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Tag: inspiration

Strategic resolutions

I’m warning you: this is a boring New Year’s message.

It has no cinematic trailers, no dramatic feature reveals, and no hype. It’s about strategy. And in game design, true strategy is the stuff that looks tedious on a whiteboard.

We live in the attention economy, where every scroll, every platform, and every trend tells us that if your idea doesn’t entertain immediately—if it isn’t viral motion—it’s worthless. We see fellow developers chasing the latest “Friend-slop” or Idle-Horror micro-genre without asking the fundamental why.

But while everyone is busy publishing, recording, and moving, those who create lasting value are thinking.

The Game Designer’s Quiet Revolution

What changes the market is the silent architecture beneath the surface. We, as designers, are designing complex systems that capture and retain attention against impossible odds.

The most successful studios are those focused on the “boring stuff”: designing robust systems, defining clear processes, and understanding player psychology at its most fundamental level.

2026 Strategy: The Three Pillars of Quiet Design

As you close out a noisy year, take this challenge: stop chasing the manifestation (the trends) and start analyzing the instinctual core (the “why”).

The real strategy for your next project, the one that guarantees more than a flash of viral luck, comes down to three acts of “boring” reflection:

  1. Map the Instinct (The Core Loop): Define the 1-3 primal instincts your game satisfies. Is it pure Acquisition (the loot)? Is it Escape (the tension)? Is it Gregariousness (the social bond)? If you can’t name the instinct, you can’t design the loop.
  2. Deconstruct the System: Your game is a service, not a product. What is the core system that keeps the player coming back? For every flashy feature, define its input and its output. Can you describe your core loop in three elegant sentences that include all monetization and retention mechanics?
  3. Validate the Silence: Before you code, publish, or hype, engage in the ultimate boring task: data validation. Analyze your competition by tracking their update patterns and reading player comments. Your solitude ensures you reduce the risk of building something nobody wants.

Your biggest asset is your talent to see a successful idle RPG system and apply its flow to a new PS5 platformer. But that talent must be cultivated in silence.

So, for 2026, make this your rule: Pass more time alone. Isolate. Turn off the noise. Think.

What seems like time wasted in deep thought is what makes your game resilient. The boring stuff is what makes you free.

Christmas break

I wish you and your family a merry Christmas and a happy 2026. I scheduled a couple of posts for key dates, but I will spend some day with my family in Italy so I will not post over here during two weeks.

See you next year, I hope you will find your “Zelda’s Lullaby”, your key for multiple solutions.

A tale of hope

The story of Clair Obscur: Expedition 33 is my favorite tale of 2025. Every successful game is a little miracle, but this one has been very well documented also by the mainstream journalism. As they say, the luck arrives while you’re working hard and that’s the case for this game.

The initial spark comes from a single guy working afterwork on Unreal Engine just because the program was fun to use. Then he contacted with a colleague to get extra guidance, he looks for connection and thanks to that he manages to stay 1-2 years working extra hours to find a possible formula for his game. Effort and connection, these things are both very important to me. In fact, it’s extremely hard to work solo on a project over a long period of time after your normal day job.

The third person is a business guy, ex university colleague, to focus on investments. Again, the founder of Sandfall Interactive looks to make business from the start, and that’s something very few people do.

And then there is the luck: they post on Reddit and other platforms to manage to find artists and voice over actors to sell better the idea (again, sell sell sell). And they have the luck to find the right people at the right time. After many pitches that went wrong, they found their way. And then everybody knows how the story ended, big success.

To conclude today’s post, let’s talk about hope, which is the true fun part of making games (or better, making everything in general). Everybody dreams of getting prizes, but the real fun is in MAKING games, especially for us designers and developers. It’s a struggle, includes lots of highs and lows, and also financial difficulties often. But we still do it because of our passion and talent. That’s exactly the important part, not the outcome. The fact of being together with other people and creating something we believe will be awesome, that’s what we truly strive for. The outcome is a little miracle, and great to have it, but it’s not the important part.

I like to share success stories

One of the things I like the most about the games industry are the success stories. I like when people, for a reason or another, join together and achieve great success, higher than they expected. This possibility is one of the elements that keeps me within the games industry.

I am aware of the “survivorship bias” here, and I know that I cannot reproduce the success of others. I have been in enough projects to understand that every successful game is a little miracle. A combination of multiple factors. You cannot just follow guides and tips and be successful. And that’s exactly what I find attractive of this business.

When I celebrate concrete case studies over here is not to give false hopes to people. It’s not a “hey, look at them! they did that with few resources, you should do the same, it’s easy!”. Not at all.

It’s just that my LinkedIn feed in the last 2 years is filled with empty messages, sexy selfies, and bad news. And I just genuinely like to spread good news, and say “hey, everything is freaking hard, but I am a gamer and believe me: an epic win is always possible.”

One of the best GDC talks ever

I rewatched one of the most beautiful talks on the official GDC channel. It’s great because it evidences we need truly understanding and reach deep empathy with the players. I rewatched thanks to my bootcamp, I suggested this talk to my students.

We need to do the homework to improve as designers. We need to understand the games, especially the ones who are played by people that are different from us. It’s our job to understand players, and a necessary step for every game designer. Do your homeworks!

Consoles aren’t dead

According to the popular marketing insight service Circana, on November this year the 3rd most sold console has been NEX Playground. In case you don’t know what it is, here’s the console.

The console is small and cubic, and has no controller. You play videogames like you did on XBOX Kinect years ago. The target audience is clear, the same as WII, families. The business model is subscription. You buy the console for around $250 and then you pay a monthly fee to get access to all games. The power, according to a recent interview of its company founder, is similar to a PS3. No next gen, no controller, simplicity at its best.

Will this console beat next gen consoles like PS6? No, of course not. But to me, the fact that has oversold XBOX for instance is a sign that:

  1. Console market is not dead at all, as someone says
  2. The market needs something simpler

Europe needs something like this, for me. Especially now that we are researching more on making our own chips to not be dependent on China, it would be great making our own console, as an excuse and for the chance of building our own Nintendo. I would probably target 10-13 preteens in full “obsession age” and make cool games. I would probably also add a simple 2 buttons controller for having better kinesthetics for whoever who doesn’t want to move.

The main feature, to me, should be that the console should work like old consoles: you turn ON and the game appears. No connections, no loadings, no system checks before it’s truly needed. It would be so cool to participate in a project like that!

Uniqueness is a matter of taste and realism

As I am reading about another studio closure (I am sorry for the colleagues at SUPERVIVE), I am thinking on the distribution problem we have right now. I believe than on one hand you have to create a truly unique experience to have chances in this environment. Easier said than done, of course, because it’s a matter of taste and also realism. I worked on many derivative projects, and the leaders were absolutely sure of their uniqueness.

You need to put the right glasses on, and be extremely aware of your game unique selling points. A way to do that is by making business: if you’re not able to sell your game to publishers, if you don’t engage with players or other entities, you are on a dangerous track. We tend to look inside too much, when we should look outside and check if Players really have the same perception as us on the product. In this case, Players are also potential business partners.

I believe that videogames have still lots of margin for improvement, so we should stop repeating old formulas over and over and we should try to make a step forward.

Things that matter

Yesterday I wrote an introduction on LinkedIn because suddenly I got lots of new contacts due to my post on The Game Awards. I was taking care of things here at home and wrote that piece spontaneously, got much more traction than other times where I have the time of think and structure better my thoughts.

I got two new leads for clients, and the post shows nothing about my knowledge and skills, that is surprising. On the other side, the temptation to go always more personal and deep is strong.

I am sure that this is valid also for game making. If we create something that connects truly with us at a personal level, chances are we can achieve better results than making things just for the sake of business. It’s a delicate art, and it’s easy to believe to weak theories I am aware of that. But I am also aware that I have maybe 20 years of career in front of me and it would be better to spend them on something that truly matters.

Feelings for 2026

My feeling is that 2026 will be the year of people with the courage of creating new worlds and putting them out. We have not only tutorials, but plenty or resources to visualize and realize our dreams. To make them playable from people from all over the world. My feeling is that independent creators will benefit the most from recent technological advancements.

Of course, there are many factors that can influence the course of events so don’t take it as a prediction. I loved The Game Awards, I watched it with emotion, including some tears of joy and nostalgia. And the desire of helping build something memorable.

My takes on The Game Awards

Today my post came later because I wanted to watch the whole show of The Game Awards, so I took my time. I loved the show, in my opinion it is getting better and better. I liked it better than last year, because I found the new teasers less like a Tool video and with more hope.

The first take is that it is a great time for independent developers. The creative director of Sandfall told that he is thankful for youtubers for putting out tutorials because he had no idea on how to make a game. And the game he made with the team was the most appreciated in the history of TGA, so yeah… I guess it’s easier to make games nowadays. The important part is the creativity, now more than ever. And I believe that now it’s a moment where we can, and should, risk a little bit more in that sense. Avoid repeating formulas, find new recipes. Now the tech permit beat everybody else with less than $10M.

Another trend I am noticing is that horror and monsters is casualizing. Monsters are getting cool, I saw zombies dressed like rappers and cool things like that. Sci-fi, instead, is animalizing always more, with bears and dogs in tech armor. These are two new trends that have been started years ago (in my opinion, from Twilight and Guardians of the Galaxy, respectively) but that now are exploding.

During my view of the show there were tears in my eye. First reason is because the show is fantastic if you love videogames. There is music and stunning visuals, incredible people coming on the show. There is everything I love. But I cried also for a little bit of nostalgia/sadness: it’s because it’s very hard to participate into something like the games presented there. Most of the work in games is on very poor experiences, so I feel that maybe I am losing my time. Maybe I do need to really care about my own world, things I want to put out there, and leave the chase of the next client. I have to think about that.