The murder of John Forde was the culmination to years of political, social, and criminal intrigue.   Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. Researchers have uncovered handwritten letters, court documents, and a coroner’s report related to the nearly 700-year-old cold case murder of a medieval priest. Published on June 5 in the journal Criminal Law Forum, the investigation draws on direct archival evidence from Cambridge University that is helping fill in the gaps to a high-profile true crime scandal that would make headlines even today. But despite a mountain of firsthand accounts, the murder’s masterminds never saw justice. The ‘planned and cold-blooded’ crime On Friday, May 3, 1337, Anglican priest John Forde began a walk along downtown London’s Cheapside street after vespers (evening prayers) shortly before sunset. At one point, a clergyman familiar to Forde by the name of Hasculph Neville approached him to begin a “pleasant conversation.” As the pair neared St. Paul’s Cathedral, four men ambushed the priest. One of the attackers then proceeded to slit Forde’s throat using a 12-inch dagger as two other assailants stabbed him in the stomach in front of onlookers. The vicious crime wasn’t a brazen robbery or politically motivated attack. It was likely a premeditated murder orchestrated by Ela Fitzpayne, a noblewoman, London crime syndicate leader—and potentially Forde’s lover. “We are looking at a murder commissioned by a leading figure of the English aristocracy. It is planned and cold-blooded, with a family member and close associates carrying it out, all of which suggests a revenge motive,” Cambridge University criminology professor Manuel Eisner explained in a statement. The location of the murder of John Forde on May 3, 1337. Credit: Medieval Murder Maps / University of Cambridge’s Institute of Criminology / Historic Towns Trust. A longstanding feud To understand how such a brutal killing could take place in daylight on a busy London street, it’s necessary to backtrack at least five years. In January 1332, the Archbishop of Canterbury sent a letter to the Bishop of Winchester that included a number of reputation-ruining claims surrounding Fitzpayne. In particular, Archbishop Simon Mepham described sexual relationships involving “knights and others, single and married, and even with clerics in holy orders.” The wide-ranging punishments for such sinful behavior could include a prohibition on wearing gold and other precious jewelry, as well as large tithes to monastic orders and the poor. But the most humiliating atonement often came in the form of a public walk of shame. The act of contrition involved walking barefoot across Salisbury Cathedral—England’s longest nave—in order to deliver a handcarried, four-pound wax candle to the church altar. What’s more, Archbishop Mepham commanded that Fitzpayne must repeat this penance every autumn for seven years. Fitzpayne was having none of it. According to Mepham’s message, the noblewoman chose to continue listening to a “spirit of pride” (and the devil), and refused to abide by the judgment. A second letter sent by the Archbishop that April also alleged that she had since absconded from her husband, Sir Robert Fitzpayne, and was hiding in London’s Rotherhithe district along the Thames River. Due to this, Archbishop Mepham reported that Ela Fitzpayne had been excommunicated from the church. Image of the Archbishop of Canterbury’s letters to the Bishop of Winchester on the subject of Ela Fitzpayne, from the register of John de Stratford. Credit: Hampshire Archives and Hampshire County Council. Raids and rats But who tipped the clergy off to her indiscretions? According to Eisner’s review of original documents as part of the Cambridge University Institute of Criminology’s Medieval Murder Maps project, it was almost certainly her ex-lover, the soon-to-be-murdered John Forde. He was the only alleged lover named in Archbishop Mepham’s letters, and served as a church rector in a village located on the Fitzpayne family’s estate at the time of the suspected affair.  “The archbishop imposed heavy, shameful public penance on Ela, which she seems not to have complied with, but may have sparked a thirst for vengeance,” Eisner said. “Not least as John Forde appears to have escaped punishment by the church.” But Forde’s relationship with the Fitzpaynes seems to have extended even more illicit activities. In another record reviewed by Eisner, both Ela Fitzpayne and John Forde had been indicted by a Royal Commission in 1322. The crime–assisting in the raid of a Benedictine priory alongside Sir Fitzpayne. They and others reportedly assaulted the priory a year earlier, making off with around 18 oxen, 30 pigs, and 200 sheep. The monastery coincidentally served as a French abbey’s outpost amid increasing tensions between France and England in the years leading up to the Hundred Years’ War. Archbishop Mepham was almost certainly displeased after hearing about the indictment of one of his own clergy. A strict administrator himself, Mepham “was keen to enforce moral discipline among the gentry and nobility,” added Eisner. He theorizes that Forde copped to the affair after getting leaned on by superiors, which subsequently led to the campaign to shame Ela Fitzpayne as a means to reassert the Church’s authority over English nobility. Forde, unfortunately, was caught between the two sides. “John Forde may have had split loyalties,” argued Eisner. “One to the Fitzpayne family, who were likely patrons of his church and granted him the position. And the other to the bishops who had authority over him as a clergy member.” Archbishop Mepham ultimately wouldn’t live to see the scandal’s full consequences. Fitzpayne never accepted her walk of shame, and the church elder died a year after sending the incriminating letters. Eisner believes the Fitzpaynes greenlit their hit job on Forde only after the dust had seemingly settled. It doesn’t help their case three bystanders said the man who slit the rector’s throat was none other than Ela Fitzpayne’s own brother, Hugh Lovell. They also named two family servants as Forde’s other assailants. Archbishop Mepham died four years before Forde’s murder. Credit: ampshire Archives and Hampshire County Council Turning a blind eye Anyone waiting for justice in this medieval saga will likely be disappointed. “Despite naming the killers and clear knowledge of the instigator, when it comes to pursuing the perpetrators, the jury turn[ed] a blind eye,” Eisner said. Eisner explained the circumstances surrounding an initial lack of convictions were simply “implausible.” No one supposedly could locate the accused to bring to trial, despite the men belonging to one of England’s highest nobility houses. Meanwhile, the court claimed Hugh Lovell had no belongings available to confiscate. “This was typical of the class-based justice of the day,” said Eisner. In the end, the only charge that ever stuck in the murder case was an indictment against one of the family’s former servants. Five years after the first trial in 1342, Hugh Colne was convicted of being one of the men to stab Forde in the stomach and sentenced to the notorious Newgate Prison. As dark and sordid as the multiyear medieval drama was, it apparently didn’t change much between Ela Fitzpayne and her husband, Sir Robert. She and the baron remained married until his death in 1354—when she subsequently inherited all his property. “Where rule of law is weak, we see killings committed by the highest ranks in society, who will take power into their own hands, whether it’s today or seven centuries ago,” said Eisner. That said, the criminology professor couldn’t help but concede that Ela Fitzpayne was an “extraordinary” individual, regardless of the era. “A woman in 14th century England who raided priories, openly defied the Archbishop of Canterbury, and planned the assassination of a priest,” he said. “Ela Fitzpayne appears to have been many things.”

Another The Crew game has been greenlit at Ubisoft, according to a new report from an established industry insider. The purported project would mark the fourth mainline entry in Ubisoft's open-world racing franchise and will allegedly serve as a return to its original formula.

Daily active users were 225% higher for Fallout 3 and 4 in weeks following TV premiere Sensor Tower data also showed increases in DAUs for The Last of Us and Minecraft following adaptations Image credit: Amazon Prime News by Sophie McEvoy Staff Writer Published on May 30, 2025 Following the success of Amazon Prime's Fallout series, daily active users were 225% higher for Fallout 3 and Fallout 4 in the weeks following the show's premiere last April. That's according to a report conducted by Sensor Tower, which looked into the effect film and television adaptations are having on the games they're based on. Sensor Tower found that sales of Fallout 3 and Fallout 4 rose 125% and 410% respectively, as both games dropped in price during the week of the show's premiere. The series boosted DAUs for mobile spin-off Fallout Shelter, too, which increased by 77% while in-app purchases revenue jumped 150%. App downloads of Amazon Prime Video grew by 20% during the week Fallout debuted. Amazon has since announced a premiere window for its second season – December 2025 – and greenlit a third series. Sensor Tower also collated data on HBO's adaptation of The Last of Us, and Warner Bros. box office smash with A Minecraft Movie. It found that DAUs for The Last of Us Part 1 and Part 2 rose 40% following the premiere of the show's second season on April 13, 2025. HBO Max also saw a 6% increase of app downloads. In contrast to Fallout, Sensor Tower noted that the "results for The Last of Us hinged on bringing new awareness to the franchise" rather than the "free-to-play" nature of Fallout Shelter and "the uniqueness of the show's story from the game." The Last of Us has since been renewed for a third season, with HBO's programming EVP Francesca Orsi telling Deadline that there will likely be four seasons of the show. As for A Minecraft Movie – which surpassed $550 million in ten days – mobile in-app purchases rose 44% while console games saw an increase of 36% during the month of its release. Sensor Tower noted a 9% spike in mobile players for Minecraft in contrast to a 41% increase on console following the film's premiere. As reported by Deadline, Warner Bros. has since confirmed there is a sequel for A Minecraft Movie in the works.

Apple's long-awaited smart home hub could be available as soon as the end of this year, according to the latest report from Bloomberg's Mark Gurman. Rumors surrounding Apple's smart home hub began circulating as early as 2022, when the product was first reportedly greenlit. However, the road to its release has been rocky since the product was expected to heavily rely on Apple Intelligence. Gurman previously reported in March that Apple had delayed the announcement of its smart home hub thanks to issues with upgrading Siri. Gurman has since updated his expected timeline for Apple's upcoming product, claiming that a lower-end version will release "by the end of this year at the earliest." Gurman also revealed that a more advanced version that can "move around a person's desk on the end of a robotic arm" should release a year or two after the basic model's launch and is a "major priority at Apple." To meet this release window, Apple will reportedly abandon some of the "bolder features" with the robotic arm model. Gurman added that those features could be pushed back to later models instead. Apple has said very little about its smart home hub, but rumors detail a design that draws from both the HomePod and iPad. It's rumored to have a seven-inch display, a new operating system called homeOS, and a dashboard that resembles the iPhone's StandBy mode. Apple will have to compete with existing smart home hubs like Amazon's Echo lineup and Google's Nest Hub, but it's rumored that the starting price for the robotic arm version could start at $1,000.This article originally appeared on Engadget at https://www.engadget.com/home/smart-home/apples-smart-home-hub-could-reportedly-make-its-debut-later-this-year-161702487.html?src=rss

Maxsun’s Intel Arc Pro B60 Dual GPU targets AI and workstation users with 48GB VRAM, low power draw, and a sub-$1,000 price point.

The penultimate episode of the second season of HBO’s The Last of Us adaptation premiered on Sunday, which means the countdown is now of course on for the season finale in less than a week’s time. To continue building the hype for the finale, HBO has released a teaser trailer for it.  After pausing and taking a break from Ellie’s ongoing vengeful rampage through Seattle to do a flashback episode focusing on Joel once again, The Last of Us is set to return to the story at hand for its season finale. Things, it seems, will continue to get intense for Ellie, Dina, and Jesse, while the war between the Wolves and Seraphites also escalates. Check out the teaser trailer below for a glimpse of what the season finale will have in store.  Before Season 2 premiered a little over a month ago, HBO announced that it had officially greenlit a third season of The Last of Us, which will continue to cover the story of The Last of Us Part 2. 

One of the most influential pieces of visual effects in history (no, seriously). Admit it, whenever you drive past a logging truck these days, you get nervous, right? I think that behavior can be squarely blamed on the infamous logging truck sequence in David R. Ellis’ Final Destination 2, from 2003. The deadly pile-up caused by logs falling off the truck still induces nightmares in drivers today. Back then, it came about via some elaborate stunts, special effects, and visual effects by Digital Dimension (the film’s overall visual effects supervisor was Joe Bauer). With Final Destination: Bloodlines currently in cinemas, I thought it would be fun to go back to this notable VFX scene. I crawled through Digital Dimension’s old website and found some fantastic video from one part of the scene–when the logs first drop–and detailed descriptions of the whole sequence, both including the tests the VFX studio produced. With the video, I’ve put together a ‘remake’ of their VFX breakdown, and the text is also reproduced below (you can find the original here.) Enjoy a look back! Digital Dimension text For New Line Cinema’s teen thriller sequel, Final Destination II, Digital Dimension completed over 80 visual effects shots. Early Tests Digital Dimension’s involvement in FDII began early on with a series of tests to help Director Dave Ellis and VFX Supervisor Joe Bauer decide on the approach to take for the complex log sequence. The earliest of these tests included simple dynamics and rendering tests using temporary textures and cylinder primitives for the CG logs. Log Sequence Test Shot The log sequence was originally planned to be shot practically, if possible, but with promising results from the preliminary CG tests, it was decided that test footage would be shot in Vancouver with the intention of comparing real logs to CG logs. Digital Dimension went on-site to oversee the test. It became apparent during the test that real-life logs would be nearly impossible to control and would not exhibit the liveliness required for the sequence. Now it was a matter of whether CG logs would be believable and offer a more dramatic performance. Meanwhile, the CG Supervisor was working out the log dynamics and particles using the storyboards as reference. It was clear from the beginning that the whole pipeline was going to have to be flexible enough to accommodate changes in timing and feel of the shots. This basically ruled out hand keyframing of the logs and particles. Once preliminary dynamics had worked out, the team began experimenting with different types of layers that would contribute to the final composited test shot. The results of this experimentation would serve as the foundation for the pipeline used for the actual effects shots later in the production. On location in Vancouver The test shot was a complete success, and it was clear to everyone that using CG logs for the log sequence would provide the necessary control without sacrificing realism. So with Digital Dimension greenlit to create the digital logs, the Sr. Technical Director voyaged to Vancouver, BC, to serve as Digital Dimension’s eyes and ears on set, and to acquire detailed location measurements and reference photography for the sequence. Camera Tracking With data from the set, reference photography, and film scans in hand, it was now time to dig into the principal effects work. One of the first major challenges for FDII was camera tracking over two dozen shots making up the log sequence. The shots used lenses ranging from wide angle (~15mm) to telephoto (~450mm) with very few lock-offs. To complete the tracking in minimal time, most of Digital Dimension’s staff was involved in roughing out the tracking. A collection of before/after images. Modeling the Logs With the test shots completed using only temporary models and textures, the Sr. VFX Designer then began working out modeling and textures for the final log, ultimately creating 22 unique logs with custom textures built from reference photos. Close attention was paid to fine details such as scrapes and missing bark on the logs. In addition, custom displacement maps were built for each of the logs. For the final touch, a hair system was used to add frayed wood on some of the logs. Log Dynamics and Particles Revisions to the dynamics were completed on a regular basis, allowing critiques from the Director and VFX Supervisor to be incorporated. This insured the sequence held together as a whole. Meanwhile, working from the foundation built for the test shot, particle debris for the test shots were being refined for the final effects. Using a rule-based particle system, an automated approach was developed which detected the impact of a log and emitted various amounts of bark, dirt, dust and debris based on that impact. This meant that all the particle animation was generated in real time in response to the dynamic motion of the logs. The final approach included details to help convey the realism of the shot such as making “particle debris” at rest lay flat on the road without penetrating it. Bringing It All Together Visual effects are typically generated from a buildup of several layers to give the compositors the fine control needed to achieve seamless integration with the plate. FDII was no exception, with the complexity of a given shot often determining the number of layers needed for the CG elements. For example, the CG logs had layers for the logs themselves, large debris such as slabs of bark, small debris such as bark particulate, dust, and even earth kicked up by the logs. Additional layers included direct shadows, contact shadows, and a variety of masks such as log highlights, log cap masks, and height maps from the road for reflection layers. The CG logs also needed to change from dry to wet while interacting with the road, and they typically had great depth – traveling from near to far or vice versa. For this reason, all log-related layers typically included Z information used to apply depth of field and ambient density in the composite. And since the road was wet in many shots, reflection layers were added, nearly doubling the number of layers needed for the log elements. Some layers, such as water spray, were created directly in the composite with 2D particles. Finally, details such as focal changes and reflection quality were carefully matched for maximum integration. For the shot where the log crashes into Thomas’s squad car, a still frame of a real log was rotoscoped and warped based on a CG wireframe to give the illusion of rotation as it crashed into the car. From the beginning, the cycle of refinement was in effect. CG artists generated layers for the compositors. The compositors took the layers and worked them into the plates. This process was repeated continuously, with composite test renders re-edited into the sequence on a daily basis. This allowed both animators and compositors to review their work in context and make assessments for revisions based on seeing their work in its most final form. Digital Dimension Credits for Final Destination II Facility VFX Supervisor: Benoit Girard Facility VFX Producer: Jerome Morin Facility VFX Designer: Edmund Kozin Sr. Technical Director: James Coulter CG Supervisor: Jason Crosby CG Animators: Brandon Davis, Justin Mitchell, Andy Roberts, Marion Spates, Sung-Wook Su Lead Compositor: Leandro Visconti Compositors: Jeremy Appelbaum, Miguel Bautista, Jim Cabonetti, Dan Walker, Adam Zepeda The post An ode to the logging truck VFX from ‘Final Destination 2’ appeared first on befores & afters.

David Fernandez Remesal took the job of CEO of Sandsoft in 2020 and moved to Saudi Arabia, where his mobile game company is based. He set up a studio in Riyadh and also hired mobile game developers in places like his native Spain, Finland and China. Fernandez Remesal focused on esports at first, but pivoted to mobile games as a more viable business approach. The summers are a lot hotter for sure, but Fernandez has sweated out the hard work of establishing a new studio in a place where game development skills are only just being fostered now for the new generations of game developers. While Brazil is a bigger and more established market, Fernandez Remesal, who worked on games like Candy Crush Saga and Bubble Witch Saga before leading Sandsoft. We talked about mobile game trends at our fireside chat at Gamescom Latam in a talk entitled, “The Mobile Frontier: Big Trends and Smarter Moves for 2025.” We covered a lot of ground in our fireside chat at Gamescom Latam in Sao Paulo, Brazil. We hit topics like Apple’s move to emphasize user privacy over targeted ads as it deprecated the Identifier for Advertises (IDFA). We also covered the antitrust ruling that could bust the floodgates open when it comes to developers being able to advertise their own web shops (where they can charge lower prices and don’t have to pay a 30% commission to Apple and Google) inside their mobile games on the Apple and Google app stores. We explored the consequences if game developers are also able to use their own payment systems — which take around 3% commissions rather than 30% — in mobile game transactions. Sandsoft is focused on taking advantage of these trends by focusing on midcore gamers, which is becoming a bigger part of the overall mobile games market. And Sandsoft is also busy working on AI tools that can help developers work more efficiently. And we looked at other opportunities for mobile to grow as the mobile-first generation grows up and becomes a bigger part of the population of gamers. We also assessed when it’s the right time for local talent to take on local stories and spread them to the global stage with authentic triple-A development. Here’s an edited transcript of our on-stage interview. Sandsoft CEO David Fernandez Remesal GamesBeat: I’m here with David Fernandez Remesal, the CEO of Sandsoft. I’ll have him introduce himself, his career in games, and the origins of Sandsoft. David Fernandez Remesal: I’m pleased to be in Brazil. It’s my first time. I’d like to thank everyone here. You’re doing an incredible show. I’m kind of what I could call mobile native when it comes to game development. I started my career working on mobile games almost 20 years ago. Those of you that were around, that means before smartphone games. I worked at a company called THQ that you may remember. They were one of the pioneers, as a triple-A games company, in doing mobile games as well. I started my career at THQ Juarez, their mobile game division. After that I had the privilege of working with two industry titans at a company called Digital Chocolate. That was Trip Hawkins, the founder of Electronic Arts, and Ilkka Paananen, who happens to be the CEO and founder of Supercell as well. I spent part of my career working on an app store with Nokia. I also worked on the N-Gage handheld device. In that particular case I made the wrong choice. I went for the loser in the smartphone era. But eventually I learned quite a bit about how you need merchandise, games, and apps on an e-commerce platform. After doing something in the mobile advertising space, I also had the honor of joining King, where I worked for almost five years on a couple of franchises. One was Bubble Witch Saga, and then Candy Crush Saga. I was at the King London studio when I left to run Sandsoft five years ago. GamesBeat: Sandsoft is interesting to this market in part because you’re also in an emerging market, albeit a very different part of the world. The company is headquartered in Saudi Arabia. Can you talk about how that happened to come about? Fernandez Remesal: We’re slightly earlier in terms of the game industry in Saudi compared to what we see here in Brazil, particularly toward game development capabilities. But we have a nice consumer market. It’s not as big as Brazil. But let me get started with how Sandsoft was created. For those of you who are not familiar with Saudi Arabia, they have a plan called Saudi Vision 2030. The main proposal is to diversify the economy away from oil and gas. As part of that program, they’re trying to build what we call a knowledge economy. Gaming is a pivotal part of that transition. We’re part of a large Saudi corporation that was founded to support that plan. They decided to diversify their group. Gaming was one of the things they wanted to do. Sandsoft was born in 2019, originally as an esports company. The first thing we did as a company was the PUBG Mobile event in Saudi Arabia. But [we] realized esports was not a business. It was maybe more of a show, rather than proper commercial ongoing activities you can run in a sustainable way. They decided to venture into mobile game development and publishing, which is what we do today. We’re developing games in our own studios, and we’re a global games publisher. We’re supporting game development studios in the mobile space to commercialize their games. Iza’s Supermarket GamesBeat: What are you working on? What is your focus? How big is the team, and where are they? Fernandez Remesal: We now have roughly 100 people. We’re split into four different markets. We have people in Saudi Arabia, where we’re headquartered. We also host a game development studio there. We have satellite offices in Spain, where we also have a development studio. Then we have a couple of publishing operations in China and Finland. We also have a small studio in France. That’s where we have our operations. In terms of focus, as I mentioned to you, we’re focused on mobile platforms. We have a few games with aspirations to become cross-platform, but we’re mobile first. GamesBeat: You moved to Saudi Arabia. Can you talk about what that was like for you? Fernandez Remesal: Yes, I did. I’ve been there for four years now. The weather aside – the summer is really hot – it was a big cultural change for a European to come over to a country that was maybe more conservative, that was more closed than other countries I’ve lived in. But I felt that if you are respectful, if you try to understand the things that are changing, and if you adapt to the pace of change, it’s quite livable. The people are very passionate about games specifically. There’s a young, savvy population. They consider themselves gamers. When you tell them you work in games, they respect you. It’s different from other countries, where people think you play games all day. They don’t realize that this is an art form, that this is something that goes beyond just play. GamesBeat: A reminder that it’s a global industry. Gaming is not what it used to be. It used to be from Japan, the U.S., and Europe. Now it’s a very different world. Fernandez Remesal: Correct. It’s becoming very global. Like we see here. It’s not just about all the people attending to play games, but also all the game companies showcasing their games, which is really exciting. GamesBeat: How far along are your games? Fernandez Remesal: In terms of our game development studios, we’re just starting our first prototypes. Both studios started in 2023, but it took us some time to get the initial core teams that we could trust to develop their game ideas into commercially viable games. We have been in a kind of boot camp at both the studios for a year. Now they’re starting to prototype what we can see as more commercial games. As a publisher we have a few games already in the market. Maybe the first we released was in partnership with Jam City, DC Heroes and Villains. We’re also raising a few other games that–mobile free-to-play games, you don’t have a red button where you hit it and the game is live. It’s more about ongoing progress. You’re keeping them in development and improving the games. Then you try to find ways to scale. In this case through user acquisition. In that sense we’ve had games available in the market for more than three years. We have six games in our portfolio. Two of them are more mature. We expect to scale them in the first half of the year. GamesBeat: Let’s get into some of the trends in the mobile industry. What do you see? What matters to you? What is important to pay attention to in mobile? Fernandez Remesal: Let me start with something that is in many cases not looked into enough. We’re seeing a change in the audience itself. We need to acknowledge that Generation Z is coming in. They bring a completely new way of consuming content. They’re less attracted to deep, engaging experiences. If I could call them, in a way, the digital generation, they’re focused on short-term or short-form entertainment, where they can get their dopamine and adrenaline and then engage further. They’re a generation that doesn’t pay a lot of attention until they get really hooked on the things they’re doing. From that perspective, we see a shift in consumer behavior. We see different session lengths, different ways of engaging with games. The industry is growing by double digits in regions like South America and the Middle East and southeast Asia, while the more western markets aren’t growing as much. That’s linked to the average age in these regions. They have much younger populations in these emerging markets, where they consume games as a native entertainment form. There’s a new consumer coming in from Generation Z, bringing new consumption patterns in their session habits and rates of play. At the same time, there’s an opportunity to propose different kinds of content. Epic Games is still tangling with Google and Apple on antitrust. GamesBeat: One of the interesting trends that’s emerged in mobile is the importance of the relationship between developers and platforms. We saw Apple’s decision a few years ago to prioritize user privacy over targeted advertising. It made targeted advertising much harder. Game companies lost the ability to very precisely target people who favored certain kinds of games. They had to go back to more of a guessing game around how to zero in on which users they wanted to target. This had an impact over years. Do you think we’ve learned how to deal with this change in the market and still be able to find the users that you need? Fernandez Remesal: IDFA is not going to go away. Privacy is going to be with us. It’s going to be something that everyone has to pay attention to. That’s been critical in the mobile space, because of the merchandising problems we see in the app stores. We see a lot of problems in content discoverability. That means most of the growth we’ve seen in these games has been through performance marketing user acquisition. One thing that we’re seeing more and more is game developers trying to build communities everywhere. Trying to expose their games. Trying to create communities through influencers, through Discord and content creation. But eventually IDFA is here to stay. GamesBeat: Speaking of the developer-platform relationship, we’ve had an antitrust case going on for a long time, four and a half years now, between Epic Games and Apple. Yesterday we got a ruling from the judge that held Apple in contempt of court. This has a lot of significance for whether or not mobile game companies can go outside of Apple’s store and advertise lower prices on their web shops or other sites. They can sell the same things at lower prices than the app store because Apple takes a 30% cut. Apple appealed this and had been able to dodge the effects of it, even in Europe, where they had a 27% core technology fee they introduced. Now the judge has said, “No more of that. You can’t evade this ruling anymore. You have to allow game companies to tell their users that there are lower prices elsewhere.” This is a fundamental antitrust protection for consumers. The ruling should affect the whole industry. What’s your view? Fernandez Remesal: We were talking last week, early this week. Eventually, we’ll see some form of platform disruption, especially when you look at mobile platforms. Mobile has been mostly governed by two platform companies, Google and Apple. There have been other app stores in the Android ecosystem, but in the end there are few opportunities for you to get content, and particularly games, on your mobile device. That’s a situation set for disruption. Eventually, particularly in countries that are more protective toward consumers–they’re upset about these oligopolies. They’d like to offer consumers more opportunities to discover content and do so in a way that’s fair for both consumers and game developers. The Digital Markets Act, in the United Kingdom, was one of the first changes we saw trying to open the mobile gaming ecosystem a bit more, trying to ensure that developers have some choice and consumers have some choice. But as you mentioned, that was a segue way for Apple to introduce a new tax, a new fee for game developers if they wanted to go that route. What we saw a few hours ago–it looks really recent. But game developers now have the opportunity to have a direct relationship with consumers. They can build that relationship in a way where they can offer consumers more alternatives and choices. First of all, price points. You can offer different price points compared to what’s available in the app stores. For those of you who are game developers, in the app stores you cannot select any price point you want. They’re fixed. They have ranges you can pick from, but you can’t just select any price point at all. The second factor, as you mentioned, is discounts. Trying to ensure that if you’re proposing this direct to consumer offering, you can adjust your margins and provide more value to consumers. Eventually that ensures that you as a game developer can get a broader part of the value share you’re creating with the consumer, but at the same time give some back as well to the consumer in a way where they can pay less when they’re using a web shop. The thing that we’ll hopefully start to see soon is that it’s not just about you informing consumers that they can have other ways to consume your content and buy content outside of your app, going to the web to buy it. Eventually it will open up the actual app to more real payment methods in games, as you see in other apps in the app stores. GamesBeat: We’re not quite sure what the line will be. Will Apple allow people to use their own payment systems as an alternative to Apple Pay? Fernandez Remesal: Right. But from that perspective, games have been punished compared to other apps. Why are we not able to build that kind of relationship with consumers? Why can’t we propose a specific payment or subscription mechanic that other entertainment options can do in the app stores? Sandsoft’s Potions & Spells. GamesBeat: Assuming that payments are not going to change, the next best thing is web shops. Set up your own store on the web. In the past companies could not advertise that web shop’s existence inside the app, but now they can. They can say that you can get something for cheaper prices elsewhere. Xsolla has been opening a lot of these web shops and operating them for companies. They have more than 500 of them now. But nobody knew about them. They do say that consumers are using them. They’re going back at a 30-40% rate and creating a 10-16% lift in revenues for developers, or in some cases higher. Those sound like fairly promising results relatively early for alternative web shops. Fernandez Remesal: That’s correct. Particularly, if you’re a consumer that pays in mobile free-to-play games, you’re trying to get the best value for money. Eventually this kind of core, engaged audience that makes up the payers in your game, they already know they can go to the shop to get a better offering. For the greater mass of consumers that don’t pay, they’re not really aware they can go to the web shop to buy content and get better deals than going through the app stores, the in-app shops. There are two issues here. One is about consumers getting more value for money here. The second is about developers getting more value from the value chain and delivering more of it back to consumers as well. GamesBeat: The net result is that it’s more money going to the bottom line for developers to reinvest in their business. That’s been sorely needed, especially in the last two and a half years. We’ve seen a real painful downturn in the global game industry. Every penny counts these days. Fernandez Remesal: It’s a better distribution of value in this case, considering what everyone puts on the table. Maybe in the early days of the app stores there were more merchandising options for developers, ways to get value from the app stores. There was less content. Your content could reach more users. There was value in the promotional activity the app store would run for you. Now that’s heavily driven by UA. In that context, the app stores really just become a payment method. From that perspective, developers capturing more value and giving more value back to consumers is good, because that’s reinvested in the game industry. Game developers capture more value and that helps them create better content and engage better with consumers. GamesBeat: We’ve talked about some of these trends. How are you most closely aligning your company to some of these trends, to take advantage of them? Iza’s Supermarket is a game from Sandsoft. Fernandez Remesal: There are a couple of trends we didn’t discuss much. One is about how mobile games in particular are becoming more complex. Three years ago we were talking about hypercasual games, games mostly monetized through in-game advertising. Because of the challenges around privacy, games are becoming more deep now. They have microtransactions. Even casual games are becoming more complex. They have metagames on top. They have deeper economies. Casual games are becoming more mid-core. Mid-core games are going this way as well, to more core game mechanics. You see plenty of games with battle passes, with more core engagement loops that you didn’t see before. And then when you go to really core games, they’re becoming more like casual games. They’re trying to simplify at the core, trying to make themselves more accessible. There are some shifts on the way. Game developers are making games that are in a way more complex, but they’re trying to simplify the core game mechanics to be more accessible. As a company we’re trying to follow these trends. We’re working on a few casual games that we’re releasing with our exterior partners. We’re trying to observe how we can propose these deeper economies in games that feel very accessible, that are easy to play, that are easy to grasp and explain through a simple ad, but that can eventually retain and engage people for a long time. The second trend we didn’t discuss much was generative AI. That’s transforming not just game development, but many industries. It’s a new tool for everyone to use and leverage. Any game company, or any company at all, in the long term needs to have a proper AI strategy. In our case we’re leveraging AI mostly for content creation, mostly for ads at this moment. We’re enriching our NPCs through AI. But I presume that we’ll be adding efficiencies in most of the things we do, like game programming. We’re doing code reviews with AI now. We’re doing some small level designs with AI. That’s one of the tools that’s going to provide superpowers to game developers. David Fernandez Remesal moved to Saudi Arabia to run Sandsoft. Teams that, a few years ago, were considering building an engine of their own, they don’t do that any more. They use Unity or Godot or Unreal. Now there are pipelines for game development that will be transformed by the use of AI. Things that need 10 people to do them nowadays, one developer might be able to do them more efficiently a year from now. GamesBeat: Would you consider bringing mobile ads into the company because of AI advances? Mobile ad optimization now can be done quite well by AI. Fewer people can get much more work done in terms of creating variations on ads to test them in the market and see which particular ad does well. That optimization process was often handled by outsiders. Could that change? Fernandez Remesal: On the go-to-market you’re precisely right. For mobile games, what we call creative optimization is part of the way that you can optimize your growth strategy. But it’s broader than that. When you think about how, particularly in this case, artists work, they work on content production. You create some illustrations of characters and environments, and this is transformed by AI. With one artist you can get 100 different concepts with just a couple of prompts. Before, in the manual world, you’d need to spend probably half a day to just create one. This is about being more open for creativity, to get more options for exploring characters, environments, and art styles. It’s not just on the advertising side, too. It’s on game creation, too, to explore new concepts in a broader way. GamesBeat: In Saudi Arabia you have some parallels to Brazil in some ways, in terms of what you do with the team that you have. The team is relatively new to games. You’re growing a local staff. We saw some very interesting trends in the past year around Black Myth: Wukong. It was a Chinese-made game made for Chinese consumers, the Chinese market. It did spectacularly well on the global stage as well, 25 million copies sold right off the bat. It validated the notion that a country’s local content could be appealing on a global scale. A lot more games are being greenlit in China now with hopes that they’ll reach a global market. Sandosoft’s PocketNecro For you, in Saudi Arabia, do you have a choice to make around whether to make local content or global content? Fernandez Remesal: As a game developer, we’re creating content for global markets. We’re not doing content to be consumed locally. But that doesn’t mean–as in any part of the world, you have local stories, local myths, local themes that you can expose and eventually create connections with consumers and players everywhere in the world. When I think about our talent pool, I won’t deny that we’re quite an international company. We have 100 people on the team who come from 30 different nationalities. We’re still a nascent state in terms of local Saudi talent. We don’t have enough capability to create these local stories in a way where they feel authentic, where they’re told by the right people. But that will come eventually. I think there’s a good analogy when you think about movies and television. There are plenty of stories from this part of the world that have been told. We talked about Aladdin, about Prince of Egypt. There are plenty of stories that resonate with global audiences. But we need to have the real people, the local talent that can tell these stories in a way that eventually attracts a global audience and can become a mass market opportunity, rather than a niche thing for the local market. GamesBeat: A lot of this is maybe a stepping-stone process. You have to level up your team. You have to make sure that they can grow to be veterans of the industry. Then at that point the opportunities change. You can use them to be the central creators of the content. Fernandez Remesal: Correct. When you’re creating games, when you’re creating many kinds of content, it comes from your own passion. There’s some sense of the market involved, understanding whether there’s a commercial opportunity, but it comes from people’s passion. The passion is there, but the skills and capabilities are not there yet to think about a global game opportunity. We’ve seen that in other games. Assassin’s Creed is a good example of that, where they’ve taken worlds and themes that resonate in the region, but not to the extent that it feels like a proper story from that part of the world. But you’re precisely right. We need to wait a few years to have this capability in place so we have a credible story to tell in a commercial way and can meet the quality expectations that global audiences have. GamesBeat: From what you’ve seen, what is your assessment of where talent is? Whether in your region or other regions of the world as well. Where is the best mobile gaming talent now? Sandsoft’s Wizario Fernandez Remesal: The answer for me is quite easy. You just need to look at the games that make the top of the charts. China has definitely become the world leader in game development talent for mobile games. It’s not just about Tencent or Netease or MiHoYo. Plenty of game developers are creating games that are consumed globally. That’s the larger talent pool for mobile games. It’s true as well that the pool is expanding quite broadly. Creating mobile games is more accessible than going for triple-A console games. There are plenty of pockets of excellence in Europe, in the U.S., in Latin America. I’m really impressed by people here in Brazil, in Argentina, in Uruguay, in Chile. That’s becoming more accessible. Talent is developing in many parts of the world. In my region, in Saudi Arabia, it’s very new. I think that’s resonating with people here in Brazil. Maybe we’re Brazil five years ago. There were some pockets of talent that were trying to get their first companies into the market. We’re on the route where we’re importing talent to support game development, but also building local talent, so we can develop the whole industry. Another topic that’s not so much a trend as a reality now, it’s about going cross-platform. There are plenty of mobile first games that are thinking about moving to different platforms. When you think about how you can go to market, how you can prototype, mobile is usually the cheaper platform to do that. We see more and more teams getting their IP into PC and console coming from mobile. We’re observing that more and more. Another trend we see is transmedia. Maybe that was a buzzword at one point, people thinking about migrating IP from games into other art forms, but we definitely see it quite a bit now, particularly the series we’ve seen from Netflix and Amazon and so forth. Rovio is doing movies. Transmedia is becoming a trend for companies with deep pockets and deep budgets. GamesBeat: The biggest thing to watch right now, I would agree, is AI and where it’s going to change things. I believe that mobile gaming is one of the areas where it’s going to have the biggest impact. AI can’t create triple-A games yet, but there are a lot of things related to the business of mobile games that can be automated. We’ll see where that takes hold and gets traction. Fernandez Remesal: Something that we’re seeing quite a bit here in Brazil is the renaissance of web gaming. WebGL has really improved lately. We see amazing experiences on the mobile web. Mobile web will be an opportunity for game developers. It links to what we mentioned before with web shops and how you can monetize. GamesBeat: We have the Nintendo Switch 2 launching very shortly. The interesting thing about now versus years ago is that Nintendo is no longer the first device that kids get their hands on as a gamer. It’s smartphones and tablets now, mobile games. That’s how they learn to play games, which represents a sea change for companies like Nintendo. They have to follow this trend. The youngest gamers are only going to know the brands that they see on mobile. Fernandez Remesal: That’s precisely right. Mobile is the first gaming device for many, many people, particularly kids. That’s where they discover content. It’s not just games. It’s how they find all forms of entertainment – streaming media, music, and games as well. Disclosure: Gamescom Latam paid my way to Brazil. GB Daily Stay in the know! Get the latest news in your inbox daily Read our Privacy Policy Thanks for subscribing. Check out more VB newsletters here. An error occured.

At DICE and GDC this year I heard talk of a trend in game development that sent a chill down my spine: "deprofessionalization." As A16z marketing partner Ryan K. Rigney defines it, deprofessionalization is a phenomenon driven by the overperformance of older titles (particularly free-to-play live service games), large studios struggling to drive sales, and the outsized success of some solo developers and small teams.These three forces, he argues, will combine to "drive career professionals from the traditional, professionalized side of the games industry.""Some of these people will decide to go indie," he continues. "Others will leave gaming altogether. And in between there’s a vast spectrum of irregular working arrangements available."Is this trend real? It sure felt so at PAX East 2025. It's no secret that the COVID-19 pandemic led to many game companies decamping from expo floors, retreating to either all-online promotion or in-person community meetups structured around intermittent panels. Gone are the days where a chunk of the development team can get one-on-one facetime with players—shifts in supply and demand have simply moved where marketing takes place.But something else lurked under the surface. Some notable studios like Behaviour Interactive and Funcom had classic booths up on the show floor. Devolver Digital had maybe the tallest booth on display—but it was only using it to showcase three games: Mycopunk, Monster Train 2, and Botsu. The bulk of the remaining space was taken up by small publishers and game studios.Related:Wandering through these booths, I found a mix of truly excellent and inspiring games. But also found myself bubbling with frustration. Few of the developers on display were working on teams larger than three people. They talked about publishers wanting ever-more-expensive offerings as part of their pitch deck. Short-term contractors seemed to be the best way to plug gaps. Why did it feel like so few proper businesses were fighting to get their games in front of players at PAX?Speaking with Rigney and other developers, I sensed that "deprofessionalization" isn't just a catchy phrase to describe demand-side economics in game industry hiring. It's a frustrating reality that may undervalue games from big and small teams alike.Deprofessionalization is built on the back of devaluing laborRigney offered some extra nuance on his "deprofessionalization" theory in an email exchange we had before PAX. He predicted that marketing roles at studios would be "the first" on the chopping block, followed by "roles that seem replaceable to management (even if they're not)."Related:"The winners will be the creative renegades. I'm talking about the people making work that would have never gotten greenlit at one of these bigger publishers in the first place. Some of these creatives will start their own studio, or dabble in side projects...This is the only creative industry on the planet where one person can make $100 million making something by themselves."That held up in my survey of the games boothing at PAX. The developers of Mycopunk and Cat Secretary had some of the larger teams on the floor of about 5-6 people. Indie publisher Playism was showing off a number of excellent-looking games like Mind Diver and Break Arts III. Executive producer Shunji Mizutani told me the average team size the company is looking to back is around 1-3 developers (though he said it's not a hard and fast rule).My favorite game I saw, We Harvest Shadows is being developed by The First Tree solo developer David Wehle. Wehle explained that he's hiring a contract coder to help with the dense system design fueling the "farming" part of his "horror farming simulator." The story was the same everywhere I went. Solo devs, two-person teams, and publishers fishing for low-budget indie hits were the talk of the show.Related:I want to be clear here—no one I spoke with at PAX East should feel "obligated" to give anyone a job. They're small teams making the most of limited resources, and it's the acceleration in game development technology that's made it possible. What feels wrong is how few people seem to benefit from this status quo.Image via ReedPop.To go back to Rigney for a moment, his key example of a post-deprofessionalization game developer is veteran developer Aaron Rutledge, a former lead designer on League of Legends, Call of Duty: Black Ops 4, and Apex Legends. After leaving Respawn Entertainment in 2024 he founded a consultancy firm Area Denial, acting as a "gun for hire" for studios.Rutledge deserves his success, and the life of a traveling creative called on by other studios sounds romantic. But as a foundation for game development, it's a framework that celebrates the few over the many. It narrows which roles are considered "essential" for making great games (often designers or programmers) and treats other positions as somehow less essential. You could see someone like Wehle hiring someone like Rutledge to bring some of that triple-A experience to a small game.But that feels like the polar ends of who can benefit in the deprofessionalized world—developers with the stability to swing big for big-shot ideas, and programmers or designers with deep career experience that can be called in like a group of noble mercenaries. People in between will be left out.Who gets left behind in a world mainly filled with small teams?My PAX trip validated my fear that three professions are especially vulnerable in this deprofessionalized world: artists, writers, and those working in game audio or music. These roles seemed vulnerable because on these small teams, they were the roles developers mentioned doing in some kind of shared or joint fashion.All three risk compartmentalization as "asset creators," their work treated as products you can purchase off the store shelf.Every artist in games knows how hard it is to make a living doing what you love. In-house artist positions have faded away as companies look overseas to produce as many assets as humanly possible at the lowest living wage. Enthusiasm for AI-generated assets (that look like dogshit) are nudging this trend along. In the "gun for hire" mindset, working artists aren't worth anything to game development because they're producing goods to be used, not participants in the process. Art directors are in a slightly more stable position, but only by virtue of knowing "what looks good" and telling someone else what they want to do.As someone who recently shipped his second game as a writer, the cuts to game narrative teams hit close to home. The GDC 2025 State of the Industry survey reported that of the 11 percent of developers laid off in the last year, 19 percent of them worked in game narrative, the highest of any responding demographic. Two diverging trends are hurting this field: the growth of successful games that don't feature much narrative (either focusing on deep game mechanics or story-lite multiplayer) and the spread of story-driven games authored by the creative director and maybe one or two collaborators create conditions that lower the number of available jobs.Image via ReedPop.Game writers have long described frustration with how they're treated by the industry, often brought in later in the process and sometimes treated as if they lie in opposition to the rest of the development team. Some studios leaned on the job title of "narrative designer" for professionals who write and implement narrative events, but that still speaks to a mistrust of the profession, that producing words isn't enough to bring value to a team.Finally, game audio and music professionals both produce work that can be bundled into licensable libraries, with implementation left to designers on a team. Sometimes this work is essential, the number of sounds a game needs can't be produced by an individual human. And composers don't always want to be tied to one studio—working with multiple teams frees them to explore creative projects and keep working when they aren't necessarily needed in a day-to-day game development environment.But again, treating them this way puts them on the rim of the game development wheel, implying their labor could be deprioritized by true talent that deserves to reap the benefits of game design.A decentralized creative community needs to benefit creativesRigney explained to me that the game industry has one ace up its sleeve that other creative fields don't: its "indie" market is a commercially viable market. "People are paying for these games!," he exclaimed. "This is not happening for indie filmmakers. This isn't happening for books. What's happening for indie games and small studios won't replace the jobs lost at the major publishers, but it will create opportunity for the most creative and most determined people."But don't rush off to start your indie dreams—it's still as true as it was for years that most indie games do not succeed. And those that don't succeed can still be financial fodder for the shovel merchants of the worlds—your technology companies, your payment processors, your game platforms, your investors, etc. Plenty of companies are standing ready to profit on the devs gunning to be the next Schedule I.Is there a way deprofessionalization can benefit the developers left behind? Rigney raised one fair point: part of the reason some indies are running circles around large companies is that those companies can mismanage creatives so badly they go for years without shipping a game. If someone smart could crack that problem—improve management at large organizations and make sure games make it out the door—that could be a way to balance the trend."Right now none of the solutions are well equipped to solve all the problems. I work in venture capital, which isn't great for funding individual games, but can work well when funding teams that are pursuing large scale growth via some new distribution or technological edge."Indeed, PAX East showed that we need creative solutions. One shouldn't need to be a social media wunderkind, years of hard-to-earn triple-A experience, or be a jack-of-all-trades to have a career in game development. That path does bring us some wildly inventive games—but leaves us with a community of developers hustling on gig work to keep their dream alive.Update 5/16: This piece has been updated to clarify Rigney's job title at A16z.