While the technology carries risks, some critics’ alarmism seems excessive.

Diego Argüello, Contributing Editor, News, GameDeveloper.comAugust 26, 20253 Min ReadImage via Rec RoomDeveloper Rec Room, the team behind the namesake user-generated content (UGC) driven social game, has laid off "about half" its staff.Announced yesterday via the official site, CEO and co-founder Nick Fajt wrote that both he and CCO and co-founder Cameron Brown made the decision, which they called a "business necessity based on the financial trajectory of the company" that doesn't reflect on the individuals affected."This is not a reflection on the talent or dedication of those departing—we wish we could keep every one of them," reads the announcement. "I’m gonna say that again, to make it clear this isn’t just 'one of those things you say in a layoff message'. We TRULY wish we could keep every one of these people on the team. But we can't. This is a reflection of the tough reality we face as a business and the change needed to give Rec Room a chance to thrive in the years ahead."According to the post, the laid off workers will continue to be paid for the next three months, receive health benefits for the next six months, and have the option to keep their laptop or desktop computer. Rec Room didn't specify how many people were affected.'The writing on the wall became very clear'Back in December 2021, Rec Room raised $145 million for its social platform, bringing the company's lifetime raised funds to around $294 million. According to Brown, the team invested "heavily in creation tools across PC, VR, consoles, and mobile," but the reality "has been harsh." The CEO claims the mobile and console versions never got to the point where "those devices were good for building stuff." Some of the efforts to bridge the gap, including the Maker AI tool, frustrated the studio's "more impactful creators." Related:At the same time, the lower-powered devices still fostered "millions of pieces of content," which reportedly put a strain on the team that had to come up with procedures to review it all. "Making all this run across every device was a massive technical challenge and burden. While our most skilled creators optimized their content cleverly, most creators didn’t—couldn’t, really, because we didn’t provide them with the necessary tooling."Last month, Fajt announced that Rec Room hit a "record-breaking month" for UGC sales thanks to the creations from players, with creator token earnings from room and Watch store sales increasing 47 percent year-over-year."We deliberately started with a small group of creators as the Avatar Studio tool is still in the early stages," Fajt wrote at the time. "All of the early joiners helped us iron out the workflow and onboarding, providing feedback on how to improve our systems and processes. With creators already finding success, we’re ready to expand."Related:Today's announcement continues by saying that supporting the aforementioned scope stretched the team thin, and began to "dig a financial hole that was getting larger every day." The CEO says the studio has been stuck in an "uncomfortable middle ground" during the past few years, wondering whether to keep pushing the internal UGC vision while potentially increasing the frustration of players and the team, or scale back the vision by cutting the team in half."Both paths were painful," Brown wrote. "But ultimately we got to a point where it was clear that staying the course meant low growth, a high burn rate, and no clear path forward. In a word: Unsustainable. The writing on the wall became very clear."Looking forward, Brown says the team will focus on "empowering our very best creators" and "ensuring Rec Room is a great experience for our players.""For those leaving—you will always be part of the Rec Room story," Brown wrote as a closing note about the layoffs. "We thank you for everything, and wish you the best for your next chapter. For those staying—we know this sucks. We know this hurts. Thank you for pushing forward with us—we have hard work ahead, but with a new focus we believe strongly in the future we can build together."Related:Game Developer has reached out to Rec Room for clarification on the number of workers affected.Read more about:Top StoriesLayoffs & Studio ClosuresAbout the AuthorDiego ArgüelloContributing Editor, News, GameDeveloper.comDiego Nicolás Argüello is a freelance journalist and critic from Argentina. Video games helped him to learn English, so now he covers them for places like The New York Times, NPR, Rolling Stone, and more. He also runs Into the Spine, a site dedicated to fostering and supporting new writers, and co-hosted Turnabout Breakdown, a podcast about the Ace Attorney series. He’s most likely playing a rhythm game as you read this.See more from Diego ArgüelloDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

Over the past year, we’ve had the privilege of connecting with talented game developers from across the Middle East and North Africa (MENA) through the PlayStation MENA Hero Project. This initiative was launched with a simple goal: to identify and support original voices and empower creators from emerging regions to tell their stories through games. Today, we’re thrilled to announce the first cohort of titles supported under the MENA Hero Project, each one a unique reflection of the creativity, and spirit of developers in the region. The First Cohort of MENA Hero Project Games Red Bandits | Developer: Team Agenda | Country: Saudi Arabia Red Bandits is a fast-paced robbery action game set in a hyper-capitalist age where one company rules the world through complete monopoly. In this world, a newly formed thieves organization known as the Red Bandits, emerges to challenge the system and spark a rebellion. You play as Stutt, a seasoned old thief with a stuttering condition and a mysterious past he can’t fully remember. Break into the company’s fortified floors, take down the powerful board of directors, and bring back a de-monopolized world order. With a dynamic cover system, evolving heists, and a vibrant comrades’ hideout, Red Bandits blends fast, stylish action with a deeply personal story of rebellion. Robbing its way to PS5 and PC. Enci’s Solution | Developer: Dark Emerald | Country: United Arab Emirates Exiled by humans centuries ago, the Aeons are confined to the desolate underground. Their village is safe, but beyond the gates, danger lurks at every corner, and not everyone can be trusted. No one has left the village before, except for Ji’we. Inspired by techno-dystopian aesthetics, Enci’s Solution is a hand-painted, 2.5D narrative platformer following the story of Ji’we, a young Aeon venturing out into the unknown in an attempt to save his dearest friend. Stumbling upon Enci, a lost encyclopedic robot who finds himself far from home, the two form an unusual bond and set out together to the surface of planet Regalia.  Play through 40+ levels with increasing difficulty and explore uncharted territories. Find collectibles and uncover the secrets they carry about the world and its odd inhabitants. Keep an eye out for hidden levels and challenge yourself to think outside the box. Will you find your solution on PS5 and PC? Play Video The Perfect Run | Developer: Lanterns Studios | Country: Tunisia Save the world or blow it up yourself, one loop at a time! The Perfect Run is an action-adventure RPG game where the player controls Quicksave, a time-traveling hero caught in an epic struggle between supervillain gangs, marketed superheroes, and a powerful mega corporation for the control of the city of New Rome. With three days to decide the city’s fate, the player can go back in time to decide their perfect ending… if they have the skill to do so! Interact with NPCs and unlock new dialogue options thanks to information collected in earlier loops, join a faction in one route and fight them the next, bend time itself in epic battle against superpowered bosses, collect the best upgrades before the reset, and unlock the city’s secrets in this memorable superhero adventure. Find the perfect run on PS5 and PC. A Cat’s Manor | Developer: Happiest Dark Corner | Country: Bahrain You awaken trapped in a house infested with spiders and inhabited by an eccentric family. At the end of your tail, you discover a crudely stitched hand. With no memory of who you are or how you got here, you let curiosity guide you forward. A Cat’s Manor is an atmospheric adventure that blends puzzles, combat, crafting, and rhythm-based music challenges. Use your wits to escape the manor. Investigate your surroundings, solve puzzles, fight your way through deadly encounters, or outsmart your foes and avoid trouble. Inspect, observe, listen, and feel your surroundings for clues and cues, immersing yourself with 3D audio and PS5 DualSense controller features. Uncover the secrets of the manor and unravel what the family is hiding. Creeping its way to PS5 and PC near you.  About the MENA Hero Project The MENA Hero Project is the newest chapter in SIE’s global Hero Project family, joining India and China in our mission to discover and nurture the next generation of original game creators. We believe that great games can come from anywhere. Through the MENA Hero Project, we’re committed to unlocking the region’s creative potential, supporting locally inspired experiences with the power to captivate players around the world.

Chris Kerr, Senior Editor, News, GameDeveloper.comAugust 22, 20254 Min ReadVia Evil Empire/UbisoftThe Rogue Prince of Persia developer Evil Empire doesn't believe it's worth entering early access in the current climate unless your project is at least 90 percent complete. Speaking to Game Developer at Gamescom 2025, studio marketing manager Matthew Houghton and art director Dylan Eurlings shared their thoughts on the state of contemporary early access campaigns and suggested the system is becoming increasingly risky. You might recognize Evil Empire as the studio that has spent years helping Dead Cells developer Motion Twin expand the franchise with DLC and free updates. Since May 2024, however, the studio has also been shepherding The Rogue Prince of Persia through an Steam Early Access campaign that culminated in an official launch on August 20.Yet, due to a variety of factors including shifting player expectations, the team had to tweak their pre-release strategy in a bid to lure in players. As a result, the studio has become more wary of early access in general. "To be honest, the way I see it now is that unless you're coming into early access with a 90 percent complete game, don't do it. Because players, they don't see it as early access, they see it a game to play," says Houghton. He adds that players are entitled to express their views because they're often paying money to play early access titles, but he feels that sifting viewpoint means consumers are less willing to follow games on an early access journey that will often result in significant changes. Related:Eurlings echoes that point and suggests that a perceived lack of polish and content can now be a "huge issue" during early access campaigns. He explains that Evil Empire was even forced to rethink their original roadmap after the earliest versions of Rogue Prince of Persia failed to meet internal expectations."Initially we wanted to do quick updates. Very fast. In the end, we took a bit more time to ensure that each update would be a bit more chunky," he adds, noting that pivot resulted in a steady cadence of monthly updates that each packed a fair bit of clout. That shift came after the team conceded that early access numbers "weren't great." Houghton explains the project initially attracted just under 1,000 peak concurrent users (CCU). After they flipped the script, the title started to pull in around 4,000 CCU. "That's why we wanted to prioritize chunky content—there would be an impact every time," says Houghton, before acknowledging the title still hadn't quite met the team's CCU expectations even after that switch-up. Related:"Of course you listen to the feedback and take the ideas [on board], but you have to feed them through a filter."It underlines the risks that come with early access, and Houghton specifically wonders whether some developers who can't hit that 90 percent completion benchmark before launching into early access might instead be better off conducting beta tests through Steam instead. If you're curious as to where Rogue Prince of Persia was when it entered Early Access, Houghton suggests the project was roughly 60 percent complete. Eurlings, was slightly more conservative, and claimed it was more like 50 percent. We suggested they meet in the middle. "Steam has evolved now. You can do beta tests and playtests through Steam. I think that's become more like Early Access. People aren't paying for it and your project might be a bit janky [...] but that's okay because they're still going to give feedback and it's not going to be a disaster if it's not great yet," continues Houghton. When asked whether Evil Empire would consider revisiting Early Access in the future, Houghton isn't so certain."I don't know. I'm going to be honest. I've been put off by it, because especially now people are so used to games coming out and then doing live ops for three, four, and five years—so why go with early access and have to deal with the stigma that's around it? I think I would do playtests and then just release," he explains. Related:Houghton adds that teams who are still convinced early access is right for them must have complete conviction in their creative vision—otherwise they might risk being derailed. "Of course you listen to the feedback and take the ideas [on board], but you have to feed them through a filter, otherwise you'll have too many cooks. [...] You'll have people who are super enthusiastic who think you can't do anything wrong, and then you get the people who are just super negative and people who are just throwing ideas at you that you know won't work in the game." It's a situation that can feel overwhelming, with Houghton explaining that Rogue Prince of Persia's game director found the onslaught "too much" at times. "You have to stick to your vision," says Houghton. "Listen, but just cherry pick [your feedback] carefully."Game Developer attended Gamescom 2025 via the Gamescom Media Ambassador Program, which covered flights and accommodation.Read more about:GamescomTop StoriesInterviewsAbout the AuthorChris KerrSenior Editor, News, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, and PocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

I’m Mateusz Tomaszkiewicz, Creative Director at Rebel Wolves, working on The Blood of Dawnwalker — a story-driven, open-world RPG set in 14th-century Europe. We recently showcased a closer look at the gameplay at gamescom and wanted to share some of the exciting new details with you. Entering the narrative sandbox You play as Coen, the game’s protagonist and the titular Dawnwalker. While the exact circumstances remain a mystery, an attempt to turn Coen into a vampire fails. As a result, he exists between two worlds — human during the day, vampire at night. This duality sits at the heart of the gameplay, with each form offering distinct skills and abilities. Most quests can be approached during either day or night, creating significantly different experiences. One of the key mechanics is what we call the “narrative sandbox.” Once the prologue concludes, you have 30 days and nights to rescue Coen’s family from Brencis, a centuries-old vampire and former Roman senator, and his inner circle. Only major actions move the clock forward, and you’re always informed how much time an activity will consume. Roaming the open world does not advance time, giving you the freedom to explore without pressure. Time works more like a currency than a countdown. What truly defines the narrative sandbox is the freedom it gives you to shape the story on your own terms. Quests can be completed in any order, skipped entirely, or even never discovered at all depending on your choices. Many characters can be killed, with their absence reshaping events and relationships. There are often multiple paths to achieve the same goal, and even inaction is a choice — one the world around Coen will recognize and respond to. The result is a deeply reactive narrative structure that encourages experimentation and makes every playthrough unique. Human by day. Vampire by night. The newly revealed quest takes place on day eight of Coen’s journey. By then, several quests have been completed and Coen is visibly more powerful. We first see him at night, navigating the capital city of Svartrau and using vampiric abilities like Shadowstep — a short-range teleport that lets him instantly reposition. It’s invaluable not only in combat, allowing him to flank enemies or close the gap on patrolling guards, but also for exploration and stealth. With Shadowstep, Coen can reach scaffolding high on the cathedral’s walls, leap between rooftops, or slip into otherwise inaccessible balconies and ledges, opening up new routes and opportunities to approach objectives. Combat remains fluid and dynamic, blending physical strength with supernatural powers. His vampire form isn’t overpowered, but it adds a distinct tactical layer. The quest involves infiltrating the city’s cathedral, where Coen encounters Xanthe — an ancient Greek vampire and Brencis’ most powerful ally. To show how time of day affects gameplay, we then reload a save to experience a daytime version of the quest. This time, the goal is to locate the legendary sword of Saint Mihai, the cathedral’s patron. In his human form, Coen leans more on swordplay and dark human magic, unavailable as a vampire. Combat is fast and responsive, with directional attacks and flexible blocking. You can block easily with a single button or use directional input for more precision and control, accommodating both story-focused players and those seeking a challenge. Fighting the living, the dead, and everything In between Once the enemies are defeated, Coen enters Svartrau during the day. The streets are bustling with life — townsfolk fill the squares, merchants trade goods, and ambient conversations hint at the uneasy coexistence under vampire rule. After roaming the vibrant streets, Coen goes to the cathedral. Inside, we witness a chilling ritual called the Blood Baptism, one of Brencis’ ways of twisting existing traditions to maintain control. After a tense dialogue sequence that nearly exposes Coen, the sword quest resumes. This leads to a battle with Muron, a creature born from a failed vampire transformation. Unlike Coen, Muron does not become a Dawnwalker but a wild, unstable monster with unpredictable powers. Another hex in Coen’s arsenal – Compel Soul – allows Coen to speak with the dead, helping him uncover clues and eventually locate a hidden crypt believed to hold the sword. What he finds is far more disturbing: Saint Mihai, once revered, had been entombed alive after villagers discovered he was also a Dawnwalker. Starved during the day and regenerating at night, Mihai slowly lost his sanity. When freed, he attacks Coen using the full range of Dawnwalker abilities. If you find him at night instead, Mihai appears in his vampire form, offering an entirely different encounter. The nearly 50-minute demo offers an extended look at The Blood of Dawnwalker’s design — from its dual gameplay loop and time-based structure to its focus on player agency and narrative depth. There is no single path through this story, and every decision, including inaction, shapes the journey. Slated for release in 2026, The Blood of Dawnwalker aims to deliver rich storytelling, immersive combat, and an open world where narrative truly takes the lead. The Blood of Dawnwalker is coming to PlayStation 5 in 2026; wishlist it now to stay updated and be among the first to step into Coen’s journey!

We love summer music festivals, so here at Wargaming, our team at World of Tanks Modern Armor has made it a mission to bring you a hard-rockin’ annual music event that truly shakes the battlefield: Metal Fest.New tanks, new 3D Commanders, new Challenges and events: they’re all part of what Metal Fest offers each summer. But this is our third year of the event, coming to you on PS4 and PS5 starting August 26. We knew we had to go bigger and louder than ever.To borrow some lyrics you might know, we wanted the best—and we got the best.This year, our featured act is none other than the legendary band Kiss! Not only that; we’ve got the actual voices of core members Gene Simmons and Paul Stanley in the game.This is how it all shook out.  Play Video Shout It Out Loud Ever since the band’s shows at The Daisy in March 1973, when they debuted the character designs they’d become known for, Kiss has been more than a group of skilled musicians. They’ve been icons and personas.So even though Metal Fest 2025 features four new Kiss-inspired Premium tanks, we knew specifically that the 3D Commanders representing the four classic Kiss personas (The Demon, The Starchild, The Spaceman, and The Catman) had to be absolutely right and larger than life.Fortunately, as World of Tanks’ senior producer JJ Bakken explains, the band was all in. “Gene [Simmons] and Paul [Stanley] were gracious enough to give us some of their time for the game, as they represent the highest profile characters in Kiss … Both Gene and Paul saw all our concepts as we created them for characters and tanks. [They] brought the idea to us to really lean into the fantastical elements of each character.”  Our art team worked to get those fantastical elements down, whether we’re talking the feline claws and nimble animations given to The Catman 3D Commander or the enormous pair of bat-like wings that Tanks’ art director Andy Dorizas suggested for The Demon 3D Commander.But as any tanker knows, when it comes to our 3D Commanders, it’s not just about the look. Our players’ favorite Commanders speak with custom-written voiceover lines, so of course that’s the case for all four of our Kiss Commanders.“Kiss themselves made the decision to have Paul and Gene featured as voices in the game,” says the game’s audio director, Brendan Blewett. “They were very particular in that the Kiss ‘characters’ are just that—characters, not real-life individuals. Each of them has traits and those are portrayed, in the instance of The Starchild and The Demon, by Paul and Gene.”  So what was it like, working with legendary musicians to bring the voices of their world-famous characters to our console battlefield?“Working with Paul and Gene was an absolute blast,” says Blewett. “These guys are obviously seasoned studio vets and really made the sessions fun and engaging.”He adds, “Gene lived up to his reputation as a master of trivia and kept us entertained between takes regaling us with stories from the road and factoids. Paul was absolutely a gracious, friendly individual and belted out an incredibly intense vocal performance and kept it going for the whole session. We even quipped that it was ‘like six months of shows in two hours.’ Impressive!”As for the voiceover for The Starman and The Catman, tankers and Kiss fans should rest rock out assured that these Commanders have received the same attention to detail. According to Blewett, “We worked with Kiss to understand the character profiles of The Catman and The Spaceman and came up with casting guidelines from there. For instance, The Catman is a smaller guy, witty and agile, while The Spaceman is older and wiser. The word ‘sagacious’ was used in session to describe the personality of The Spaceman.” War Machine(s) If you think the Kiss 3D Commanders sound impressive (and yes, I’m biased, but they are), be sure to recruit them during Metal Fest, and pair them up with our four Premium Kiss tanks, also inspired and named after the characters: The Demon, The Starchild, The Spaceman, and The Catman. Each of these tanks not only takes visual inspiration from Kiss; it also has abilities inspired by a specific band member’s persona. You’d better believe that The Demon is a tank that mounts a flamethrower! All of this is in addition to the Challenges, special event battles, daily login rewards, and more that Metal Fest offers. Rock out while you can, and don’t miss any of it—Metal Fest takes place in World of Tanks Modern Armor from August 26 through September 15 on PS4 and PS5!

Washington, DC, Aug. 15, 2025 (GLOBE NEWSWIRE) -- Link to ThinkCareBelieve's Article:  https://thinkcarebelieve.blog/2025/08/15/week-30-of-america-in-the-trump-administration/?_thumbnail_id=32940

Chris Kerr, Senior Editor, News, GameDeveloper.comAugust 15, 20254 Min ReadImage via GamescomGamescom 2025 is less than a week away and the annual industry showcase has broken a deluge of records before a single person has stepped foot inside the cavernous halls of the Koelnmesse. The five-day event, which brands itself as Europe's leading trade fair for digital games culture, will host over 1,500 exhibitors from 72 countries in 2025. It's a notable first that organizers say will comprise the most diverse lineup in Gamescom history. To accommodate burgeoning exhibitor interest, Gamescom 2025 is expanding its footprint to a record 233,000 square meters. Record registration numbers mean it's a smart move, with last year's event attracting 335,000 visitors. Opening Night Live, the digital and in-person show that kicks off the event with a deluge of video game announcements, has also been moved to Hall 1 for the first time. The switch means 5,000 people will be able to attend in-person—although the showcase will also be streamed online for a global audience.Felix Falk, managing director of game—the German games industry association that owns the Gamescom brand and co-organizes the event with Koelnmesse—described interest in the show as "immense," but why has Gamescom flourished in the years following the pandemic when another major industry event that went by the name of E3 fell into ruin? Related:Speaking to Game Developer earlier this week, Falk suggested Gamescom weathered that storm and emerged stronger because organizers understood the importance of establishing a digital footprint even before COVID-19 left the world in stasis. Opening Night Live was part of that push to attract a global audience via the power of streaming, and Falk explained that almost 50 million people watched last year's Geoff Keighly-fronted opening salvo. That's a lot of eyes on the Gamescom brand. Falk said the pivot to a hybrid digital-meets-physical event that included online communities meant Gamescom was in "good shape" before the pandemic. But what about post-COVID? In a world where major publishers are by no means guaranteed to attend in-person events—largely because the likes of Nintendo, Sony, and Microsoft have all taken to saving their biggest announcements for their own digital directs—where is the value in meeting face-to-face?Gamescom organizer says face-to-face events close the 'emotional distance' between  developers and consumersFor both exhibitors and consumers, Falk suggested there is an "emotional" aspect to attending events in-person that is tough to replicate digitally." Related:"Being on-site is a totally different experience and much deeper and much more worthy for the companies and the games, compared to the digital format," he said. "You can see that if you head to the indie area, which is the biggest indie area we've ever had, and there you'll normally find the developer stood next to the game. You can talk to them—and they love the feedback. Of course, you could do a survey online and get feedback that way, but it's different from talking to each other." In short, he explained that in-person events close the "emotional distance" between developers and players to create experiences that simply cannot be replicated online. Falk described digital events as "fast" and "dynamic" by contrast, which makes them a unique proposition in their own right. So, by cultivating an online presence and letting people engage with the show virtually, Falk claimed Gamescom managed to become a "platform for the whole industry.""[The hybrid setup] means you do find target groups and communities you normally don't reach," he added. "You also reach media or stakeholders who wouldn't normally come to your specific showcase, because you're a part of the biggest show worldwide for gaming."Making digital inroads also allows Gamescom to expand without stretching the in-person event to a breaking point. Discussing what long-term success means for the showcase, Falk explained he doesn't believe Gamescom will live or die based on "one KPI of scale." Related:In fact, he said organizers have been intentionally limiting attendance in Cologne to preserve the atmosphere of the show. "We don't want the atmosphere to be worse because we squeeze in too many people," he continued. "We could squeeze more in—which we don't—because the quality of the experience is important for the fans." Still, there is room for measured growth. Falk noted the record number of exhibitors was possible because there is still room to expand the show floor, but reiterated that "more" isn't the overarching plan. "We have more exhibitors than ever before, which is great because we still have space to grow, but [success] is more about variety and diversity of content," he added. "It is not our aim to grow, grow, grow—because that doesn't make sense. It's more about the quality and most importantly the digital reach, which we have seen over the last few years is exponentially growing." Gamescom is also expanding into other regions such as Latin America and Asia, but we'll have more on that particular topic next week. Stay locked on Game Developer for more.Game Developer attended Gamescom 2025 via the Gamescom Media Ambassador Program, which covered flights and accommodation.Read more about:Top StoriesGamescomAbout the AuthorChris KerrSenior Editor, News, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, and PocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

Chris Kerr, Senior Editor, News, GameDeveloper.comAugust 14, 20253 Min ReadLogo via Embracer Group / Kingdom Come Deliverance screenshot via Warhorse StudiosEmbracer Group—which is in the process of splitting into three standalone companies following an era of mass layoffs, project cancellations, and divestments—has confirmed it will explore "targeted cost initiatives" and look to streamline processes with the help of AI technology during what CEO Phil Rogers described as a "transition year" for the Swedish conglomerate.Addressing investors in the company's latest fiscal report, Rogers said Embracer's performance during the first quarter of the current financial year was "quiet" and said the company must now focus on "operational and strategic execution" to position itself for long-term growth.Consolidated net sales decreased by 31 percent to SEK 3,355 million ($350.5 million) during Q1. Breaking that total down by operating segment, PC/Console Games decreased by 38 percent to SEK 1,641 million; Mobile Games decreased by 63 percent to SEK 520 million; and Entertainment & Services increased by 41 percent to SEK 1,193 million."As we move forward, we are taking a conservative approach for this current year, reflecting a measured view on the timing and performance of our PC/Console release schedule in addition to potential continued softness in our catalog following Q1," said Rogers, who officially stepped up as CEO on August 1, 2025, to allow outgoing chief exec Lars Wingefors to take on the mantle of executive chair. Related:"This year is a transition period as we lay the foundations of Fellowship Entertainment and focus on building a business led by key IP and empowered teams, in a structure enabling focus and operational discipline. It is paramount that we concentrate on the quality and long-term value of our releases rather than chasing short-term gains."What does that mean for Embracer employees? According to Rogers, the company will implement "targeted cost initiatives" relating to underperforming business. Those initiatives could potentially result in more divestments. Game Developer has reached out to Embracer to clarify whether those plans could potentially include layoffs.Embracer CEO believes AI will become an "increasingly supportive force"Rogers claims Embracer is facing a "pivotal moment" and must double down on its biggest franchises. He explained the company has increased capital allocation to its core IPs, which include The Lord of the Rings, Tomb Raider, Kingdom Come Deliverance, Metro, Dead Island, Darksiders, and Remnant. He believes those franchises represent "one of the most exciting IP portfolios in the industry" but said Embracer must now "sharpen" its focus. The company currently has nine triple-A titles slated for release, excluding projects being financed by external partners. Related:"As previously noted, one or a couple of these games will most likely slip into FY 2028/29, but we do see a clear increase in release cadence as compared to our average of just over 1 AAA game per year in the past five years," said Rogers, discussing that release slate. "We expect the increased released pipeline in combination with lower fixed costs will notably improve free cashflow FY 2026/27 onwards."As Embracer prepares to evolve into Fellowship Entertainment, Rogers said the company must significantly rewire its business to create a "powerhouse unit" within its PC and console division. According to Rogers, leveraging AI technologies will be  integral part of that process. His predecessor had already suggested that ignoring AI tools could lead to it being "outrun" by its competitors. "This comes through smarter collaboration, increased streamlining, shared services and with AI as an increasingly supportive force," Rogers continued. "These factors will be key to unlocking value and expanding margins." As the table below shows, Embracer has already significantly reduced its workforce following a number of layoffs and key divestments. Related:Its entire workforce totaled 7,228 people (including 5,452 game developers) as of June 2025. That a notable decrease on the 13,712 workers (and 10,713 game developers) it employed at the end of June 2024. The company currently has 116 video games in development—down on the 127 projects it had in the pipeline this time last year, but actually up on the 108 titles it showcased in March.Read more about:Embracer GroupGenerative AI, Machine Learning, & LLMsTop StoriesAbout the AuthorChris KerrSenior Editor, News, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, and PocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

IntroductionHi, I'm Berkay Dobrucali, Co-Founder of JustBStudios. I also work full-time as the Unity Team Lead at Hivemind Studios. Since my last interview with 80 Level, we won a Unity Award in the Best Artistic Content category with our Stylized Nature pack on behalf of Hivemind. These days, we've been focusing on both Unreal and Unity environments, working on some exciting new projects. I'm also continuing to bridge the gap between platforms by converting Unreal content into Unity.
Becoming an Environment ArtistSince I studied interior architecture, I started modeling houses and furniture using 3ds Max during my early university years. After graduation, I worked professionally in the field for a while. Later on, I joined an asset creator studio, where I began learning Unity. Over time, I found myself becoming more interested in environment design, lighting, and optimization rather than just modelingThe biggest challenge was starting from scratch and having to learn so many different aspects at once. But as time passed, I improved steadily and began to develop a broader understanding across various areas of environment art.I initially started with 3ds Max and became quite proficient in it. Later on, I added Photoshop to my workflow. As I specialized in both Unreal and Unity, I also found myself using Photoshop and Premiere Pro occasionally. For tasks like texture editing and video editing when needed.In the beginning, I benefited a lot from Udemy and free YouTube courses. Watching a lot of tutorials and repeating the process over and over was key to improving my skills.Environment art has always fascinated me because it has the power to directly convey atmosphere to the player. As an interior architect, I'm especially drawn to how a space can contribute to storytelling and immerse the player in a narrative. I often find inspiration from modern games and artistic platforms like ArtStation. Additionally, abandoned real-world structures and nature serve as important sources of inspiration for me.
Art-to-ExperienceI was involved in the project as the Art Director. The project was completed by three people. One of my teammates, who is also my Co-Founder, Begüm Dobrucali, was responsible for modeling and texturing the assets in the pack.She first created high-poly meshes in Blender, then baked them down to low-poly versions. For texturing, she used Substance 3D Painter. Once the asset and texture creation were complete, we asked another team member, Sude Kömür, to create the level design using the assets, based on the references we gathered. We stayed in close communication throughout this process and managed to create a compelling level. Afterward, we moved on to lighting. Since it was a desert environment, we used warm-toned directional lighting to illuminate the scene.The main challenge was placing the level elements correctly and ensuring everything was scaled properly to human proportions. Otherwise, the pack would have looked inconsistent.Using Emperia's Creator Tools plug-in was a smooth and enjoyable experience for me. The plug-in came with clear and detailed guidelines, which allowed me to follow each step carefully and complete the necessary tasks with ease. This comprehensive documentation made the entire process much faster and more efficient on my end. Overall, thanks to its user-friendly interface and logical workflow, working with the plugin was straightforward and significantly simplified my work.Thoughts on the Digital Art IndustryOne of the major issues in the industry is how quickly content is consumed and how often the artist's effort goes unrecognized. Additionally, the uncontrolled use of AI-generated content poses a threat to many artists. I believe we need more respect and recognition for the craft and the people behind it.Advice for BeginnersBeginners should focus on building a solid foundation and maintaining patience throughout the learning process. They should pay special attention to asset creation, level design, and lighting. I recommend starting with free resources on YouTube, and once they reach a certain level, diving deeper into paid courses for more advanced learning.Additionally, working on small but achievable projects is very important for growth.JustBStudios TeamInterview conducted by Theodore McKenzie