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.

For the first time, the growth in China's clean power generation has caused the nation's carbon dioxide emissions to fall despite rapid power demand growth. From a report:The new analysis for Carbon Brief shows that China's emissions were down 1.6% year-on-year in the first quarter of 2025 and by 1% in the latest 12 months. Electricity supply from new wind, solar and nuclear capacity was enough to cut coal-power output even as demand surged, whereas previous falls were due to weak growth. The analysis, based on official figures and commercial data, shows that China's CO2 emissions have now been stable, or falling, for more than a year. However, they remain only 1% below the latest peak, implying that any short-term jump could cause China's CO2 emissions to rise to a new record. Read more of this story at Slashdot.

It’s difficult to pin the destruction of a tsunami to a tsunami — that is, unless someone was around to witness the devastation. But a new study shows that there are some surprising geological sources that scientists can consult as an archive of ancient tsunami occurrences, many millions of years after they occur. Turning to Hokkaido Island in Japan, the Scientific Reports study suggests that deposits of amber in deep-sea sediments on the island may reveal tsunamis that occurred there between 116 and 114 million years ago. At that time, the study authors say, one or more tsunamis may have swept this fossilized tree resin — then still soft — from the island’s forests to the ocean floor, where it settled and solidified, preserving its particular method of deposition within its structure.“We describe extraordinarily rich amber concentrations in Early Cretaceous deep-sea deposits,” the study authors write in their study. “The most plausible cause for the presence of this enigmatic amber in a deep-sea setting is large-scale tsunamis.” The Ancient Traces of TsunamisAmber concentration in Hokkaido deep-sea sediments. (Image Courtesy of Aya Kubota, National Institute of Advanced Industrial Science and Technology (AIST) from Kubota, A., Takeda, Y., Yi, K. et al. Amber in the Cretaceous Deep Sea Deposits Reveals Large-Scale Tsunamis. Sci Rep 15, 14298 (2025). This work is openly licensed via CC BY 4.0.)Despite their immediate devastation, tsunamis don’t leave a distinctive or long-lasting trace on the landscape. “Large-scale tsunamis destroy coastal areas and rapidly transport huge amounts of plants and other debris over long distances,” the study authors write. “However, due to their poor preservation potential and the lack of unequivocal identifying features, tsunami deposits are rarely recognized in the geological record.”One part of the problem is that the traces of ancient tsunamis are deposited along the coast, a dynamic landscape that’s constantly changing due to the crashing of continuous waves. Another is that distinguishing between tsunami deposits and storm deposits is incredibly difficult, with tsunamis leaving some of the same signs as hurricanes, cyclones, and typhoons.The new study suggests, however, that records of ancient tsunamis may be found in the form of amber and other terrestrial material deposited in deep-sea sediments. Indeed, studying sediments that were once buried beneath the open ocean on Hokkaido, the study authors found that soft amber was moved, in water, so rapidly from land to sea between 116 and 114 million years ago, that it was probably transported by a tsunami. Read More: 5 Worst Tsunamis in HistoryAmber ArchivesTo arrive at their results, the study authors focused on amber-filled silica deposits from Hokkaido’s Shimonakagawa Quarry, which were deposited when the area was still covered with water. Fluorescence imaging found that “flame structures,” or distinctive flame-shaped deformations, were preserved within the deposits. Forming in amber that is still soft at the time of its deposition, these distortions suggest that the fossilized resin on Hokkaido traveled from land to open ocean in water, without popping up for air, only to sink to the ocean floor and solidify. “These resin deformations occurred underwater, implying their direct transport,” the study authors write. “Such rapid and direct transport of terrestrial materials from land to ocean could be driven by a tsunami.”According to the study authors, there are signs that landslides (and, thus, earthquakes) may have occurred on Hokkaido at around the same time in the Early Cretaceous, adding additional support to the tsunami theory. There are also displaced masses of mud, tree trunks, and other plant material that appear to have been deposited rapidly within the sediment between 116 and 114 million years ago — a deposition that is also more indicative of a tsunami than a storm. Similar deposits of amber in deep-sea sediments may reveal other tsunamis at other sites, the study authors say. And these archives aren’t limited to amber alone, as other material that starts on land and travels to open ocean may also signal the occurrence of ancient tsunamis, many millions and millions of years ago. “Large-scale tsunamis may not be recorded in coastal areas due to the destruction of such settings,” the study authors write, but deep-sea sediments and the terrestrial deposits within can still “serve as significant archives for large-scale destructive events.”Read More: Here’s How Earthquakes Cause TsunamisArticle SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:Scientific Reports. Amber in the Cretaceous Deep Sea Deposits Reveals Large-Scale TsunamisSam Walters is a journalist covering archaeology, paleontology, ecology, and evolution for Discover, along with an assortment of other topics. Before joining the Discover team as an assistant editor in 2022, Sam studied journalism at Northwestern University in Evanston, Illinois.

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here NetEase Games has officially kicked off the much-anticipated Galacta’s Gift event in Marvel Rivals, celebrating the game’s one-year anniversary since its Closed Alpha launch in May 2024. Beginning on May 15, 2025, players can dive into this event that grants a complimentary event pass. This pass features seven tiers packed with exclusive rewards, such as Nameplates, Sprays, eight Chrono Shield Cards, and a Costume Coin applicable to any Season 0 hero. Players can dive into daily missions across Quick Play, Competitive, or AI matches to advance through the pass and snag those highly sought-after items, creating a fulfilling journey for both newcomers and seasoned competitors alike. Yet, lurking beneath the festive exterior of this event is a unique element that has gamers buzzing — the event’s distinctive method of engaging players, especially with its captivating “2099” expiry date. Marvel Rivals Galacta’s Gift event will last forever with unique end date On May 15, trusted leaker X0X_LEAK posted on X that the Marvel Rivals Galacta’s Gift event is “set to end in 2099,” which corresponds with the in-game description, implying it is perpetual. This description, which appears in the event’s UI, shows that Galacta’s Gift is a permanent event for players, particularly as part of the new player onboarding process, which lends credence to the leaker’s assertion of an extended or infinite life. Galacta’s Gift screen in Marvel Rivals. Image by VideoGamer. The 2099 reference, maybe a fun tribute to the Marvel 2099 reality, may inflate the timeline while reflecting the event’s long-term availability. The in-game text indicates that Galacta’s Gift is permanent, as opposed to the time-limited Battle Pass. An X post from Miller Ross also confirms that the event is a one-time completion for existing accounts but is available indefinitely for new players. The event’s design allows for continuous access, therefore, a 2099 “end date” is an exaggerated approach to depict its continuing nature. Players must still finish objectives quickly to receive rewards, as the event’s one-time-per-account constraint implies no second chances. Marvel Rivals Platform(s): macOS, PC, PlayStation 5, Xbox Series S, Xbox Series X Genre(s): Fighting, Shooter Subscribe to our newsletters! By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime. Share

A brief teaser for Fallout Season 2 has hit the internet, showing a new look at New Vegas.The clip, shown during the Amazon Upfront livestream overnight, was captured and uploaded on reddit. It shows Lucy (Ella Purnell) and The Ghoul (Walton Goggins) 50 miles out from what was Las Vegas. We hear the famous Geiger Counter sound, signifying radiation is in the air. The Ghoul and Lucy look at each other before heading towards New Vegas, and we get a good look at the post-apocalyptic city skyline.New Vegas is of course the setting for the Obsidian-developed Fallout: New Vegas, and the setting for Season 2 of the Fallout adaptation.So, what can we learn about the show's take on New Vegas from this teaser? Well, it’s more detailed than the brief look we got at New Vegas at the end of Season 1, which stands to reason. It will look familiar to anyone who's played New Vegas, although it appears more densely packed with buildings (the video game New Vegas was a relatively sparse location).The standout is of course the Lucky 38 Resort and Casino, which is on the New Vegas Strip. In the New Vegas video game, the Lucky 38 is the pre-War casino from which Mr. House runs the city. Fans also believe they can make out the Ultra-Luxe, but in truth it’s hard to discern individual video game locations from the shot here.PlayWarning! Potential spoilers for the Fallout TV show follow.The show is confirmed to be heading to New Vegas for Season 2, and it's not just about the location itself. Mr. House is set to be a part of the new season, though how involved he'll be is unclear. We've already seen the tease of some familiar sights thanks to previous set leaks, including this video that shows part of New Vegas and the iconic Lucky 38 resort and casino, all bright and lit up. It's certainly far from the rusty place you might expect.It’s worth remembering where we are in the Fallout timeline: the TV show is set in the year 2296, after all the Fallout video games. Fallout 4 takes place in the year 2287, while Fallout: New Vegas is set in the year 2281, a full 15 years prior to the events of the show.So, what happened in the 15 years since we last saw New Vegas? Co-showrunners Graham Wagner and Geneva Robertson-Dworet have said the setting has changed, and explained why that is important for fans to note.“All we really want the audience to know is that things have happened, so that there isn't an expectation that we pick the show up in Season 2, following one of the myriad canon endings that depend on your choices when you play [Fallout: New Vegas],” Wagner said last year.“With that post-credits stuff, we really wanted to imply, guys, the world has progressed, and the idea that the wasteland stays as it is decade-to-decade is preposterous to us. It’s just a place [of] constant tragedy, events, horrors — there's a constant churn of trauma. We're definitely implying more has occurred.”But what will happen when the Power Armor-clad Overseer Hank, played by Kyle MacLachlan, turns up (potentially after a dustup with a Deathclaw)? Some speculate Mr. House, the enigmatic ruler of New Vegas in the video game and dastardly boss of RobCo Industries in the TV show’s flashbacks to before the bombs fell, may enlist the help of Hank to restore New Vegas to its former glory. Perhaps, if that’s the way the story goes, the forces of Mr. House and New Vegas will end up taking on the Brotherhood of Steel in yet another Fallout faction battle, with Lucy, Maximus, and The Ghoul caught in the middle.Overnight, Amazon announced a December 2025 release window for Season 2, and confirmed Season 3. Last week, Aaron Moten, who plays Brotherhood of Steel hopeful Maximus, said the “endpoint” of the Fallout TV show has it running until Season 5 or Season 6.We had a great time with Season 1, writing in IGN's Fallout The Series review that the show is "a bright and funny apocalypse filled with dark punchlines and bursts of ultra-violence [and is] among the best video game adaptations ever made," slapping it with a well-earned 9/10.To help tide you over until Season 2, here's our interview with Todd Howard and Jonathan Nolan covering all our burning questions after the end of Season 1.Wesley is the UK News Editor for IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.