as ever," he wrote. "For everyone who loves what we create: we will not give up on our dreams."Read more about:LayoffsAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    God of War art director Raf Grassetti joins Naughty Dog after Netflix studio's collapse
    Justin Carter, Contributing EditorDecember 9, 20242 Min ReadImage via Sony Santa Monica/PlayStation.At a GlanceGrassetti was previously Sony Santa Monica's art director, then joined Netflix Games' short-lived triple-A studio.Raf Grassetti, the art director for Sony Santa Monica's (SSM) recent God of War duology, has found himself back at PlayStation after Netflix's big studio closure. On X (formerly Twitter), he revealed he's started a "new chapter" at fellow A-list developer Naughty Dog.Grassetti departed SSM last year after he'd spent "over a decade" at the God of War developer. Weeks later, he revealed he was joining Netflix Games' then-burgeoning studio focused on creating triple-A titles. Codenamed Team Blue, it included fellow industry alums Joe Staten (Halo) and Chacko Sonny (Overwatch), and its team was developing an original project for PC and consoles.This past October, Netflix closed Team Blue in a layoff wave which affected 35 employees. The developer was a notable startup for the streamer, as it had mainly been acquiring pre-existing indie studios like Spry Fox and Next Games up to Blue's founding in 2022.It's unclear at this time where Sonny and Staten have ended up after Team Blue's shutdown.What's going on with Naughty Dog?Earlier this year Naughty Dog released a PlayStation 5 remake of The Last of Us Part II. But with its live-service spinoff for that franchise dead, it remains a mystery as to what the famed developer is working on next.In February, PlayStation laid off 900 employees across its various first-party teams and cancelled multiple projects. Naughty Dog was among those studios impacted, as were Insomniac Games and Guerilla Games.Still, studio head Neil Druckmann revealed in June that Naughty Dog is working on several single-player projects. While the studio has said little about these games, at least one of them will feature Troy Bakera frequent Naughty Dog collaboratorin some capacity.Read more about:[Company] PlayStationAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Rocksteady to terminate Suicide Squad support in January 2025
    Justin Carter, Contributing EditorDecember 9, 20241 Min ReadImage via Rocksteady/WB Games/DC Comics.At a GlanceSupport for Suicide Squad: Kill the Justice League is ending after one year as Rocksteady moves on to other projects.Rocksteady has called it: after January 14, 2025, it's done with Suicide Squad: Kill the Justice League.In its newest blog, the developer outlined the game's fourth and final season, which kicks off tomorrow, December 10. Along with making DC villain Deathstroke a playable character, the season will mark "the final battle against Brainiac." After the season ends, the game will remain playable (and purchasable) for the forseeable future.Tomorrow's season four launch also introduces an offline mode to the game. Rocksteady previously confirmed the mode was in the works, which helps further extend the game's life. According to the studio, the offline feature will provide players with access to all of Suicide Squad's post-launch content without an internet connection.The Suicide Squad's troubled, tumultuous roadThings have not been easy for Rocksteady and Suicide Squad. Shortly after negative reception to its gameplay reveal at a 2023 PlayStation showcase, the game was delayed into 2024.Not long after its launch this past February, WB called the game a financial disappointment and deemed it the catalyst for a "tough quarter." Later reports from Bloomberg detailed Rocksteady's struggle to make a live-service game, which it had never done before, and figuring out how the game would take shape with its superpowered cast.While the game earned mixed reviews, its release renewed interest in the previous four single-player Batman: Arkham games made by Rocksteady and WB Games Montreal.This past September, Rocksteady cut staff, largely across its QA team. In addition to co-developing a director's cut of Hogwarts Legacy, the developer is reportedly hoping to make a new single-player game.About the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Foamstars final seasonal update 'Party Goes On!' confirms the party is very much over
    Square Enix is ending seasonal support for multiplayer battler Foamstars after less than a year.The Japanese publisher explained the next seasonal update, rather ironically called the 'Party Goes On!,' will essentially serve as the title's swan song.The Party Goes On! will take place from December 13, 2024, to January 17, 2025. No more seasonal updates will launch after that period."In this concluding update, expansions will be introduced to enhance gameplay, such as the ability to customize shots of each character, and new enhancement elements, such as Prism Gems, all aimed at ensuring players can continue to enjoy the game for the foreseeable future," wrote Square Enix in a notice to players."All online services will remain available after the "Party Goes On!" season ends. In addition, we plan to hold the Foamstars Cup, a series of in-game events named after each character."The company noted that previous season passes will be made available again to "ensure that new players can fully enjoy Foamstars." Players will be able to flit between existing season passes to obtain items they might have missed. Although Foamstars will remain playable moving forward, it's hard to read this as anything other than the title being mothballed by Square Enix."No new content" for FoamstarsIn a separate blog post, Foamstars producer Kosuke Okatani reiterated there will be "no new content" coming down the pipeline and thanked players for their interest."I don't want this to sound like a final message since you will be able to continue playing the game. However I wanted to take this opportunity to express my gratitude to you all once again," he wrote. "Thanks to all of you, we've managed to successfully complete every update we had planned. We've been able to reach this point because of your warm support. On behalf of the entire team, I'd like to take this opportunity to express our heartfelt gratitude."Okatani expressed hope that players will be able to access Foamstars for "years to come," but it's clear Square Enix has struggled to realize its vision for the project. Okatani said the development team faced "many challenges" throughout production, while the decision to turn Foamstars into a free-to-play product just eight months after it launched suggested the title has struggled to find an audience.
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    Opinion: Google's latest AI innovation offers a putrid vision of game development
    Chris Kerr, News EditorDecember 6, 20245 Min ReadImage via Google / DeepmindGoogle has unveiled a large-scale foundation world model called Genie 2 that it says is capable of "generating an endless variety of action-controllable, playable 3D environments."Genie 2 is the brainchild of the company's AI research division, Deepmind, and can purportedly create playable 3D worlds "based on a single prompt image."It's billed as a seismic leap forward when compared to Genie 1, which introduced an approach for generating 2D worlds, but what are we actually looking at here?After a fleeting glance, it's tempting to proclaim Google has successfully created a model capable of turning rudimentary prompts into expansive virtual realms. The company itself is eager to suggest as much, writing that Genie 2 can "generate a vast diversity of rich 3D worlds" with emergent capabilities such as "object interactions, complex character animation, physics, and the ability to model and thus predict the behavior of other agents.""Below (as pictured) are example videos of people interacting with Genie 2. For every example, the model is prompted with a single image generated byImagen 3, GDMs state-of-the-art text-to-image model," says the company."This means anyone can describe a world they want in text, select their favorite rendering of that idea, and then step into and interact with that newly created world (or have an AI agent be trained or evaluated in it). At each step, a person or agent provides a keyboard and mouse action, and Genie 2 simulates the next observation. Genie 2 can generate consistent worlds for up to a minute, with the majority of examples shown lasting 10-20s."Image via GoogleThe examples selected by Google to showcase its new model are uniform in their sterility. Character models wander vapid interpretations of forests and deserts, scarcely populated with structures and foliage looped on repeat. Pyramids that bend and warp as the camera swings overhead. A forest of trees echoing ad infinitum.Emergent interactions take the form of basic movements and character animations that flatter to deceive. The short clips shared by Google (which presumably elected to showcase only the finest Genie 2 outputs) feature bland facsimiles of vaguely familiar video game scenarios that quickly fragment and decay when placed under any sort of scrutiny."Genie 2 generates new plausible content on the fly and maintains a consistent world for up to a minute," states Google. This sentence is not the ringing endorsement the company thinks it is.Google and other AI companies fail to understand the act of creationGame developers (and creatives cut from any cloth) do not aspire to create "plausible content." People (and I'm talking about the humans working on your favorite games, not their corporate employers) create to delight, inspire, entertain.We create to connect with each other and unpack our shared human condition. To create anything is to send fragments of yourself into the eternal aether, hoping that someone, somewhere, will find meaning in the deliberate, unpredictable, collaborative mess that art so often becomes.Google evidently doesn't understand how developers make games, either. There's intentionality behind every single decision, whether it's designing an open-world in service of pacing or mechanicsor baking your narrative into the very fabric of the environment. These are not elements you can simply conjure into being with a string of text or AI-generated image.Genie 2 is a blunt instrument lacking precision or purpose. Google has spent time and resources creating a tool that can scarcely reproduce the most cliched examples of video game guff. A blurry neon city. Fantasy man on horse. Now, it must convince us the crumbling husks churned out by Genie 2 are worthy of our time and attention. Let's be clear: they are not.Right now, they're barely even viable. Google itself has admitted the model is only capable of maintaining consistent worlds for less than a minute. It's like watching the memory of a memory swirling the cosmic drain. There is only degradation and collapsepresumably at great real-world cost (via The Guardian).Who is all this for? Based on what Google has showcased here, players dreaming of eventually blinking their own games into reality with the help of AI tools will quickly realize their 'creations' are devoid of both style and substance. Two aspects of video games that are unmistakably human.Developers, meanwhile, have already shown how existing technologies such as procedural generation can be used make entire galaxies corporeal. Robust asset stores exist for those in need of pre-made building blocks to assist with rapid prototyping or full blown production. Engines like Unity, Unreal, Godot, and GameMaker continue to cater to the needs of developers at all levelswhile some might choose to build their own from the ground up.If AI tools like Genie 2 are the solution, what is the problem?In an era of layoffs, studio closures, financial upheaval, and mass conglomeration, the biggest challenge facing developers is finding the resources needed to unlock their creativity in a way that feels sustainable. In an industry that's becoming increasingly risk-averse and insular at the top level, developers need those with the deepest wallets to start taking chances on new ideas instead of trying (and so often failing) to replicate the successes of their competitors.Forget about churning out plausible content. Give developers what they need to pull their most abstract, ambitious ideas into reality. If you really want innovation, invest in people.Read more about:Generative AIAbout the AuthorChris KerrNews Editor, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, andPocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Dragon Quest 3's HD-2D remake sells 2 million copies
    Square Enix's HD-2D remake of Dragon Quest III has sold 2 million copies worldwide since its release on November 14.The turn-based RPG released on PlayStation 5, PC, Nintendo Switch, and Xbox Series X|S. It's also the latest remake for the 1988 NES classic, which has been re-released on Super Famicom, Game Boy Color, phones, and more recent consoles over the decades.Compared to earlier HD-2D games, Dragon Quest III has sold faster than its predecessors, Octopath Traveler II and Triangle Strategy. Last year, Square Enix revealed Octopath sold 1 milion copies in about four months. The series has sold 4 million overall copies as of this past June. Meanwhile, Triangle Strategy sold 1 million copies by December 2022, about nine months after its launch that March.Octopath Traveler, Triangle Strategy, and Dragon QuestIn the time since Octopath Traveler and Triangle Strategy's respective releases, the former has come to Xbox Series X|S and Xbox One, and will remain on Game Pass alongside Octopath Traveler until January 2026. This past Halloween, Square Enix ported Triangle Strategy over to Meta Quest 2, 3, and Pro, and pulled the game from the Nintendo Switch eShop earlier this week.Player-wise, Dragon Quest III HD-2D has peaked at 45,357 concurrent Steam players. At launch, it opened to 37,323 players, and became Square Enix's biggest single-player release on the platform.Square Enix is continuing the HD-2D train with remakes of Dragon Quest I and Dragon Quest II. Those two titles will release on the same platforms as Dragon Quest III HD-2D in 2025, and will be packaged together as a single entity.
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    Like a Dragon devs open up on sharing source code, inspiring future programmers
    Justin Carter, Contributing EditorDecember 6, 20243 Min ReadImage via Ryu Ga Gatoku/SEGA.At a GlanceWhat goes into programming the Like a Dragon games? RGG's Yukata Ito and Tomoaki Nakamura pull back the curtain.This past January, Ryu Ga Gatoku (RGG) released Like a Dragon: Infinite Wealth, the eighth mainline entry in the crime drama series. Weeks before its launch, technical director Yukata Ito shared a photo of the game's source code. It's an uncommon move for triple-A developers, and in a late November interview with Automaton Media, Ito said it was his way of offering encouragement to prospective coders."I created an X account in the first place because I felt like there werent many game developers out there spreading technical information for people who want to become programmers," Ito told Automaton. He noted the hurdles aspiring developers can face when they try learning from their established peers, and hoped his thread would help future devs see how programming can be "surprisingly simple."Programming manager Tomoaki Nakamura similarly acknowledged how common secrecy is in game development, and how people assumed there was "some kind of special programming" used for the Like a Dragon games. He hopes that by showing RGG uses "ordinary" C++, it proves the language "is enough for anyone to be able to make a game."According to Ito, graduates who apply at Sega don't know C++. However, he believes they should, since a "lot of high-end titles" are made in the technical language. "If you want to be involved in console game development," he suggested, "its a good idea to gain experience creating games in C++ while youre still a student."By his own admission, that thread "pushed the limits" on what RGG is allowed to make public. But he stressed the move was made with consultation from each team before showing the source code, including the programmer who wrote it. The parts he chose were "relatively clean," which he hoped would make for good reactions, and be intentionally beginner-friendly.Like a Dragon, like a programmerLike a Dragon games release on a near-yearly basis, and sometimes two games per year. To help onboard newcomers and "resolve issues as soon as they come up," RGG veterans (programming and otherwise) are often placed next to newer staff to foster easier communication."I always tell our new programmers to respect people in other teams," Ito explained to Automaton. "I instruct them to...try to to be considerate towards the other party. This kind of reliable attitude makes the designers and planners more inclined to consult with the programmers, and I believe this is very beneficial for interpersonal relationships in the studio.""We require our programmers at RGG to not only work as instructed," he continued, "but to form and voice their own opinions on the games design and contribute towards improving the game, so we train them in this area as well."To aspiring programmers, Ito said the profession is for anyone "as long as they have learned the basics of programming. [It's] not only for those who have studied it professionally. [...] If you are working in another industry with the dream of becoming a game programmer, we encourage you to apply for the mid-career job openings at RGG Studio."You can read Automaton's full interview with Ito and Nakamura about programming for the Like a Dragon series here.About the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Support developer PTW opens spinoff studio in South Carolina
    Justin Carter, Contributing EditorDecember 5, 20242 Min ReadImage via NetherRealm/WB Games.At a GlancePTW Charleston is the developer's fifth office in America, and its newest expansion after acquiring Ghostpunch in August.The office is PTW's newest expansion since acquiring Ghostpunch in AugustPTW, a support studio with credits on Exoprimal and Mortal Kombat 1, has founded its fifth American office over in Charleston, South Carolina.The opening of the new studio, which makes PTW the first game development services company in the city, is expected to be a "pivotal moment" for the city's game dev community. In its announcement, PTW explained how it hopes to create hundreds of local jobs over the next several years as it "leverages Charlestons vibrant tech ecosystem and the wealth of local talent it harbors."PTW Charleston will be headed up by Bernhard Rieder, who will report to American operations VP Sebastien Bisch. In the announcement, Bisch underlined the importance of having "having a domestic QA solution to better serve our US-based partners. [...] We're excited to create a center of excellence for the industry within the vibrant Charleston community, and we look forward to building a new flagship studio in the US."PTW's year of tech and geographic expansionLike other studios throughout 2024, PTW has seen its fair share of ups and downs. At the top of the year, it laid off 45 developers across its global teams. Those have been the company's only reductions in a year otherwise filled with expansions and acquisitions.Back in May, PTW opened a mocap studio in London, which built on its previous relationship with Imaginarium Studios. The studio was set up to offer simultaneous full-body capture and voice recording, a service that PTW says isn't standard for a mocap building. More recently, its $13 million acquisition of co-development studio Ghostpunch in August. That deal, which finalized earlier this week, will allow PTW to provide AI-powered services to its clients relating to art technology and integration, and QA automation.Read more about:Studio announcementAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Dark Math Games obtains seven-figure investment for debut project, XXX Nightshift
    Justin Carter, Contributing EditorDecember 5, 20242 Min ReadXXX Nightshift, the first project of Dark Math GamesImage via Dark Math GamesAt a GlanceDark Math Games is one of several game studios that emerged from Disco Elysium alum after ZA/UM's recent turbulence.The investment reportedly sits in the seven-figure range, however an exact figure has yet to be disclosed. Dark Math Games, one of the several new studios founded by talent from Disco Elysium creator ZA/UM, has netted a sizable investment from Estonian firm MM Grupp just months after announcing its frist game.While an exact amount or other terms of the deal have not been shared, the studio confirmed with GamesIndustry that the deal represents a seven-figure investment. MM Grupp was also a majority investor for Disco Elysium, with Dark Math founder Kaur Kender calling the firm "an experienced investor that understands and appreciates art, as well as the video game industry specifically"."Grupp's backing will bring stability and long-term vision. We have done something great together in the past, and are positive that we'll do it again," he continued.In October, the freshly founded studio announced its first project, XXX Nightshift. Dark Math will put that new money towards its game, which has been previously described as a "true detective RPG" in the vein of Disco.Disco Elysium's Legacy Branches OutDark Math Games is one of several studios set up by ZA/UM alumni that is hoping to continue the momentum that Disco Elysium built up. The very same day Dark Math was revealed, Longdue Games revealed itself to the world. That fellow fledgling studio is currently making a "psychogeographicRPG...set in a world where choices ripple between the characters psyche and environment."Hours after those announcements, Disco writer Argo Tuulik announced Summer Eternal, an "art collective/RPG studio" that features fellow ZA/UM alums Olga Moskvina, Dora Klindi, and Lenval Brown. Tuulik's aim for his company is to bring on old coworkers and new hires to "create a liberating space for us and other veteran RPG developers to finally, collectively start innovating again in this game space."Not to be left behind, the studio Red Info was also announced around that same time, though without as much info to share as the other three. That studio was notably founded by Aleksander Rostov and Robert Kurvitz, the art designer and lead writer on Disco Elysium, respectively, who were allegedly ousted alongside writer Helen Hindpere from the company in 2022.That tumultuous set of exits set off a chain reaction: since 2022, ZA/UM itself has laid off staff, cancelled projects, and has been levvied with allegations of mistreating employees.Read more about:FundingAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Gnarly content: 9 risks for horror game development
    I have 666 problems, but risk ain't oneGame development is inherently risky; horror games are doubly so. Of course, horror is cool and every studio should make a horror game (they even do well on Steam!), but there are also drawbacks. Our game, End of Ember, is only a year into production but has already encountered a number of these risks: lets dive in and explore what they are and how to address them.1.The genre is diverseThe RiskHorror is like metal: if youre not into it, it all sounds the same; but for fans there are so many sub-genres. Survival horror, psychological horror, mascot horror, slasher horror, comedy horror: without even going into gameplay categories or modes, the diversity is enormous. Without a clear sense of what kind of horror you are making, your game is likely to fall between the gaps or, worse, come across as sweaty.Horror is a thing.[Source: GameDiscoverCo Plus, accessed 29/11/24]Managing the RiskYour creative team needs to really understand horror its not something you can do from the outside. Our Creative Director Dan McGuiness has been a huge fan of horror since he was a kid, and he now hosts the Terrorvision Horror Podcast, so he definitely knows his stuff. In this way he can craft a true comedy horror that amps up the gore like nothing else and gets lots of laughs from players.2.Copyright/IP concernsThe RiskHorror is a self-referential genre, and while this might produce marketing opportunities, one immediate concern might be about copyright and infringing on IP. Some developers worry that by including references to other franchises or IP you might be setting yourself up for a takedown notice or legal action.Please dont sue us, Linda Blair!Managing the RiskThe key thing here is remembering that while actual intellectual property might be protected by law, parody and references are much more acceptable. (Note this is not legal advice.) Of course you should not use frames, models, or the actual product of anyone elses work, but drawing your own hockey mask reminiscent of Friday the 13th or a puzzle box like the Lament Configuration from Hellraiser will probably keep you above the line as long as you produce the assets yourself and do not attempt to represent it as original IP.3.Crafting 'agency mechanics'The RiskOne of the main challenges (and opportunities) of horror game development is closely managing the players power in all situations, or what we might call agency mechanics. The risk here is that you will either lock down player autonomy so much that they cant act meaningfully in the world and ragequit, or that they will be so free that the experience isnt engaging enough.Managing the RiskAs with most gameplay design, the solution here is to design, playtest, iterate. Design your mechanics with the idea of player agency in mind from the outset, then build a prototype early and playtest as much as possible for player autonomy in particular. Observe closely which particular mechanics constrain or enable agency, get player feedback of all kinds, and iterate until you get the balance right.4.Optimisation challenges of goreThe RiskEnd of Ember prides itself on its gore engine, and producing gore effects that other games just wont try. Of course, there is usually a reason that something hasnt been done before, and in our prototype we discovered that detailed gore can produce framerate issues as the engine tries to calculate for all the pieces of carrion and viscera that adorn the floor and walls.The gore in our boss level chugged our framerate or maybe it was the rooms, or persistence or the entire codebase?Managing the RiskOften, indie devs leave optimisation until late in production, but we have found it useful to plan optimisation throughout development. We have explored options such as persistence management, occlusion culling, draw call batching and object pooling - and we are implementing them earlier in development rather than waiting until later and debugging.5. Pearl-clutchingThe RiskHorror is certainly not for everyone, but its not the same as saying, say, JRPGs arent for everyone. Horror games sometimes induce a kind of moral panic, perhaps especially amongst those who still think that video games are mostly for children. Muted scowls of disapproval are well known to horror gamedevs.Is it the blood? Its the blood, isnt it?Managing the RiskThe way to manage this risk is to be clear about the fact that horror games are not meant for children, and they are not intended to somehow infiltrate young minds and terrify or otherwise corrupt them. Managing appropriate boundaries and classification systems will also help to change the culture and thinking around this issue, but admittedly its a long game.6.Steam page approvalThe RiskAs with any kind of mature content, going through Steam page review and approval can be challenging: End of Ember was reviewed six times before being approved for public release. This is not Steams fault, and was mostly about our own workflows and lack of knowledge of the process: for example, capsule art is available to a broad audience and cannot be managed by warnings in a content survey.This capsule art is substantially revised from the one we originally submitted, because it needed to be for broad public access.Managing the RiskAs with all production, give about four times the duration you think you need for your Steam page to be reviewed, and then double that. Make sure your Content Survey is as accurate as can be and dont expect the content warnings to cover your capsule art. Note that Steam reviews are done by different people on different occasions, so the feedback is not always consistent or progressive.7.Attending conventionsThe RiskWe getting a theme here? Many public events such as game conventions have only special circumstances for games with mature content. Since most indie projects in early production do not have authorised classifications, event organisers tend to be fairly conservative on games appropriateness for their audience. This is entirely understandable, given branding, PR and reputation and so on.Managing the RiskIts realistic to expect that your game is just not going to be suitable for many public events. Look at all the amazing online traction that a good horror game will get on social media (especially during October), and save the public showings for more private events. Or at least negotiate early with event organisers around the suitability of your game, and expect to be disappointed.8.Reduced visibilityThe RiskMany of the above risks have a potential knock-on effect to visibility: obviously, not attending conventions is a block, and a particularly spicy content survey on Steam may flag your app as potentially unlawful in some jurisdictions. Reduced visibility (especially to a mass market) is a general risk with horror game.Nein!Managing the RiskVisibility risks are a challenge with any game, just more so with horror. With 35 games released on Steam per day its always already hard for indie gamedevs, so this just amplifies the challenge. Focus extra on marketing: identify your target, go to where they are, and encourage them to engage with your awesome content rather than dreaming of selling a game to everyone.9.Saturated marketThe RiskSteam tag reports indicate that there are over 10,000 games tagged horror: more than anyone could play in a single deathtime. So while there is definitely a market for horror games, this market is already well-served, and there is the risk of your game being submerged under a mass of other FPS survival horror games set in a misty rural town.Through this fog I cant even see the other 34 games published on Steam today.Managing the RiskAll the usual design-meets-marketing advice applies here: know the competition, know your market, design something with a unique visual style and/or experience, be true to your artistic vision, and deliver a game that players wont want to share with their Grandma. Something like this:SummaryIf you want to make a horror game you will no doubt face risks in production, development, and marketing. Its worth it, but if you employ the usual lifelong learning, planning, and iteration processes you apply across your entire development, youll be best placed to avoid a horrific development experience of your own. If worst comes to worst, respawn.End of Ember is available to Wishlist on Steam: share it around, just not with your Grandma.AcknowledgmentThanks to Logan Baker of Royal Reign Studios for technical advice to make me sound less like a numpty to programmers.
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    Smilegate makes 'strategic investment' into Dan Houser's Absurd Ventures enterprise
    South Korean developer Smilegate has invested money into becoming a partner in Absurd Ventures, the transmedia studio from Rockstar alum Dan Houser.Under the agreement, the Crossfire studio has the option to team with Absurd on its upcoming new property. The two companies will also collaborate on various areas, such as the live-service genre. Smilegate's announcement noted how Houser oversaw the online modes for Grand Theft Auto and Red Dead Redemption II, and its own various online titles like Crossfire and Lost Ark.Additionally, Smilegate and Absurd Ventures will "leverage" each other's strengths, such as the former's knowledge of the larger Asian market and the latter's "narrative, triple-A, and business expertise" in the West."This collaboration with Smilegate was borne from a mutual respect and a philosophical alignment with [Smilegate] founder Kwon Hyuk-Bin, and the great passion he and his team bring to making AAA games," said Houser. "We both want to build interesting worlds and new player experiences."Smilegate CEO Joonho Sung added the partnership "marks a critical milestone in Smilegate's journey toward becoming a global IP powerhouse. Together with Absurd Ventures, Smilegate aims to deliver games that players across the globe will love."Absurd Ventures was officially announced in late 2023, and released an audio fiction series based on its original IP earlier this year. The company's ultimate aim is to be a transmedia studio from the start, wherein its properties can bounce from games to podcasts to graphic novels and TV/film.In September, the spinoff studio Absurd Marin was formed. That team consists of staff from the now "paused" Immortals of Aveum developer Ascendant Studios, and is working on an unannounced game. The future title makes for Absurd's second game project, and its third property overall.
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    Playgama raises $3 million to build global HTML5 platform ecosystem
    Justin Carter, Contributing EditorDecember 4, 20241 Min ReadImage via Playgama.At a Glance'We want to transform the web gaming market and empower HTML5 devs to easily reach audiences they once could only dream of.'Game tech platform Playgama recently raised $3 million in funding, which it will put toward a Platform-as-a-Service (PaaS) ecosystem for games made in HTML5.With funding primarily from firms The Open Platform and s16vc, the company is hoping to get in HTML5's "renaissance" in games. In the announcement on December 3, it outlined its plans for its PaaS ecosystem, which will include a unified SDK to allow for publishing across multiple platforms, a QA tool that consolidates those platforms' requirements into a single list, and tools for monetization, marketing, and payments.Playgama noted how HTML5's game market is made up of "thousands of standalone playgrounds" compared to the more centralized storefronts for Epic Games on PC and iOS or Google Play on mobile. That "fragmented" market means "leaders capture only small fractions of the global web gaming audience. [...] Theres currently no way for developers to access the entire market at once, and [we] aim to change this.""Our vision is to streamline distribution through a 'master key' approach, providing developers with a simple and efficient route to tap into all available platforms, languages, and markets, maximizing their chances of reaching a large and diverse audience," explained Playgama. Its PaaS ecosystem will run on its open-source Bridge SDK, which it says simplifies game integration simultaneously across multiple platforms and is already compatible with Unity, Godot, and other engines."We want to transform the web gaming market and empower HTML5 game creators to effortlessly reach audiences they once could only dream of," said CEO Dmitry Kachmar. "With this funding, well accelerate further improvement of Playgamas platform for developers, expand our toolkit, and introduce advanced analytics and fintech solutions."Read more about:FundingAbout the AuthorJustin CarterContributing Editor, GameDeveloper.comA Kansas City, MO native, Justin Carter has written for numerous sites including IGN, Polygon, and SyFy Wire. In addition to Game Developer, his writing can be found at io9 over on Gizmodo. Don't ask him about how much gum he's had, because the answer will be more than he's willing to admit.See more from Justin CarterDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
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    Killer Klowns dev Illfonic 'realigns' studio by cutting staff
    Denver developer Illfonic says they've had to "accept the harsh reality" of the game industry today and cut staff.On X, studio CEO Charles Brungardt explained the studio eliminated roles to "realign to a refined strategy." At the time of writing, it's unclear exactly how many employees were impacted.Illfonic is primarily known for making multiplayer games based on horror film franchises. It was the original creator of Friday the 13th: The Game before Black Tower Studios took control of its development. After that transfer, it made 2018's Predator: Hunting Grounds, 2022's Ghostbusters Unleashed, and this year's Killer Klowns from Outer Space.Separate from that, it also developed original titles Arcadegeddon and Nexuiz, and has also been a support studio on titles such as Crysis 3 and Star Citizen.This makes the newest studio to lay off staff this week. Yesterday, December 3, Ubisoft announced the closure of its San Francisco and Osaka studios alongside the end of its free-to-play shooter, xDefiant. A team based in Sydney is also being "ramped down," and 277 overall employees will be impacted.That same day, Deceive Inc. creator Sweet Bandits Studios announced its own closure. The 18-person team explained it had reached a "breaking point" trying to keep it sustainable since its release in March 2023. As the team disbands, it and its publisher, Tripwire Interactive, are looking at ways to maintain the title for as long as possible.Game Developer has reached out to Illfonic about the number of impacted employees and the cause for its layoffs and will update when a response is given.
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    Lilith Games lays off 40 devs ahead of Project Party rework
    Chinese developer Lilith Games laid off 40 developers that were working on its upcoming life sim, 'Project Party.'According to translations from GameLook, the reductions took place in mid-November. The game's producer was among those let go. The outlet notes the layoffs came after Project Party's beta failed to meet expectations over the summer.PocketGamer also reports the game has not been canceled, but the remaining 60-person staff will focus on further gameplay changes.Lilith Games' mobile historyLilith Games is best known for mobile titles like Dislyte, Farlight 84, and AFK Arena. GameLook notes this set of layoffs is the latest for the studio: in 2022 and 2023, it cut staff working on then-projects 'Breach' and 'Apocalypse of Eden.'Lilith is the latest team to face an uphill battle developing a new life sim game. In June, Paradox canceled its own entry in the genre, Life by You, and shut down its creator Tectonic Games after deciding the game would not meet Paradox's expectations."A version that we'd be satisfied with is too far away, and therefore we are taking the difficult decision to cancel the release," said Paradox CEO Fredrik Wester in June. "Moving forward, we should perform at a much higher level, and it's obvious that we have work ahead of us."Life by You's cancelation was preceded by the rough launch for Paradox's other simulation title, Cities: Skylines II. Both Paradox and developer Colossal Order have acknowledged the game's troubles throughout the year, and the publisher later admitted it's become a victim of its own success.
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