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Category: Business

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.”

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!

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.

Let’s talk about Horses

The new game from Santa Ragione, Horses, has been banned from the main stores: Steam and Epic, at the moment I write this post. Humble just enabled the game again in their list, they delisted for a while.

I watched a gameplay and Horses is a game about cruelty. The experience is about helping a dark organization in torturing and abuse people. It is pornographic, as well. That’s why it was censored from the two main PC stores out there.

There is a lot of discussion online regarding censorship, capitalism, politics, and it’s not just something coming from young players. It comes from developers as well, and that shows the ingenuity (to say the least) of certain professionals. In fact, Steam warned the company Santa Ragione 2 years ago about the impossibility of publishing this game. They decided to go on and Steam maintained its promise. It is what it is.

I believe Santa Ragione was coherent in their choice to continue develop the game, but I also believe that putting your whole business at risk for a principle is not a good choice. I cannot manage to feel admiration for them, also if I empathize because I know they want to tell a unique story. And I saw that they did manage to deliver something unique. Lots of game design issues (in my humble opinion) but a clearly identifiable game with a unique voice. Let’s hope they manage to continue with their business, as they deserve. But they made a mistake.

Interesting interview to mr. Owen Mahoney

Mr. Owen Mahoney is one of the few outspoken gaming CEOs out there that speaks actual game development language. I listened to this interview and one thing has made me think a lot, also because it’s not well explained.

Mr. Mahoney talks about the importance of looking at the future intentions of a team or company to understand its shape. He makes the specific example of the founder of Embark, who wanted to make something new, something different. But that’s always the case whenever there is a sales opportunity. We do want to show what we did, our experience, but we also want to say, “Hey, we are building the future here; do not miss the opportunity to go with us towards it.”

How can we really understand when we are in front of a good company? Now I want to switch my discourse from the perspective of an employee or a consultant. How to understand that the client or employer we have in front of us is the right bet for our next 2-5 years? That’s a matter of gut feeling, but is there a way to make a sort of due diligence? That’s what I would like to ask Mr. Mahoney.

Roblox: unprofitably unsafe

The CEO of Roblox gave an interview to one of the most popular NYTimes podcasts and the industry didn’t reacted well. I found it insightful and I tend not to judge people, especially salesmen, when they are selling something.

The issue with Roblox stands in its business model. Everybody knows that when a service is for free, the product is you. And in Roblox, the product are the kids. If they would really fix the issue with kids safety, they should start from there. They should put on a subscription model, where 100% of kids (or better, their parents) will pay a fixed amount just to play. In that way, things would change a lot.

And maybe, who knows, Roblox would also become a profitable business. Because since day 1, it has never been profitable. Roblox relies on investors who believe that, at some point, all those users will eventually generate profits. But for now, it’s a leaking bucket.

Be honest, be indie

I believe the single most important quality for indie developers is honesty. This is their secret weapon. It is nearly impossible for a Top 10 company to achieve full honesty because of their size and stakeholder structure. Honesty, however, allows you to consistently put out your authentic voice.

Recently, while consuming content in the indie space (podcasts and video), I’ve noticed a significant increase in marketing awareness. This often translates into the typical marketing discourse: “how to make trending things faster and avoid struggling too much.”

But that, in my humble opinion, misses the entire point of being an indie. Independence requires you to embrace the struggle and invest genuine effort—not just hours, but intense thought and creative energy. If you end up simply chasing trends, you risk falling into the trap of industrialization, product managerization, and creating derivative work.

I am not arguing against trend awareness or chasing money; of course, we work for money. But I am asserting that if you want to truly succeed in the indie space, you must prioritize honest self-expression. Put your authentic voice out there for real—even if your true call is to make a niche friends-to-lovers sim or a niche horror game.

Affording High Performance

I’ve been working in a high performance environment for many years now. I’m amazed about the output of our small team (6 FTE+1 Free Lancer). To give you an example, we’re currently working on a casual puzzle game with a huge focus on narrative and world building. We’re approaching our 2 week release cadence which includes six to seven new fully animated story chapters and 90+ new levels, while releasing big new features every 4 weeks, with small and big tweaks, SDK updates, data gathering and general improvements, bug fixes and localization in many languages, while making sure we keep analyzing incoming data.

The casual puzzle space in which we’re operating is very competitive with thousands of entries a year with only a handful being able to succeed and enter the top 100. To get there, large teams (50-500 members) and large investments (1M-5M) are our competitors. And even in those teams, pressure to succeed is high and nothing but top performance is expected.

I’ve been thinking how we as a team make sure we are coping with this pressure. I believe we each individually have found a way to cope and collectively as a team found a way to facilitate and support each other. A large contributing factor for our small team is working from home. Not only does it cut out commute every day, saving a lot of time for each member. Working from home also afforded the environment where flexibility can occur. This flexibility in terms of working hours for instance is where some of our team members thrive.

We roughly work between 9-5 with strict attention rules around meetings. At least half of our team enjoys the ability to work during the quiet evenings, or pursuit a particular thought in the night. Others are able to schedule kids pick-up or going to the gym. And all of us enjoy the ability to let life happen and attend any important activity during working hours. Our team treats work as the second most important thing, next to our life outside of work. We cover for each other when someone is ill or experiences life changing events, we plan our schedules and priorities around vacations and time off, we accommodate members traveling the world and working from different time zone and generally we all help each other make it work.

But I think all of this would not be possible without a shared goal, without a shared ambition, without our internal drive to want to succeed. This focus enables us to do all of the above and I’m sure will drive us towards success.

The studio lie

Tim Plöger on LinkedIn shared a critique of the glib advice given to laid-off developers: “You got fired? Then start your own studio!”. This message often gets mixed up, confusing the business problem with the craft problem.

Tim, coming from a focus on the structural and financial side of the industry, correctly points out that starting a studio is not the answer. A studio isn’t just about making games; it’s about allocating people and financials, legal structuring, and sales. That’s a different type of work, and often, a recipe for quick failure for someone whose expertise is in pure creation.

The advice tells you to become an Executive/CEO when all you need to do is remain a Designer/Developer. My counterpoint to Tim was simple: “You don’t have money to buy bread? Well, maybe you have it to buy flour and cook your own bread.”

If your job is to design games, your energy should go into designing games. Spending six months, a year, or even two years sending out résumés without a response drains your energies. It is better to do your job every single day than to beg others while your energy wanes.

When you are laid off, you are given a clean slate, a golden opportunity to build the things you need.

Cook Your Own Bread

You have the chance to prove your adaptive insight (your ability to transfer design knowledge across genres). Here are three immediate actions for any designer, artist, or programmer who is waiting for “the next job”:

  1. Stop Applying, Start Prototyping: Turn your application time into creation time. Build simple, fast, collaborative projects. Don’t worry about polish; worry about fun and flow.
  2. Master the Instincts of the Market: Use this time to apply System Thinking. Pick a successful micro-genre (like the recent Friend-slop games) and try to replicate its core loop. Don’t copy the art; map the instincts (Acquisition, Gregariousness, Escape) that make it tick. This process demonstrates analytical skill far better than any résumé.
  3. Join the Flour-Buyers: Seek out other developers who are also “baking their own bread.” Join forces for a focused, two-week game jam or prototype challenge. The goal is not profit; the goal is to keep your creative engine running and generate concrete work that proves you’re a builder, not a waiter.

The best way to get hired is to be actively doing the job, with or without a corporate logo on your title.