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Obsidian Entertainment's Avowed is a major technical achievement for the fabled role-playing game studio. Though the company has experience with 3D action RPGs like Fallout New Vegas and The Outer Worlds, Avowed brings the fantasy world of the company's isometric Pillars of Eternity series to a massive 3D world. Like its predecessors, Avowed allows players to make a dizzying number of decision in gameplay and dialogue that all intersect and shape their journey. Combine those branching choices with the game's advancements in first-person combat and animation, and you have an exceptionally complex game at risk of launching with a distressing number of bugs.But that didn't happen. Avowed launched to critical acclaim, with some critics noting the game isn't as "glitchy" as many of Obsidian's beloved older titles. The studio's reputation for buggy games was so noteworthy that at the 2025 Game Developers Conference, Obsidian QA lead David Benefield briefly mentioned it in his presentation on Obsidian's improvements to its QA workflow.What are those improvements? According to Benefield, Obsidian has spent the last decade (since the release of 2016's Tyranny) restructuring its QA department to work more closely with the rest of the studio. QA testers became QA analysts, and instead of only running tests on builds of games like Avowed, the QA team began working with designers of all stripes to review their work in Obsidian's narrative tool and Unreal Engine, spotting bugs before anyone hit the "commit" button.Related:That process may sound dauting—but if you want to bolster your QA team, Benefield said you can boil the process down to one phrase: "train your QA team using whatever methods you're training your designers."Obsidian's QA testers got access to Tyranny's narrative toolsThe yearslong journey to reinvent Obsidian's QA department began in 2015 while developing the CRPG Tyranny. Dialogue in Tyranny is accompanied by portraits of characters in different premade "poses" that illustrate their emotional state. Originally these poses were to be set up by the narrative team working in the Obsidian narrative tool, but according to Benefield, that team had become bogged down creating quests and content for the game, and work on implementing poses was falling behind schedule.Implementing these poses wasn't a complex process, it just required hours and hours of work, and the QA team had the bandwidth to take up the task. But with access to the tool they began to realize there was loads of implemented content they'd never seen or tested before.Related:"We found lines that had never been tested, or, in some cases, lines you couldn't even reach as a player due to a bug," he said. "Sometimes they were entire quest branches, small and large, hidden inside these files that unless you stumbled into it as a player, or it was documented somewhere, you wouldn't know that it's even there, meaning...QA couldn't [log] the bug if we didn't know the bug was present."Image via Obsidian Entertainment/Paradox Interactive.Benefield was a tester at the time, and while he was implementing poses, he spotted a potentially game-breaking bug tied to the game's reputation system. In the game's opening hours, players balance demands from different factions like "The Disfavored" and "The Scarlet Forest" to garner reputation, culminating in a scene that will cement their initial allegiance. The scene checks the player's reputation with each faction, which is calculated by numbers that go up or down depending on different choices. Whichever faction the player has a better reputation with will determine what scene plays out and how the game progresses.Because Benefield was working in the narrative tool and could see the number values and narrative node pathways, he did the math and found it was possible for players to make a precise set of choices that would end with equal reputation values with each faction. This was not an intended outcome, and the player wouldn't be able to progress the story.Related:He showed the bug to his lead...who congratulated him on his initiative but said they couldn't file a ticket unless he reproduced it in a build. It took him two hours to test and retest his theory, and the fix took 30 seconds. "I found it personally frustrating to see I'd found such a high-severity bug, but the cost and time to reproduce it would prove to be greater than the time to fix it," he said.Fortunately, Obsidian listened to his feedback, and after this Tyranny bumped the status of its QA testers up to QA analysts (increasing their pay as well) and created a process for analysts to review quest and dialogue node trees before they went into the build.Expanding in-tool testing on AvowedBenefield took a few years away from Obsidian to work as a producer at Nexon, but was hired back at the company as a QA lead on Avowed, where he began more rigorously implementing this process. Avowed's conversation nodes weren't larger or more complex than Tyranny, but now the QA team also had to track animation, audio, and other gameplay bugs that came with first-person combat and animated conversations.Using a sample conversation with a merchant from early in Avowed that checks if a specific party member was present, Benefield showed three ways a mistake in the narrative tool could lead to a bug in the game. If a designer created a node where a "bark" (a line that occurs without dialogue UI) transitions into a full dialogue sequence, the conversation breaks. If a designer forgets to identify a speaker when setting up a node, or the speaker was deleted after the file was created, the conversation breaks. And if someone forgets to put a "red" talk node (that ends the conversation) at the end of their sequence, the conversation breaks. All three of these bugs came up "dozens" of times when making Avowed, and they're "much easier" to spot inside the tools than if they're reported from inside the game.Image by Bryant Francis.In the process of catching these bugs and other logic breaks, the testing team began to spot more advanced (Benefield called them "fun") scripting errors, spotting them in the game's data and flagging the narrative designer. This saved time for both teams since narrative designers now knew the root cause of a bug rather than being told the symptom. "It also saves QA time by finding more bugs-per-minute than in the same time they'd spend testing content in the game."This process wasn't restricted to Obsidian's in-house testers—external testers from service provider QLOC were also given this level of access. Testers from both companies grew so proficient at working with the narrative tool that Benefield began thinking—what if they applied this process to Unreal Blueprints as well?Obsidian's Unreal Engine designers embraced working with QAAfter enough time with this new process (and a healthy holiday break), Benefield began drafting a pitch for the rest of the studio. "If the analysts know these tools so well, and they know the game so well, the only pieces they're missing are how triggers, trigger volumes, and blueprints work on the Unreal side," he argued. "So what if we got them that info too?"The pitch triggered a bit of "imposter syndrome" in Benefield. When he first joined Obsidian, the company's org chart kept QA siloed away from the rest of the design team, and there wasn't a lot of professional overlap between the different ends of the company. There wasn't a mandated divide like you might find at other game studios (this was the tail end of an era where some companies forbade QA from ever speaking with teams outside their department), but it wasn't what you'd call a close relationship. Though the departments became closer over the years, the lingering specter of viewing QA as the grunts at the bottom of the organization was still there.Fortunately—and Benefield said this is one of his "favorite parts" of working at Obsidian—a number of designers quickly warmed up to the idea, and were willing to give it a shot. This led to the creation of the "joint analysis session," where testers and designers stepped through a quest while reviewing the flow of information in Unreal.Image via Obsidian Entertainment/Microsoft."As they go through, the designer calls out every trigger and script used on the quest, literally pulling them up on a shared screen for the analyst to see and ask questions," Benefield said. "We also record these so we can be very brief about our notes and really just focus on what's on screen.""Because QA is only ever seeing how it does play out, this gives [designers] an opportunity to say 'wait, that's what it should have been doing, I didn't realize that's a bug.'"These meetings run for an hour (with multiple meetings scheduled if a quest takes longer). Sometimes bugs were so obvious they could be fixed on a call.Bringing QA and design together improved moraleAccording to Benefield, Obsidian's designers loved these sessions. Bugs were squashed, QA learned more about content they needed to test through conventional means, production continued more efficiently, and maybe most importantly, it was a major boost for morale."I didn't see this one coming, but it was very noticeable to everybody involved and everybody adjacent to these sessions," Benefield recalled. "Folks were enjoying them. [Designers] felt much better about their quests after they'd been beat on during a joint analysis session.Even after these sessions, designers and QA analysts were more comfortable reaching out to each other with questions and comments.Obsidian made a number of other improvements to the QA process during the making of Avowed, but all of them came back to the core practice of training testers on tools used by designers.Though the team still used classic "black box" testing to check for bugs organically emerging in the game, this "white box" method brought joy and collaboration to what can be a grinding field in game development.As Benefield concluded, "By pairing the QA mindset of 'how do I get this to break' with the designer mindset of 'how do I get this to work,' we're allowing these people to work closely to each other, and we get a better product in a shorter amount of time."GDC and Game Developer are sibling organizations under Informa.

Reigns has earned over $20 million to become one of Devolver's most successful franchises.

Chris Kerr, News EditorApril 22, 20252 Min ReadImage via Blue Ocean GamesBlue Ocean Games, a new $30 million early-stage venture fund backed by PUBG maker Krafton, has launched with the aim of supporting 100 indie developers over the next three years.The fund was established by Krafton's former head of investments Damian Lee to "empower promising indie developers who fall outside traditional investment criteria."Blue Ocean said it will leverage a unique Structured Agreement for Indie Launch (SAIL) funding model to create pathways for game concepts that might never otherwise make it to market.SAIL will enable Blue Ocean to provide investment at the concept stage—before a team has created a playable build—and financing of $100,000 developer (up to $300,000 per team) disbursed over two years.In addition, partner developers will receive objective, market-validation milestones as opposed to subjective checkpoints; hybrid equity and revenue share agreements that balance "developer control with investor returns"; and full ownership of their IP.The fund will also offer practical support including incorporation assistance, bookkeeping services, and mentorship from industry veterans. Successful applicants will be grouped into cohorts to create a "collaborative community that can share knowledge and resources."Blue Ocean Games focused on supporting Indies but could expand in the futureRelated:The inaugural fund is specifically optimized for solo developers and smaller teams led by first-time founders, but Blue Ocean hopes to expand support to larger, more experienced teams in the future."There is a structural problem in the indie game industry where the gap between what investors are willing to fund, what developers dream of creating, and what players crave has grown too wide,” said Lee."Beyond simply filling a funding gap, we are trying to reimagine the ecosystem itself. By aligning player demand with developer passion through community validation and reliable funding, our goal is to create an environment where mutual benefits naturally drive success and growth. This isn't just about picking winners; it's about expanding the playing field so that more visions can become reality."Blue Ocean is hoping to discover new talent through "Rising Tide," a new online competition series designed to help developers validate ideas, gain recognition, and advance their projects—irrespective of whether they choose to seek funding.The first Rising Tide challenge is being hosted on May 1, 2025, in partnership with Global Game Jam. Applications for direct funding will open alongside the event.Related:Those interested in learning more about Rising Tide or seeking funding through Blue Ocean Games can find out more here.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, and PocketGamer.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

Chris Kerr, News EditorApril 22, 20252 Min ReadImage via GamesBeatGamesBeat has become an independent media brand after splitting from parent company VentureBeat.The long-running video game, tech, and entertainment publication said the move will enable "continued growth and innovation."The newly-independent outlet will be overseen by CEO Gina Joseph, formerly chief strategy officer at VentureBeat, and editorial director Dean Takahashi, formerly lead writer at GamesBeat."We are excited about this powerful new chapter for GamesBeat and the industry we are serving," said Joseph. "As a niche independent publication, we'll unlock unparalleled insights, opportunities, and direct access to decision-makers, playing an integral role for this $177 billion industry and the broader interactive tech landscape."We look forward to growing GamesBeat as an influential industry platform, not just for news, but to also foster connections and opportunities for business leaders, helping the industry to thrive while continuing our reputation for delivering authoritative thought leadership that will shape the future of this dynamic space."GamesBeat looking to kickstart 'new era' as an independent publicationTakahashi said the pivot signals the beginning of a "new era" for the publication. "Our goal is to deliver the kind of insightful journalism that offers our audience contextual insights needed to understand how gaming interacts with other high-growth sectors," he added.Related:GamesBeat will be owned by Joseph, Takahashi, and and a cohort of undisclosed investors.In a statement sent to Game Developer, a spokesperson for the publication said it will announce the identities of those investors at a later date.That said, the company has confirmed it was "backed" by a group of strategic advisors including Peter Levin, co-founder and managing director at venture capital fund Griffin Gaming Partners.Live events such as GamesBeat Summit, GamesBeat Next, GamesBeat Global Tour, and Games & Hollywood remain a part of the company's plans moving forward."Our events have always been a platform for meaningful connections and genuine conversations" said Joseph. "As we build on this legacy, we will work to foster even more powerful connections, ensuring GamesBeat continues to be a critical point of intersection for the industry’s biggest players."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, and PocketGamer.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

TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.Hoby Darling named president of League of Legends developer Riot GamesHoby Darling named president of League of Legends developer Riot GamesThe veteran exec previously held senior roles at Nike, Skullcandy, and Logitech.Chris Kerr, News EditorApril 22, 20252 Min ReadHeadshot via Riot GamesFormer Nike, Skullcandy, and Logitech executive Hoby Darling has been named president of Valorant and League of Legends developer Riot Games.The Tencent-owned studio said Darling will strive to turn Riot into the "best place to make games."His appointment comes after former Riot global president Dylan Jadeja vacated the role in 2023 to become CEO of the studio.Prior to joining Riot, Darling held senior leadership roles at several portfolio companies.He led video game peripheral maker Skullcandy as CEO for four years between 2013 and 2017.  Before that, he spent around three years at Nike as Global GM for Nike+ Sport where he expanded the brand through digital platforms and partnerships—including linking up with Microsoft and Xbox to release fitness-focused Kinect title Nike+ Kinect Training.More recently, Darling served as a senior executive on Logitech's global leadrship team. During his tenure at the tech company, he reported directly to the CEO and oversaw a portfolio of leading technology and consumer brands across esports and video games.Darling now intends to help Riot continue developing experiences that "truly matter to players.""The first time I walked into Riot, I felt a scrappy, soulful, and courageous energy I knew I needed to be a part of. I've worked with a lot of companies, and there's something special about a place that takes risks, challenges convention, and stays fiercely committed to its mission," he commented in an announcement.Related:Riot CEO Dylan Jadeja said Darling has a proven track record of helping teams maximise their potential."He'll help Rioters tap into their creativity, sharpen their focus, and channel their competitive fire," said Jadeja. "Most importantly, he understands the importance of nurturing our creative heart and will challenge us to keep raising the bar for each other and for players."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, and PocketGamer.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

Roblox Corporation has introduced a new regional pricing tool for Roblox, one that allows makers of in-game experiences and items to automatically adjust the pricing of items purchased with the in-app currency known as "Robux" to better meet the purchasing power of different regions.Though the value of Robux themselves do not necessarily change when crossing international borders, the currency used to purchase Robux certainly does. "Regional Pricing offers users prices that are more reflective of their local economy, rather than paying the same price regardless of where they are," the company said in its announcement. "For example, without Regional Pricing, users in Vietnam or Brazil would pay the same price as users in the United States to access an experience’s economy.""With Regional Pricing enabled, prices are automatically optimized for each user’s local economy and updated periodically as Roblox’s virtual economy—and the global economy in the physical world—shifts."The invocation of Vietnam and Brazil's currencies can help developers calibrate their understanding of why items and experiences may appear to cost "fewer" Robux in other countries. In Brazil, one dollar is worth about 5.8 Brazilian real. These currency differences can make goods priced against the US dollar more expensive in these regions.Related:Image via Roblox Corporation.In the example shared by Roblox, an item priced at 199 Robux in the United States might cost 139 Robux in Brazil. That's a 30 percent decrease in price between the regions.Roblox Corporation wants 10 percent of global game spending going through RobloxRoblox Corporation boasted that the regional pricing move is part of its strategy to drive 10 percent of global spending on video games to take place on Roblox. And even though this may mean users in weaker dollar regions pay less money into Roblox for each individual purpose, feeling like their spending on Robux will take them further may drive them to spend more money on the platform, and hopefully with developers.If you're concerned about users from outside these regions using a VPN or technology to access cheaper prices, the company says not to worry. "Users using a VPN to access Roblox from a Brazilian IP address would not have access to Brazilian pricing," a Roblox spokesperson said. "Users who access Roblox from a VPN will be shown the default (highest) price for in-game items."Ensuring fairness and preventing misuse are our top priorities for this tool. By using a variety of signals to determine a user’s location, we are mitigating the ability of users to manually update their location to take advantage of lower prices. Users where we cannot confidently determine a true location will be shown the default global (highest) price for in-game items."Related:Of course Roblox faces a far bigger challenge in driving so much spending on its app: the public perception that the company has been slow to respond to what users and analysts say is a lackluster enforcement of safety regulations that put minors at risk of exposure to sexual abuse on the platform.Last November the developer rolled out new tools to help parents control what their children see and hear while playing Roblox. In March of 2025, CEO Dave Baszucki told the BBC in response to its investigation into child safety on Roblox that his message to parents would be "if you're not comfortable, don't let your kids be on Roblox.""That sounds a little counter-intuitive, but I would always trust parents to make their own decisions."

Pocketpair has fired a returning shot against Nintendo and the Pokémon Company in lawsuit against the Palworlddeveloper, arguing that Nintendo's claim to have patents on key game mechanics is "invalid" due to the existence of previously published games.In a series of "preparatory briefs" submitted on February 21, 2025 (reviewed by legal publication gamesfray), Pocketpair argued that the existence of "prior art" covering Nintendo's existing patents invalidates its claim of patent infringement. "Prior art" here references existing published games and patent applications from before the priority date of December 22, 2021.These games include Pocketpair's Craftopia, Studio Wildcard's Ark: Survival Evolved, Square Enix's Final Fantasy XIV, and somewhat unexpectedly, Respawn Entertainment's Titanfall 2.As gamesfray points out, it's notable that Pocketpair doesn't just reference individual games, but also player-made mods for existing games like a 2020 Dark Souls 3 mod "Pocket Souls" and a Pokémon-themed mod for Ark. The mods appear to be cited as examples of types of gameplay available to Pocketpair as inspiration during the time period.Titanfall 2, Tomb Raider, and Far Cry 5 are surprising citations in the Palworld patent caseThe citation of games like Titanfall 2 might surprise developers since Nintendo's patent claims had to do with the game mechanic of capturing in-game characters with capture balls and riding these characters. Gamesfray explains that Pocketpair's contention isn't that these contain the foundations for a combination of game mechanics that culminate in Palworld's gameplay—or in some cases, outright display the patented mechanics concerning "capturing" and "smooth switching" of rideable objects.Related:For example in Titanfall 2, Respawn implemented a mechanic for the player to "catch" incoming bullets and throw them back at the enemy. If a developer took inspiration from that mechanic and created a system that applied that "catch and throw" loop to creatures instead of bullets, Pocketpair's argument is essentially that even if the game was released after the December 2021 patent filing, its existence is based "prior art" and can't be considered a violation.In this case, it's arguing that its own game Craftopia is the "starting point" to arrive at the mechanics covered in the patent, and that one need only "combine" Craftopia with prior mechanics to organically arrive at the patented material without violating them.Pocketpair also cited several pre-2021 games from Nintendo's library including The Legend of Zelda, Pikmin 3 Deluxe, and Pokémon Legends: Arceus as games with mechanics that could be "combined" with Craftopia.Related:It's difficult to tell if these arguments justify invalidating Nintendo's 3 patents. Though Pocketpair's reasoning makes sense on the surface, these arguments are taking place before a patent law court, which may take a more hard-and-fast view when it comes to patented game mechanics.However things shake out, Pocketpair has raised one important point: the volume of video game releases in the last 10 years has created a situation where developers iterate fast and take inspiration from each other's game mechanics at a rapid-fire rate, meaning there are complex combinations of mechanics hitting the marketplace on a yearly basis. Unlike the early days of restrictive video game patent filings, it's more difficult to argue that any developer has a unique claim on a specific mechanic.

Bryant Francis, Senior EditorApril 18, 20253 Min ReadImage via Nintendo.At a GlanceNintendo is reopening North American pre-orders for the Nintendo Switch 2 on April 24.The console remains priced at $449, with no changes caused by tariffs on foreign goods imposed by the Trump Administration.However, prices on accessories for the console are set to rise by about 5 percent.Nintendo has announced that it's planning to re-open North American preorders for the Nintendo Switch 2 on April 24, and that device will still hit store shelves with its original $449.99 price point. This means the console itself will not be affected by tariffs imposed by the administration of President Donald Trump, at least for the time being.But Nintendo hasn't entirely dodged the tariff fireball. According to the company, accessories for the Nintendo Switch 2 will "experience price adjustment," with some now costing more than their initial price points revealed on April 2. Nintendo had originally planned to open pre-orders for the console and accessories on April 9, but delayed them following the eye-popping tariffs unveiled by the Trump administration on the same day the Switch 2 was fully unveiled.Those "price adjustments" amount to a roughly 5-6 percent price increase for devices like the Nintendo Switch 2 pro-controllers, Joy-Con 2 combos, the carrying case, dock, etc. The Pro Controller jumped in price from $79.99 to $84.99, while the price of a new Joy-Con 2 pair is leaping from $89.99-$94.99.The biggest price increases are hitting the Nintendo Switch 2 dock and the Nintendo Switch 2 Camera. The price of a new Nintendo Switch 2 dock is climbing 9 percent from $109.99 to $119.99. The camera is jumping 10 percent in price from $49.99 to $54.99.Related:The price increase on the camera could be disruptive to Nintendo's plans for its new social multiplayer functionality built into the heart of the Nintendo Switch 2. The pitch for "GameChat" is that it would allow the console to be an all-in-one online hangout spot for players to chat with each other whether they're playing the same game or different titles. Nintendo did confirm USB-C support for third-party cameras, which might ordinarily benefit from the price change, but manufacturers may be set to increase prices on those devices as well.The Trump tariffs could still hit Nintendo's bottom lineThough the Trump administration "paused" the majority of its announced tariffs on April 9, that pause only lasts 90 days, and did not exempt the 145 percent tariff on goods manufactured in China.Since the pause began, the administration's messaging on the tariffs has been tumultuous to say the least. Key electronic devices like smartphones and monitors received exemptions on April 11, but video game consoles were not included in that list. However administration officials stated on April 13 that these were not "exemptions" but that these devices had been moved into another category.Related:If the sky-high tariffs go into effect in 90 days, Nintendo's price increases might not be enough to combat the fees charged for each device entering the country. If the company is racing to get ahead of those tariffs, it might be spending this time racing to move consoles from its manufacturing hubs in Vietnam and China to the United States.That means Switch 2 and physical versions of games could still be set for a price increase. As the company stated in its announcement, "other adjustments to the price of any Nintendo product are also possible in the future depending on market conditions."Read more about:Nintendo Switch 2Top StoriesTariffsNintendoAbout 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

TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.DesignMario Kart World features missions for the first time in 20 yearsMario Kart World features missions for the first time in 20 yearsOriginally introduced in Mario Kart DS, the Switch 2 exclusive is reintroducing missions, this time in an open-world setting.Diego Arguello, ContributorApril 17, 20252 Min ReadImage via NintendoMario Kart World will feature missions for the first time in 20 years.As part of today‛s Mario Kart World Direct, Nintendo showed an in-depth overview of Free Roam mode, which allows players to explore the map in its entirety, seemingly without barriers.During this exploratory phase outside of races, players can bump onto P Switches, objects that start missions. The examples shown included collecting eight blue coins on an obstacle course under 24 seconds, and a race where golden armadillos are blocking the track.Mario Kart DS first introduced Mission Mode in 2005. The feature offered players a reprieve from competitive races with multiple objectives and boss fights.In World, missions aren‛t part of a separate mode, but rather integrated in the open world segment. The trailer noted there are "hundreds of P Switches" across the world, their purpose being to “hone your driving ability outside of races” by completing the missions. There are also collectibles to find, and players can use Photo Mode to take pictures.Cruising togetherOther players can join a session in Free Roam. While this is meant to serve as a hub to kickstart races together, it‛s possible to tag along to explore the map. Game Developer senior editor Bryant Francis noted that it will be interesting if these missions are structured around social play with friends versus linear progression.Related:Based on the examples shown, it could go either way. Considering that Nintendo is pushing the communal online aspect around the Switch 2 with the inclusion of GameChat for video calls during game sessions, as well as its own camera, it wouldn't be surprising if some objectives overlapped with other players.Mario Kart World is set to release as a Switch 2 launch title, which is estimated for June 5. Pre-orders are currently unavailable in the U.S. and Canada over the Trump administration tariffs. In China, Nintendo is reportedly delaying the console indefinitely to asses demand levels in the highly regulated local market. The company has yet to address the pre-orders publicly, although the U.S. tariff pause, announced last week, could provide the company time to amass a Switch 2 stockpile.Read more about:Nintendo Switch 2Top StoriesNintendoAbout the AuthorDiego ArguelloContributorSee more from Diego ArguelloDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.Removal of Unity 6 from China 'not tied' to tariffs, says UnityRemoval of Unity 6 from China 'not tied' to tariffs, says UnityDevelopers in China can no longer access Unity 6, but will retain access to the Chinese version of Unity and Unity 2022 LTS.Bryant Francis, Senior EditorApril 17, 20252 Min ReadImage via Adobe Stock/Unity.At a GlanceUnity says the removal of Unity 6 from China, Hong Kong, and Macau is part of its long-term strategy in the region.As of April 7, 2025, game developers in China, Hong Kong, and Macau no longer have access to Unity 6. Unity announced this decision in a post on the Unity China blog, stating that the Chinese version of Unity (referred to as "Unity Engine") will be the primary development tool offered in the region going forward.Was the Chinese version of Unity 6 taken offline because of the 245 percent tariffs imposed on China by the Trump administration? According to Unity, the answer is "no." In a statement to Game Developer, a Unity spokesperson said that the decision to remove access to Unity 6 in the region is "part of the long-term plan that led to the creation of a China joint venture in 2022—it's not tied to current global tariff issues."The company stated the Chinese version of Unity "better meets Chinese developers' needs." Developers in China, Hong Kong, and Macau working on Unity 2022 LTS and earlier versions of the engine will continue to receive support from the company.The Chinese version of Unity is meant to serve a unique marketThe announcement by Unity's China entity offers a little more context for how the Chinese version of Unity differs from the one used around the globe. According to a version of the post viewed through Google Translate, the engine has "demonstrated excellent localized service capabilities in the fields of small game solutions, OpenHarmony solutions, HMI car solutions, etc., which can accurately meet the needs of the Chinese market and customers."Related:"Projects created based on the Unity engine can continue to be released globally without being affected," added Unity China."OpenHarmony solutions" refers to OpenHarmony, an open-source operating system that can interface with Huawei's HarmonyOS operating system. Meanwhile, according to technology consultancy Star, Chinese drivers are increasingly purchasing cars with built-in HMI (human machine interface) connectivity. Dedicated support for both of these features allows Unity developers in the region to more easily target platforms that aren't as widespread in other territories.The post backs up the claim from Unity HQ that the removal of Unity 6 in China is part of a grander business plan focusing on Chinese devices, and is part of the planned "stability" promised by new CEO Matthew Bromberg as the company finds its footing in a post-layoff, post-runtime fee world.But if you aren't one of those developers—and you were counting on Unity 6 to be your dedicated platform for the next few years of development—you might be frustrated to see a key tool taken away from you.Related:Read more about:Top StoriesUnityAbout 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

Polish studio Bloober Team is rolling out more details about its upcoming survival horror game Cronos: The New Dawn, and one fascinating new feature acts as a new mile marker for how far the Layers of Fear studio has come. Instead of returning to the company's environmental storytelling roots, Bloober is making a survival horror game more technically ambitious than 2024's remake of Silent Hill 2.As in Silent Hill 2, players explore a nightmarish world with limited ammo and gangs of monstrous enemies stalking their every move—but this time, the enemies aren't just hunting the player, but also other enemy corpses. The monsters absorb energy from downed bodies to evolve into greater threats, creating a combat loop where players don't just need to juggle threats coming in from all sides, but also keep an eye on the enemies they kill so they don't become food for the next enemy that spawns.Making a system like this juggles a number of unique disciplines—level design, AI programming, combat design, and more. If Bloober had years and years of experience making survival horror games, this might be expected. If the team inside Bloober making Silent Hill 2 started on Cronos after shipping the remake, it would feel like a natural evolution.But Cronos was made in parallel with Silent Hill 2. That means the developers—led by co-directors Jacek Zieba and Wojciech Piejko—could share insights with their colleagues, but were otherwise still learning how to implement survival horror combat for the first time.Related:What made that process possible? According to Zieba and Piejko, who we spoke with at the 2025 Game Developers Conference, a key factor for success was a trend companies have been pushing back on since the end of COVID-19 lockdown: remote hiring.Without talent from across Poland—and even outside the country—the pair say Cronos' unique combat wouldn't be the same.Complex combat in Cronos calls for creative collaboratorsLike Observer and The Medium, Cronos: The New Dawn is set in Bloober's hometown of Krakow, this time sending players on a time travel adventure taking them from Soviet rule in the 1980s to an apocalyptic hellscape in a future ravaged by an event called "The Change."As Zieba and Piejko walked through a private demo of Cronos at GDC, the pair broke down the specific design decisions that prop up the combat loop. The aforementioned harvesting mechanic at the heart of the enemy AI systems allows for multiple evolutions. Enemies don't just get stronger, they can also learn new attack patterns and mutate into new character models. The pair showed off how basic enemies have two tiers of evolution, meaning players who can't knock down every enemy will face an entirely new kind of monster that could turn the tide in a fight.Related:Image via Bloober Team.The pair explained that gunplay and traversal in Cronos isn't just an updated version of what Bloober made in Silent Hill 2. Player movement and shooting is meant to mimic what is often referred to as the "tank controls" of survival horror games from the late '90s and early 2000s. These games limited player movement, slowed down aiming, and used restrictive camera angles to make it harder to spot enemies at a distance.Though novel for their time, advancements in video game combat as a whole make "tank controls" a less appealing experience for most modern players. To recreate that sensation without relying on decades-old restrictions, Bloober made two key design decisions. The more subtle one was to mandate that guns not fire with a simple trigger press. They need to be charged up, giving enemies time to close the gap.The more surprising choice—one that greatly diverges from Silent Hill 2—was to not give players a "dodge" button. Players instead are given a resource-dependent flamethrower burst that can push enemies away or eliminate dead bodies used for power-ups. The resource-juggling is familiar to survival horror, but denying players a dodge button goes against recent trends. None of this, the pair said, could be done without Bloober increasing headcount and seeking out developers with specific skills.Related:"We bolster a team [with] specific people," said Zieba, noting that Bloober hired a dedicated "gunsmith" whose sole job would be making the charge-heavy guns. "He opened this door—it was easier for us to start [making the game]."Speaking of opening doors, it was Piejko who explained Bloober could only hire some of these specialists because the company still allowed for remote work. "It's easier to get better specialists who love survival horror like us," he said. Zieba said the studio at large still operates in a "hybrid" mode. "But for some of them, we know there is no going back," he said. "There is no reason to go back because we are stronger because of it."You can't make good games without the right peopleBloober Team's policy of continuing to allow for remote work offers a clear example of what CEO Piotr Babieno meant when he spoke to Game Developer about the process of sustainably growing a "safe" studio specializing in single-player horror games. If your studio is breaking into a new genre with complex systems no one on your team has experience with, you'll need to hire externally. And if the number of people in video games with that kind of experience isn't that high, you'll need to meet them where they're at—literally.This doesn't mean remote work is the right solution for every company. But even if you want your workers coming into the office, Bloober's approach offers a clear-cut example of what you can achieve when you seek out developers with specific skills and work within their needs.If your studio is breaking genre ground, or making a game larger than it ever has before, you're going to need talented people. And whether those people need a remote workstation, flexible hours to take care of their families, or even extra support for the cost and time of commuting into the office, meeting their needs—and not demanding they accommodate to yours—can put you on the path to making a Cronos all of your own.Game Developer and Game Developers Conference are sibling organizations under Informa Tech.

Cire Games has broken cover after receiving financing through the Oculus Publishing Ignition fund.

Frostpunk 2 sold 592,000 units as of December 2024 to generate PLN 69.73 million ($18.5 million) in revenue for developer 11 Bit Studios.As noted in the company's fiscal report for the year ended December 31, 2024, the studio saw annual revenue increase by 168.9 percent year-over-year to PLN 140.54 million ($37.3 million) after delivering record-breaking annual sales.That revenue surge was primarily driven by new releases and the launch of Frostpunk 2, but the studio noted that legacy titles such as Frostpunk and This War of Mine also performed "strongly."Games developed by external partners and published by 11 Bit represented 26 percent of the company's annual revenue.Despite achieving significant sales milestones, 11 Bit acknowledged that 2024 was a "tough" year containing "significant challenges."For instance, that sales growth didn't translate into a corresponding increase in margins and the company recorded an operating loss of roughly PLN 2.84 million ($753,000) in 2024. Net profit totalled PLN 6.90 million ($1.8 million), reflecting the recognition of a deferred tax asset."We hoped for significantly more, but in December we made the decision to discontinue the development of a game codenamed Project 8, which led to a non-cash impairment loss of PLN 48.42 million," said Przemysław Marszał, president of the management board at 11 Bit.Related:11 Bit planning to launch another Frostpunk project in 2027The cancellation of Project 8, billed as a narrative-driven console title, resulted in layoffs at the studio.11 Bit said the title was scrapped due to "a deteriorating market environment for the title’s genre, extended production timelines, and escalating costs reduced the likelihood of achieving a positive return on investment to zero."The company also recognised non-cash impairment losses on The Thaumaturge and Creatures of Ava, both of which were released through its publishing division."Certainly, 2024 was a year marked by hard work, significant challenges, and tough business decisions for us. It was also a year of achievements that we are proud of. We experienced failures as well, which we are confident we have learned from," continued Marszał."We are entering a new year that we firmly believe will bring notable improvements in both our operational and financial performance."Looking ahead, Marszał said the company must diversify the scale of its projects and their development timelines to thrive in an industry "undergoing rapid transformation." He claimed that means capitalizing on financially attractive opportunities.Related:With that in mind, the company has already initiated production on another project set in the Frostpunk universe, which it plans to launch in 2027. Another "larger-scale title" has been greenlit for release in 2029."We can confidently outline our future plans. While our 2024 results—affected by non-cash charges—fell short of expectations, both our own and likely those of shareholders and investors, the Company's financial condition remains strong," added Marszał."Moreover, we are confident that, despite substantial outlays on new proprietary and third-party games, our cash position at the end of 2025 will be significantly stronger than it was a year earlier."

The legendary procedurally generated adventure has become a million seller.

TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.A Minecraft Movie has grossed $550 million globally in under two weeksA Minecraft Movie has grossed $550 million globally in under two weeksThe video game adaptation has outpaced other heavy hitters such as Captain America: Brave New World.Diego Arguello, ContributorApril 16, 20252 Min ReadImage via Warner Bros. Pictures / MinecraftA Minecraft Movie has grossed $550 million globally in under two weeks.As reported by Variety, the Warner Bros. video game adaptation has grossed $281 million domestically and $550 million globally.The film debuted on April 4, 2025, and remained at the top of the box office for a second week in a row. It grossed $80 million during its second weekend in theatres despite five new releases entering the fray in the United States.So far, the numbers tower over Captain America: Brave New World. The Marvel flick was previously the highest-grossing film of 2025 after scoring $199 million domestically and $410 million globally.In terms of recent video game adaptations, it has surpassed 2023 release Five Nights at Freddy's, which grossed $136 million domestically and $147 million internationally. It has also outpaced Sonic the Hedgehog 3, which grossed $462 million worldwide by February 3, 2025.As if you needed more evidence that video game adaptations are capable of bringing home the bacon, The Super Mario Bros. Movie earned an estimated $1.35 billion at the box office in 2023—prompting Nintendo to commission a sequelThe transmedia train continues to build steamVideo game studios and publishers are increasingly buying into the transmedia hype. Sony, CD Projekt, Microsoft, Kojima Productions, Sega, and others have all greenlit television and movie projects in a bid to bring major franchises like Ghost of Tsushima, Cyberpunk, Fallout, Halo, Death Stranding, and Like A Dragon to television and cinema screens.Related:That truly is just the tip of the iceberg. Last year, Remedy penned a deal with Annapurna Pictures that could result in the creation of movies and TV shows based on Control and Alan Wake.Both Until Dawn and Outlast are also getting the movie treatment, seemingly capitalizing on the attention around the Five Nights at Freddy's movie and its video game counterparts. The work of smaller developers isn't going unnoticed, either, with Ruiner and El Paso, Elsewhere being adapted for the silver screen.Meanwhile, HBO is currently airing the second season of The Last of Us, while Variety reports that a film adaptation of Hazelight Studios' Split Fiction is in the works. Nintendo has also confirmed plans to turn The Legend of Zelda into a movie, and Sega's famous blue mascot will sprint back into theatres for Sonic the Hedgehog 4 in 2027.Read more about:TransmediaAbout the AuthorDiego ArguelloContributorSee more from Diego ArguelloDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

Chris Kerr, News EditorApril 16, 20252 Min ReadImage via PanicPlaydate developers have earned over $1 million through the handheld's Catalog storefront since it launched in March 2023.Panic shared the news in an email and explained precisely 289,305 titles have been sold via the curated digital marketplace in that time. Those sales have netted developers exactly $1,043,186 in payouts."Playdate might be an indie platform, but seeing numbers like this makes us realize that even an indie platform can be meaningful in the gaming world. Catalog has been successful beyond our expectations," said Panic."We're so extremely happy and proud to be working with so many amazing developers from all around the globe and helping them sell the amazing things they make! And thank you for buying them."Catalog has been bolstered with the addition of 262 hand-selected titles since it debuted, although that doesn't comprise the entire Playdate library given the ditty device also supports third-party storefronts such as itch.io via sideloading.Panic continues championing Playdate developers through CatalogLast year, Panic told Game Developer it wanted Playdate developers to take centre stage after selling over 70,000 consoles worldwide and addressing a string of manufacturing and logistical challenges."It's beyond our wildest dreams in terms of how many developers have embraced [the platform] and the quality of the titles that we're seeing," said Panic's head of special projects, Greg Maletic. "We want to make sure people know about that and can see what kind of market this has blossomed into."Related:More recently, Panic announced a $30 price increase for Playdate due to rising manufacturing costs—which seemingly caught the company unawares."Guess what: after getting up and running at our new factory, they soon let us know that it would cost quite a bit more to make a Playdate than it did at our previous factory," it said in an email to customers. "We were not very excited to hear this! (What next?!) But as a result, on March 25th (2025), brand new Playdate systems will be priced at $229."At the same time, Panic confirmed it would be offering shoppers the chance to purchase a certified refurbished Playdate for $179, but noted stock would be "extremely limited."Panic will announce what's next for Playdate during an update video containing more details about its next seasonal release slate on April 17. 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, and PocketGamer.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

April 16, 20254 Min ReadImage via KeywordsTranslator unions Audiovisual Translators Europe (AVTE) and Tramiti have called out multinational game service provider Keywords for ignoring their requests for collective bargaining.Both organizations have accused Keywords of prioritizing the "the race for profit" over the needs of translation workers and claim their attempts to open a dialogue with the company to secure better compensation for freelance translators have been met with a "wall of silence."AVTE is an umbrella association representing national unions across Europe and beyond. Tramiti represents multimedia translators in Italy (mainly working in the subtitling and video game industries) and is a section of Italian union Acta.In a lengthy post on the AVTE website, both claim Keywords has gained a competitive edge in the translation industry by "applying an aggressive profit-first logic" to the detriment of both internal employees and external contractors.AVTE and Tramiti allege Keywords has essentially monopolized the translation industry through mergers and acquisitions, allowing the company to lowball workers with impunity."Keywords' most harmful practice is the 'merging & acquisition' policy, in which they systematically absorb smaller and 'more human' companies, increasingly limiting the alternatives for those who would like to earn a living through translation," reads the post.Related:"The culmination of this process was seen last summer: in preparation for Keywords' acquisition by the equity fund EQT, 31 employees were laid off for no other reason than to increase the company's already high profit margin. Keywords' freelance collaborators, although not directly affected by the layoffs, are experiencing a continuous deterioration of their working conditions and compensation."Keywords accused of refusing to negotiate with translator unions over "rock-bottom rates"More specifically, AVTE and Tramiti claim Keywords intentionally withholds work from inherited contractors on "decent rates" to avoid paying those fees. They also claim the company replaces translation workers who refuse to make their rates more "competitive" with inexperienced newcomers who are more willing to accept lower rates.Keywords is also accused of luring translators in with the promise of experienced-based raises that never materialize, while also employing a "wholesaler approach" to contract work that theoretically allows contractors to take on more projects by accepting a lower rate. ATVE and Tramiti claim it's an approach that only works on paper.Related:"In the past, some collaborators were persuaded to accept very low 'entry-level' rates with the prospect of periodic adjustments based on the newly-gained experience. However, these adjustments turned out to be negligible at first and then became practically non-negotiable. As a result, many freelancers with years of experience in the company are still working at entry-level rates, with a monthly income equivalent to that of an unskilled beginner," continues the post."More recently, to justify its rock-bottom rates, Keywords adopted a 'wholesaler approach.' According to this logic, by accepting a lower rate, one can work on more projects (though no guarantee is provided in this regard), thus earning an equal or higher income. Artificial Intelligence plays a part in this approach too, since it would allegedly justify rates that are two-thirds of those for purely human translation, with the reasoning that the translator wouldn’t be starting from scratch. The problem is that, in the field of multimedia translation, the help of AI is far more hypothetical than real."AVTE and Tramiti say it's a scenario that traps freelancers in a "vicious cycle" where they must overload their slate with poorly paid tasks—leaving them with no time or energy to seek out better opportunities.Related:To remedy the situation, ATVE and Tramiti emailed Keywords' Resource Management on December 13 and December 20, 2024. After failing to hear back, both organizations followed up on February 3, 2025, but claim they were again met with silence.In those messages, both unions say they outlined the difficulties members have encountered working with Keywords and offered to help the company find an "alternative business model" that prioritizes sustainability for both parties."More specifically, Tramiti requested that a minimum, fair rate for entry-level freelancers be set, one that is transparent and negotiable upwards, in order to prevent the exploitation of newcomers and unfair competition, as well as a reconsideration of the new automated project assignment system, which resembles the exploitative mechanisms used for riders and other gig-economy workers," adds the post.AVTE and Tramiti claim the company has yet to respond as of April 14, 2025. Game Developer has reached out to Keywords for comment. Read more about:LaborDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

Dmitry Kachmar, FounderApril 15, 20259 Min ReadImage via author.Over the last couple of years, we’ve been working with developers and platforms from all over the world to remove barriers in the field of web game publication. Through this journey, our team learned a lot and I want to share some of these findings and organize these highlights in a series of articles. We’re going to talk about the distribution, monetization, and the production of web games.In this first post, I want to discuss HTML5 games and where to sell them. This is our first take on this complex problem, and if you find this useful, keep up to date with the rest of the series.So you have a game, ideally several, and all of them are hosted on one platform. Maybe a couple of platforms. Usually when we talk with developers, these are the reasons they give for choosing specific hosting services:Organic traffic—this platform has a lot of users, who are discovering our game and spend a lot of time with it.A lot of visibility—thanks to the peculiar positioning of our platform we are getting additional eyeballs on our game!No marketing expenses—we do not spend any money on marketing, which is kind of insane in the era of mobile stores and over-saturation. It is, frankly, a dream.Monetization—we are getting revenue right here, right now.Easy—we can create a hyper-casual game in under a month and start earning immediately.Web—everyone using the platform can start playing in no time on any device.No region restrictions—no questions here. It just works where I live.Related:Ok, so this is all fine and dandy, but the question still remains, what do I do with all those games? Do I just keep operating them forever? Well, there’s always some challenges to that, here are just some:The long tail is not long.There’s no way to go but down. We’ve learned this the hard way. Most dev graphs (which they will be very reluctant to show you) will mostly look like this. A spike and then a slow death.Image via author.Difficult moderation & competitionPublishing a new game on our platform of choice is getting more and more challenging. The growth of requirements and restrictions is mostly caused by the growth of competition. There are more and more games being uploaded to the platform every day, and our games are just getting squeezed.CostYou could say, “Well, I’m just going to build a new game, and I will keep building these new games, catching waves and capitalizing on them.” However, building a new game requires time and money. Even if you work alone, it’s still going to take time to do and there’s no guarantee your idea is going to work.Related:UncertaintyThe fourth reason is that you don’t know what’s going to happen. You just don’t. Instead of placing all your eggs in one basket and hoping for the best, why not try to diversify, and help yourself make more money in new places.Let’s sum up. You have a number of games, they are localized in English, and can work on the web. You know they are profitable, you know there’s enough retention and ad views, and you know people like them. So here comes the next question - What can you publish?Where can we publish?I’m not going to waste air persuading you to build games for the web. However, I do want to give you some numbers to use as you see fit to figure out what to publish.Time to develop: 1-3 months. Including testing.Cost: under $10 000.Competition: Monkey Mart (300M plays), Level Devil (83M plays), Stickman Hook (574M plays), Subway Surfers (1B plays).The last row of numbers were taken from the presentation done by Poki rep to the Defold community. Yes, Subway Surfers is there, but the other games on the list are much smaller. They do have good quality though, so remember, when you go big - try to keep up.Where can we publish?I think of the web game distribution market as an inverted pyramid.Related:Image via author/respective brands.There’s the top tier that includes platforms like Poki and Crazy Games. Poki has about 30 million monthly active users (MAU) - this is the metric that is traditionally used to calculate the general audience of the platform. 700 billion gameplays/month on Poki. Crazy Games has similar numbers 30 MAU and 300 million games played monthly.The middle layer is all kinds of other platforms. This includes the likes of Y8, Kongregate, and Newgrounds.And then there are these aggregators, like GameMonetize, GamePix, Game Distribution. GameDistribution for example has over 2000 web publishers on their platform.However, this is just the tip of the iceberg. This inverted pyramid is what the platforms want you to think of the web game market, so you don’t move from that platform. The reality is that under that peak there’s a whole other space for web games that has remained invisible for years.Image via author/respective brands.Again, let me take one moment to break it down.First we have websites. Look at the graph from Statista below. In the year 2021, there were 1.88 billion website launches. All of these websites launch and die, with a large number of them growing, maturing, and slowly decreasing their influence. This last part of their journey is something that we are most interested in!Image via author/respective brands.When businesses understand that their website lifespan is close to its end, they need to find ways to revitalize their user base. Another reason to push them towards games— they need to find new ways to show ads. Games often become a perfect medium for this, attracting users and increasing the return on ad spend (ROAS). This is increasingly becoming part of the strategy for not only smaller websites, but also larger media platforms like The New York Times.Social media platforms, chat platforms, streaming platforms—all of these spaces are embracing games! Discord has games, Viber has games, even Linkedin has games. This is possible thanks to the HTML5, and the way this content could be easily integrated into any online service. Even places like Wikipedia could potentially find a place for games.Note about Mobile StoresApart from these general platforms, there are also web-app stores, like Chrome Web Store, where you can potentially distribute games yourself. For this, you can use packaging tools like Electron. You can also go to mobile stores like App Store and Google Play. Currently there are 250,068 mobile games on Google Play, with the top grossing backed by large publishers with deep pockets.Here’s the math for you. If you publish on mobile, you need to invest at least 25% of the budget into marketing, plus pay a 15-30% service fee for each dollar of revenue. If you choose to sign up with a publisher, be ready for the 30/70 split, where 70% goes to the publisher’s pocket. For many developers this kind of spending is completely impossible.With this in mind, the underlying opportunity seems to be humongous. With billions of websites all over the world and easy seamless integration, why do we keep limiting ourselves to chosen platforms, and not diversifying our distribution?With that out of the way. How do you get to that sweet new audience on the web?Challenges of Self-PublishingOn paper it should be easy. You go to Poki and Crazy Games, they approve your game, and you reap the benefits. However, practitioners will know that almost immediately they will be hit with a refusal, or they will just ignore you and never get back. This happens mostly because of quality issues.Moderation on these platforms is usually being done on two levels: technical compatibility and IP compatibility.Technical requirements are usually fairly rigorous, and require important features like a save system, player progression, ad monetization (banner, interstitial, rewarded), in-game purchases, social features (share, invite a friend, add to favorites, etc.), leaderboards, language and device information, and remote configuration.IP compatibility is an overview of all the content you have in the game. The platform needs to make sure that there is no content that violates IP rights from their legitimate owners. This can be quite restrictive, especially for titles with no original content.It is worth noting that even if you go through the moderation process on one platform, you will still have to do it for the competitors: big and small. The further you go, the lower the requirements become, but the higher the risk that the project will not be making any money.Don’t miss out on the opportunityNo matter how you are going to address these challenges, I would encourage you to do it. The main reason being the longer you wait, the more opportunities you are going to miss. The way the web games are progressing today, they have the potential to become gateways to new markets and amazing new adventures for the industry.How to do it—that’s another question. I see three options so far:You can do it yourself. Get a separate employee, or be that employee, who’s going to attack each and every platform, look at each and every store and aggregator, and try to get there yourself. It’s time-consuming, but you’ll learn a lot.Publisher. Publishers are expensive, you will lose on a lot of money, but if they do pick you up, you will know for sure your game is worth it and you will be making money. But note that the publisher will probably take over 70% of it.Game distribution and monetization platforms. To operate in such a vast and fragmented market, new and efficient tools are essential. At Playgama.com, we're bringing to life this kind of vision—a unified platform that connects the entire web and serves as a gateway to the widest possible network of distributors and platforms worldwide (we talk thousands), both gaming and non-gaming. I believe this is the future, and it’s coming very soon.We enter a new stage in the way entertainment is consumed. This new stage will disrupt not only the way we access games, but also ways we monetize and distribute them. We are at the brink of the huge explosion of opportunity for game developers and publishers. The pie is bigger than you think!Image via author/respective brands.Read more about:BlogsAbout the AuthorDmitry KachmarFounder, Playgama.comSee more from Dmitry KachmarDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.Report: Gamurs Group torches PC Invasion and continues layoffsReport: Gamurs Group torches PC Invasion and continues layoffsThe media conglomerate behind Destructoid and Prima Games has seemingly axed more positions.Diego Arguello, ContributorApril 15, 20253 Min ReadImage via Gamurs GroupGamurs Group, the media conglomerate that owns websites including Destructoid, Prima Games, Twinfinite, and Siliconera, has reportedly laid off more staff across the company.As spotted by GamesIndustry.biz, a number of workers impacted by the latest round of cuts shared the news on Linkedin. That includes Operation Sports assigning editor Christian Smith, Gamurs Group evergreen updates editor Chris Jecks, lead data analyst Thomas Tallentire, SEO manager Jonna Turner, and content strategist Anne Banks.Most of those employees had been working for Gamurs for years. Jecks, for example, started as a contract writer for Twinfinite back in 2015 before rising through the ranks to become contract managing editor in August 2022.Others, however, were let go at the very beginning of their tenure. "Well, I wasn’t anticipating getting this news three months after getting the job, but I've been laid off from my position as Assigning Editor at GAMURS," explained Smith.Gamurs has yet to disclose the number of staff affected or provide a reason for the layoffs—but the company is seemingly well versed in the art of cutting workers loose.In September 2024, Gamurs reportedly laid off 30 people, including staff at Dot Esports, Destructoid, and Twinfinite. As clocked by GamesIndustry.biz, there also appeared to be additional layoffs at Destructoid in February 2025, with more cuts at The Mary Sue and The Escapist following in March.Related:Game media workers have been forced to contend with a growing number of layoffs in recent months. Kotaku Australia was shut down by publisher Pedestrian Group in July 2024, while Ziff Davis conducted soft layoffs in December by asking employees across IGN, Humble, and GamesIndustry.biz to jump ship."PC Invasion is gone"Gamurs' also appears to have completely shuttered its PC-focused publication PC Invasion. Yesterday, ex-employees at the outlet noticed the site is no longer active. It currently redirects to Prima Games."PC Invasion is gone," Digital Trends freelancer and former PC Invasion contributor Anyka Pettigrew wrote on BlueSky. "The gaming website that me and many other writers worked so hard on until GAMURS fired the full-time staff, ghosted the freelancers, and left for dead for months. It just redirects to PrimaGames now. I wrote 1,000+ articles for it btw. It's all gone."Later in the day, Pettigrew noticed that some of the outlet's content archive is progressively appearing on Prima Games. A limited version of the site is also accessible via the Internet Archive.Related:PC Invasion was founded in 2015. At the time of writing, Prima Games hosts author pages of ex-PC Invasion staff members, including founder and editor Paul Younger, and lists articles from 2018 and 2019. The site is also named on Gamurs' brands page."Woke up to find that Gamurs Group has wiped three years of my work from the internet," Insider Gaming senior editor and former PC Invasion hardware editor Mike Straw wrote on BlueSky. "THREE YEARS OF HARD WORK...GONE. [Gamurs Group CEO] Riad Chikhani is nothing more than a snake who has ruined countless outlets. How you sleep at night is beyond me."Game Developer has contacted Gamurs Group for more information.Read more about:LayoffsAbout the AuthorDiego ArguelloContributorSee more from Diego ArguelloDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.Niantic is laying off 68 employees after selling its game business for $3.5 billionNiantic is laying off 68 employees after selling its game business for $3.5 billionThe AR company has been cutting jobs to reposition its new-look business as a startup.Chris Kerr, News EditorApril 15, 20251 Min ReadImage via NianticNiantic is laying off 68 employees shortly after selling its video game business to Saudi-owned mobile publisher Scopely for $3.5 billion.The company said the deal would allow it to refocus on the geospatial AI business with the formation of a new company called Niantic Spatial Inc.Niantic CEO John Hanke announced an undisclosed number of layoffs weeks later. He claimed the cuts would enable the company to become more focused by effectively operating as a "startup organization.""After a lot of consideration, it became clear that some roles would not be required given our new focus. This week, we are sharing this news with the individuals whose roles are impacted," said Hanke in March."These decisions are never easy; they in no way reflect the individuals’ performance, and we understand their impact on people’s lives."68 workers will lose their jobs at NianticNow, as detailed in a Worker Adjustment and Retraining Notification (WARN) report published in California, we know that at least 68 people will be losing their jobs at Niantic on May 20, 2025.Those cuts were announced on March 20, 2025—the very same day that Hanke announced layoffs via an internal email (subsequently posted on the Niantic website).Niantic has confirmed Hanke's note relates to the WARN report and said it doesn't have "anything else to add to that statement at this time." Related:Read more about:LayoffsAbout 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, and PocketGamer.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

It's easy to think of Balatro, the ludicrously popular deck-builder that recently topped 5 million sales and carved through awards season like a hot knife through butter, as your classic overnight success story. A shining beacon of indie ingenuity that proves the only thing you need to achieve global stardom as a lone developer is a singular vision and the willpower to execute.That would be a colossal misconception.During a recent chat with Balatro publisher Playstack, communications director Wout van Halderen explains that when the company first tweeted about signing the project two years ago the post received a mere smattering of likes. In short: nobody cared.He says the company still jokes internally about the narrative that Balatro essentially materialized out of thin air when the publisher spent months carefully constructing a "Wheel of Attention" to give the project the best chance of success. What appears like a sudden ascent to fame and fortune was actually the result of a painstakingly intentional marketing campaign that acknowledged the title's weaknesses and played to its strengths.How do you sell a game that shines brightest in the hands of players?PlayStack marketing director Liz Cheng-Moore recalls how finagling a marketing strategy for Balatro was "tricky" because, although the title seems to click with players when they're able to go hands-on, the UI-heavy visuals and delicious joker-jostling gameplay doesn't lend itself to conventional trailers.Related:Van Halderen explains Playstack initially tried cutting together a trailer focused on gameplay but found it lacking. When that didn't work, a voiceover was added that still didn't quite hit the mark. Next they dialed in on the jokers themselves. Even then, there was something amiss and visuals alone couldn't showcase the buzz of piecing together that perfect run.Playstack realized it had to fail fast and pivot. "I think the next best thing to playing Balatro is watching someone else playing Balatro and seeing the genuine reactions that they're having to the gameplay," says van Halderen. "You see the enthusiasm."The publisher placed streamers in its sights, but rather than blindly pitching to the biggest names in the biz, chose to start small and expand methodically.Van Halderen explains Playstack was "super specific" in its initial approach. He saw overlap with other popular deck-building and "highly-mechanical" titles like Slay The Spire, Super Auto Pets, and The Binding of Isaac. The next question, then, was who are the top streamers playing those specific games?Related:After compiling a finely-tuned outreach list, it was time to start pitching with the knowledge that, at the very least, Balatro would likely pique their interest—and crucially, the interest of their viewers."I would have loved it if Markiplier played our game—but I had no evidence that would be the case. He eventually did around a year later, which was amazing, but if you put all of your eggs into that one basket you're not going to get a lot of results," says van Halderen."But if you pitch to 300 smaller streamers you'll get the same kind of numbers and a lot more word of mouth. You get all those communities who are now saying 'oh, my favorite streamer played so I'm going to download it and now I want to chat with out players'—so we're building community at the same time."He explains that burgeoning community will likely be vocal on social media and other platforms like Discord or Youtube—and may even encourage other steamers they follow to play the game. It creates a seemingly organic groundswell of positivity that is actually the result of a laser-targeted marketing campaign.Never underestimate the power of a vocal communityVan Halderen says cultivating that digital word-of-mouth was a "hugely powerful tool," because it enabled the publisher to start pitching media on the project from a position of strength.Related:"Once community members are talking about it, I can go to media outlets and say 'check out this game, look at the traction it's getting. I can show you that people are clicking on articles.' I'm very aware that media is not out there to sell my game. I get my coverage, you get your clicks. So we're both happy," continues van Halderen, who notes that data generation is also vital when courting the press."If people are hungry for more information [...] we can answer questions like 'how long are people playing? How many people are playing?' We would see that thousands of people were spending six to eight hours just on the demo, which is huge. So if I go to press and say 'hey, we got 100,000 downloads on the demo and look how much they played,' then the SEO gears start turning and they will start to think 'maybe there's something here. Maybe we'll do a guide and a few thousand people will click on that.'"It's at this stage the "Wheel of Attention" comes into focus. The media feeds into the influencers. The influencers feed the community. The community stokes more conversation. The marketing cycle begins to reach fever pitch.Both van Halderen and Cheng-Moore say Playstack initially expected Balatro to reach a six figure sales milestone—and that wasn't a modest estimate. They were both convinced early on that Localthunk's passion project had the juice.Now, with over five million players and counting, it's fair to say those original estimates were wide of the mark. Their marketing plan, meanwhile, was bang on the money.

Ubisoft has open-sourced its internal color blindness simulation tool, Chroma, to allow developers to meet the accessibility needs of people with the condition.Chroma works by overlaying filters on gameplay without hindering performance to simulate three major types of colour blindness: Protanopia, Deuteranopia and Tritanopia.Ubisoft said the tool is capable of simulating live gameplay up to 60fps and isn't dependent on a specific engine. The company began developing Chroma in 2021 to enable its internal teams to better address the accessibility needs of players.Ubisoft director of accessibility, David Tisserand, said Chroma has become a "highly efficient tool" after several years of internal use and development."It has allowed us to assess the accessibility of our games for color blind players much faster and more comprehensively than ever before," added Tisserand in a blog post."Because we believe accessibility is a journey, not a race, we're thrilled to share Chroma with the entire industry. We invite everyone to benefit from it, provide feedback, and contribute to its future development."Ubisoft worked closely with accessibility experts to develop ChromaQC product manager Jawad Shakil explained Ubisoft faced "significant challenges" when developing the technology but worked in tandem with accessibility experts to refine Chroma before releasing it for public use via GitHub.Related:"Chroma was created with a clear purpose—making color blindness accessibility a natural part of the creative and testing process," said Shakil. "The team faced and overcame significant challenges while building it, but through close collaboration with accessibility experts and by refining the tool based on feedback, they created a solution that eliminated lag and inaccuracies, making accessibility testing efficient and smooth."Chroma is a testament to the team's innovation and dedication; their work is already making a difference in how we design games with accessibility in mind. Open-sourcing Chroma is a proud step forward, allowing everyone to benefit from this innovation."A number of major studios have expanded their accessibility efforts in recent years. Microsoft established an entire division to create accessible hardware for Xbox, while Sony continues to bake robust accessibility options into its hardware and software.More recently, Nintendo, Microsoft, EA, and others united at GDC 2025 to launch the Accessible Games Initiative to improve the accessibility messaging on their products. Related:

The company is asking consumers to pay more for console hardware in Europe, Australia, New Zealand, EMEA, and the UK.

This week the University of Texas at Austin announced the founding of a new game industry academic department following a $5 million donation from Saber Interactive co-founder and CEO Matt Karch on behalf of the Karch family. The program, dubbed the "Karch Gaming Institute," will be dedicated to "shaping the next generation of creative leaders" in the video game industry.The program will operate under UT Austin's Moody College of Communication. To the best of our knowledge the donation, one of the first video game studies programs to be named on behalf of a major industry donor. It's also another instance of Karch boosting his profile after taking Saber Interactive out from under Embracer Group in a deal worth $247 million.For comparison, Sony Interactive Entertainment donated $3 million to the University of Southern California's Gerald A. Lawson fund in 2022.The institute's first course offerings expand on the existing game design offerings at UT Austin. "Business of Gaming: From Concept to Console" will explore game development through a business lens from pitching to release, and "Gaming Usability Lab Fundamentals" will educate students on the purpose of usability labs in the video game industry.Both courses seem appropriate for an institute bearing Karch's name. The Saber CEO is the surprisingly rare high-level executive with direct experience in game development, going from the trenches of TimeShift to the leader of the one game company that seems to have escaped the implosion of Embracer relatively unsinged.Related:Karch's largesse is a boon for UT Austin's prospects in teaching students the ins and outs of the game industry. It's also another noteworthy play for an executive who seemingly to relishes more and more time in the public eye.Saber Interactive's CEO has a habit of defending billionaires & criticizing "agendas" in gamesCommentary from various video game C-suite execs has become a relatively subdued affair since the heady moments of the 2000s. Gone are the high-profile stunts like former Xbox Boss Peter Moore's Halo 2 tattoo, more common now are subdued comments on quarterly conference calls. The most high-profile examples of public executive noisemaking today are the friendly press appearances of Microsoft Gaming CEO Phil Spencer and former Activision Blizzard CEO Bobby Kotick's aggressive defense of his reputation following his departure from the company.Karch's vocal—often unprompted—hot takes go against the grain. In April 2024 he said critics were being "too hard" on Embracer and its CEO Lars Wingefors. In May he told Game Developer that not speaking up in defense of Wingefors would be "worse" than "saying something publicly bad."Related:After the successful launch of Saber's Warhammer 40,000: Space Marine II in September 2024, an user claiming to be Karch left a comment on the YouTube channel of far-right personality Asmongold, stating that he saw games that made him "want to cry with their overblown attempts at messaging or imposing morals on gamers" during his time as Embracer's chief operating officer.A Saber Interactive PR representative said the company had "no comment" on whether the account belonged to Karch. On his LinkedIn page, Karch posted that whoever wrote the comment seemed "pretty sharp."He seemed to offer some context for his outspokenness in an interview with Game File's Stephen Totilo (which took place during a flight on his private jet), saying independent developers like Tim Sweeney "fight the good fight" because they "have chips on their shoulders that are...often bigger than other parts of their body. It's because we've all been taken advantage of."Now with an entire "gaming institute" bearing his surname, Karch certainly seems interested in keeping his name in the public eye. If Saber's star continues to rise, it's likely we'll hear more from the opinionated exec.Related:And with multimillion dollar donations benefitting public institutions, many in the industry may be more likely to listen close to what he says.

A 90-day reprieve for countries due to be hit by heightened U.S. tariffs has created a window of opportunity for the Japanese company.

The SAG-AFTRA Nurture Originals, Foster Art, and Keep Entertainment Safe (NO FAKES) act has been reintroduced in the senate, and received bi-partisan support.During a press conference held on April 9, the union said that, if passed, the bill would establish “a federal right in voice and likeness to protect against unauthorized use of digital replicas.”The bill, sponsored by senators Marsha Blackburn, Chris Coons, Amy Klobuchar, and Thom Tillis, would apply to both audiovisual works and sound recordings. It was originally introduced in 2024, but it didn’t pass before the elections."The NO FAKES Act isn’t just about protecting actors, recording artists and broadcasters,” SAG-AFTRA president Fran Drescher said in the press conference. “Deepfakes can ruin all lives. It doesn’t matter if you’re a public figure or a high school student being exploited by internet creeps. It’s time to give humans the power to say NO, not my face, not my voice!”National executive director and chief negotiator Duncan Crabtree-Ireland explained that the bill would allow SAG-AFTRA members and workers who rely on their face and voice for their livelihood to demand that platforms “remove illegal voice and image clones.” It would also grant a legal path into seeking damages from “those who intentionally cause harm.”Related:“As innovation continues to rapidly evolve, it’s time for commonsense legislation that defends individual rights,” Crabtree-Ireland said.The main exceptions to the bill would be a digital replica that is used in “bona fide commentary, criticism, scholarship, satire, or parody.” SAG-AFTRA mentioned that the NO FAKES act would preserve existing protections at the state level. This includes Tennessee’s landmark SAG-AFTRA-supported Ensuring Likeness Voice and Image Security (ELVIS) act, alongside California’s SAG-AFTRA-sponsored AB2602. As such, NO FAKES would provide “one strong, consent-based framework for digital replica uses in expressive works nationwide.”A brief history of SAG-AFTRA's strikeThe union is entering its second year of striking studios under the Interactive Media Bargaining agreement. The agreement has been signed by over 180 studios, and provides protections against AI voice usage. While it continues to urge more studios to sign the agreement, it has also called out “alarming loopholes” in AI proposals from major game studios.AI continues to be at the center of game industry news. During the past month alone, Activision Blizzard used generative AI to test interest in games that never existed in the first place. Castle of Secrets developer Serene Questworks allegedly replaced its voice cast with generative AI. Sony made use of the technology as well to turn Horizon series’ protagonist Aloy into an unsettling digital animatronic.Related:At GDC 2025, former EA software engineer and independent senior AI programmer David “Rez’ Graham expressed worries about “the death of art” surrounding the use of generative AI."I hope this is hyperbole,” Graham said “I hope in five years people are laughing at me. [...] I hope that's what happens. But you can't deny there is some path that ends with this. With everything just being this recycled shoveled garbage. The race to the cheapest show. To the cheapest game. Because the people who are controlling the top corporations, that's all they give a shit about."

TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.Actors union protests outside BAFTAs to call for better working conditions in the UKActors union protests outside BAFTAs to call for better working conditions in the UKUnion leadership said they hoped to catch the attention of some of the 'richest companies in the world.'Diego Arguello, ContributorApril 10, 20252 Min ReadImage via EquityUK performing arts union Equity staged a protest outside the 2025 BAFTA Games Awards on Tuesday to call on video game companies to introduce union-negotiated agreements in the UK.As reported by Eurogamer, union members gathered outside the awards ceremony in London with placards reading "Union contracts in gaming now."Equity claims union-negotiated agreements, which are becoming increasingly common in the U.S., will help deliver better pay and working conditions for performers in the games industry.Equity assistant general secretary for recorded media, John Barclay, said the protest was held outside BAFTA to ensure the "poor practice frequently reported by Equity members does not continue to be ignored by industry leaders.""The video games industry is worth over £7 billion ($9 billion) in the UK alone and in attendance tonight are bosses from some of the richest companies in the world," said Barclay. "Yet these companies continue to ignore Equity's calls to work with us to introduce union-negotiated agreements in the UK that would improve pay, terms and conditions for our members—something that is normal practice in the US."Equity acknowledges the influence of striking performers in the United StatesBarclay is referring to the efforts of SAG-AFTRA across the pond. Members of the union have been striking since 2024 to secure better working conditions and AI protections under the Interactive Media Agreement.Related:So far, over 180 studios have signed an interim agreement tabled by SAG-AFTRA that provides protections against AI voice usage. As SAG-AFTRA urges more non-struck game studios to follow suit, the union has called out "alarming loopholes" in some AI proposals tabled by major game studios.Barclay is also wary of the potential dangers posed by AI. "Pay for video game performers in the UK has stagnated despite games companies receiving almost £200m in tax breaks; performers do not have proper protections from artificial intelligence or NDA misuse; and they need safer workplaces so they don’t injure their vocals or bodies, or experience improper recordings of intimate scenes. In an industry that generates enormous wealth, Equity members deserve better," he added.Regarding the possibility of a strike, Equity told Eurogamer in 2024 that "industrial relations legislation in the United Kingdom is very restrictive," and said the "employment statues of Equity members makes it even more difficult to overcome those hurdles in this context."Out of the 18 award categories of the 2025 BAFTA Game Awards, two honored performers in both leading and supporting roles. On this occasion, Alec Newman and Karen Dunbar nabbed wins for their work in The Chinese Room's horror title Still Wakes the Deep.Related:Read more about:UnionizationTop StoriesAbout the AuthorDiego ArguelloContributorSee more from Diego ArguelloDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

Ubisoft has issued quite the rebuttal to a pair of players who are attempting to sue the French publisher for shutting down multiplayer racer The Crew.Last year, two players in California filed a lawsuit against the company for permanently shutting down the title, claiming they and thousands of others had been left with a "skeleton of what you thought you paid for."They essentially argued The Crew should have been left in a playable offline state rather than being delisted and taken offline.Ubisoft claimed it was necessary to wind down the 2014 release because of "server infrastructure and licensing constraints," but noted it had maintained support for "almost a decade."For those two players in California, it was a decision they felt "totally barred access to the product they paid money for.""Imagine you buy a pinball machine, and years later, you enter your den to go play it, only to discover that the all the paddles are missing, the pinball and bumpers are gone, and the monitor that proudly displayed your unassailable high score is removed," reads the original lawsuit (via Polygon)."Turns out the pinball machine manufacturer decided to come into your home, gut the insides of the pinball machine, and remove your ability to play the game that you bought and thought you owned."Related:Ubisoft puts the kibosh on the idea of outright ownershipIn a response filed in February, Ubisoft suggested the argument that The Crew would remain playable indefinitely is "misleading" and claims it was explicitly selling temporary access to a product rather than outright ownership."Plaintiffs do not allege that Ubisoft made any statements indicating that consumers, would, in fact, obtain unfettered access to The Crew if they purchased a physical copy," reads the company's response (thanks again, Polygon)."To the contrary, the packaging made clear that Ubisoft could limit access. This is fatal to Plaintiff's FAL, UCL, and CLRA claims. Plaintiffs' entire theory of the case is based on the faulty assumption that buying a physical disk entitles purchasers to infinite access to play the game."Ubisoft claims that "flawed" assumption doesn't equate to misrepresentation under California law. The company reiterated it was selling a license to a product as opposed to ownership rights.This isn't uncommon in the video game industry, but the lawsuit highlights a fundamental divide between the companies selling those licenses and consumers making purchasing decisions.The plaintiffs have since responded to Ubisoft's arguments with a photograph of The Crew's packaging, which notes the activation code for the title won't expire until 2099. They claim it's an example of Ubisoft indicating The Crew would remain playable "during this time and long thereafter."Related:You can read Ubisoft's full response here.