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As the videogame industry continues to be hammered by layoffs, Netflix is offering up to $840,000 per year for a new Director of Generative AI for Games
Product Reviews

As the videogame industry continues to be hammered by layoffs, Netflix is offering up to $840,000 per year for a new Director of Generative AI for Games

by admin October 3, 2025



Will Netflix ever actually develop and release its own big-budget videogame? That remains an open question, but it still seems determined to try—and it sure seems determined to do it using generative AI. The company is now on the hunt for a Los Angeles-based Director of Gen AI for Games, and it’s willing to pay an awful lot of money to whoever takes the role.

“We’re seeking a visionary and pragmatic Head of Gen AI to lead the strategy and application of Gen AI across our games organization,” the job listing (via Kotaku) states. “This role sits at the intersection of technology, product, and creativity—driving how we leverage cutting-edge AI to create meaningful, novel, and scalable experiences for players.

“You’ll serve as a key partner to our game studios, technology and platform teams, and leadership. Your mandate is to shape and scale our approach to Generative AI, from core capabilities to in-game features to entirely new forms of play, anchored in both what’s technically feasible and what’s compelling for players.”


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Prospective candidates will need to have at least 10 years experience in the industry, “demonstrating a comprehensive understanding of the end-to-end game development lifecycle, from concept to live operations,” along with various other qualifications. In exchange for their service, Netflix is prepared to pay—along with a comprehensive benefits package—a salary range of $430,000 – $840,000.

I find this help wanted ad particularly interesting in the broader context of Netflix’s efforts to muscle in on the videogame business. The company brought on former EA and Facebook executive Mike Verdu as vice president of game development in 2021 and launched its first in-house game studio in 2022. But two years later, the studio closed without even announcing a project, much less releasing one.

Shortly after that, Verdu transitioned from VP of games to VP of GenAI for Games; four months after that, he transitioned into a guy who doesn’t work at Netflix anymore. And now it wants a new guy.

Directors may be cheaper than VPs (emphasis on the “maybe,” I really don’t know) but even if that’s the case, the salary on offer here, especially at the upper range, has not gone unnoticed amidst the seemingly endless deluge of layoffs that have plagued the game industry for years—which, I must mention, includes cuts at Netflix-owned Night School, the developer of the Oxenfree games, earlier this year.

Keep up to date with the most important stories and the best deals, as picked by the PC Gamer team.

“Sorry, there’s just no money for new projects” “we have to lay off hundreds of people to cut costs” “that show/game/studio has been canceled and closed due to lack of profits”

— @kendrawcandraw.bsky.social (@kendrawcandraw.bsky.social.bsky.social) 2025-10-03T16:54:29.054Z

Netflix wants to pay someone half a million dollars a year to be “director of genAI for games”.
Your first Unity tutorial project makes you overqualified.

— @coil.bsky.social (@coil.bsky.social.bsky.social) 2025-10-03T16:54:29.006Z

I am not going to lie – if Netflix wants to pay me half a million a year to tell them that GenAI is a scam and should be avoided this is a service I am willing to provide. I will say it REAL SLOW.

— @willwarmstrong.bsky.social (@willwarmstrong.bsky.social.bsky.social) 2025-10-03T16:54:29.123Z

Netflix is certainly making no bones about its commitment to generative AI: In May the company said it plans to start showing “AI-generated interactive advertising” in 2026, and in July co-CEO Ted Sarandos gushed about the money and time saved by using generative AI instead of a conventional VFX team in its show The Eternaut, saying, “We remain convinced that AI represents an incredible opportunity to help creators make films and series better, not just cheaper.”



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October 3, 2025 0 comments
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Disco Elysium devs at ZA/UM form the UK industry's "first recognised videogame workplace union"
Game Updates

Disco Elysium devs at ZA/UM form the UK industry’s “first recognised videogame workplace union”

by admin October 2, 2025


Videogame developers at Disco Elysium studio ZA/UM have founded what they’re calling “the first recognised workplace union in the UK games industry”, operating as part of the Independent Workers Union of Great Britain. It’s yet another twist in the tale of a once-feted development studio who are now heavily associated with toxic layoffs, alleged fraud and diasporic feuding.

“The recognition process provides workers and management with a strong framework to engage and negotiate on workplace-related matters,” the unionised workers announce in a press release, passed along by Game Developer. “A committee of elected workplace representatives will regularly meet to discuss matters brought forward by the game developers at ZA/UM and management, with the support of union officials.”

The press release notes the past couple of year’s staggering quantity of mass layoffs, commenting that “job security [is] one of the union’s central focuses”. It includes thoughts from Eugenia Peruzzo, organising officer of the IWGB Game Workers Union, who comments that “recognition agreements lay the groundwork for a healthy relationship between the company and workers and rebalance the scale of powers after a few terrible years for the game industry and the redundancies we have seen happening at ZA/UM lately.” Peruzzo is confident that more UK videogame workers will unionise. “Rest assured that this is not a one off, but this is an avalanche in the making,” she says.

There’s a much fuller write-up of the situation on GamesIndustry.biz, which includes an interview with current ZA/UM president and Private Division co-founder Ed Tomaszewski. He observes of studio management’s negotiations with the emerging union “that when we did talk about it, it was clear that recognising a union was core to our values as a studio, to be providing fair working practices.”

In the GI piece, Tomaszewski also pushes back a little against some of the accusations or “characterisations” levelled at ZA/UM by certain former staff. I imagine that said former staff will be pushing back against Tomaszewski in turn.

Image credit: ZA/UM

ZA/UM have lost many of the people who made Disco Elysium a hit, but according to Game Developer, they now have “almost 100” people on the books after laying off a quarter of the studio and cancelling a Disco Elysium expansion early last year. Their current project is Zero Parades, a colourful espionage CRPG James summarised as “Disco Elysium in glasses and a moustache”, adding that “it isn’t always clear whether Zero Parades is inspired by Disco Elysium or beholden to it.”

Many of the departed Disco Elysium staff are now working on spiritual successors of one kind or another. Over at Summer Eternal, several former ZA/UM staff including writers Argo Tuulik and Dora Klindžić are making Red Rooster, which was recently teased in curious book anthology form. Longdue Games are making Hopetown, a psychogeogratuitous RPG which Nic summarised as “Nathan Barley on the bus”; their trueblood Disco complement includes ZA/UM’s co-founder Martin Luiga, plus Piotr Sobolewski from outsourcing team Knights of Unity. Dark Math Games boast of former Disco motion graphic designer Timo Albert and former ZA/UM producer and investor Kaur Kender; they’re making the recently renamed Tangerine Antarctic, which has a “dopamine buffet”.

I offer this summary to the next RPS staffer to write about ZA/UM-related matters, in frail hope that the situation won’t be anymore complicated by then. Oh god, I’ve just remembered we haven’t yet found out what former Disco writer Robert Kurvitz and artist Aleksander Rostov are making at their new outfit Red Info.



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October 2, 2025 0 comments
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A Bop It! toy floating above a city
Gaming Gear

The adaptation you’ve been waiting for since 1996 is finally here: Bop It! is now a videogame

by admin September 19, 2025



Videogames are great but don’t you wish they had more bopping? And not just more bopping, but also more twisting and pulling, perhaps of… I don’t know, some sort of nebulous… it? And most importantly, a loud voice telling you exactly when you should bop it, twist it, and/or pull it?

Your oddly specific prayers have finally been answered, because nearly 30 years after the discovery of the cursed Pandora’s Box-like artifact known as Bop It!—which demanded its user perform ritualistic bopping, twisting, and pulling of its button, knob, and handle in the precise pattern needed to finally release the prophesied Loud One, known as Bophomet, upon the world to reign for all time—is now a videogame.

It’s called Bop It! The Video Game and it’s on Steam. Check out the trailer below, which goes a little something like this:


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“Bop it! Twist it! Pull it! Twist it! Bop it! Pull it! Twist it! Pull it! Bop it! Twist it! Pull it! Twist it! Bop it! Twist it! Pull it! Twist it! Bop it! Pull it!”

The Steam page promises (or threatens) “Hot Bop It! Action!” for one or two players (in local co-op), plus a global leaderboard to see how you stack up against other hot boppers. And there’s not just classic mode but an “EXTREME” mode (caps theirs) where you can also be yelled at to “Spin it!” and “Flick it!” on an evolved version of the Bop It! that has grown two appendages. Chilling.

I unfortunately have never had the pleasure of playing or even seeing an actual Bop It!, which crossed over into our dimension back in 1996. Yet I somehow know all about it, as if it revealed itself to me in a dream or some troubling vision. This is my chance, I suppose, to finally bop, twist, and pull the Bop It! for myself, if only virtually.

Wish me luck. According to the Steam page, “the best part of Bop It! The Video Game is that the levels never end: as long as you can stay in, the game will keep going.” If you never hear from me again, it may be because I now bop eternal.

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September 19, 2025 0 comments
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Paimon in Among Us.
Gaming Gear

In a world of cursed videogame collaborations, Genshin Impact being in Among Us might be a top contender

by admin September 9, 2025



Nope, it’s not a trick of the eye: Genshin Impact is making its way into Among Us. I don’t know either.

It’s somehow not even the most cursed gacha game matchup to happen in recent months—Infinity Nikki just wrapped up a rather drama-mired Stardew Valley collab, and gooner gacha Nikke is about to have Jill Valentine all caked up to fight some Raptures—but I’m still not sure how I feel about seeing a tiny little crewmate all uwu’d up.

🤫🔪#GenshinXAmongUs #ItStartsInNodKrai pic.twitter.com/vbsCSB61AmSeptember 8, 2025

The whole thing is part of celebrating Genshin’s upcoming 6.0 version, Luna I, which launches the same day as the collaboration. It’s adding new region Nod-Krai, story quests, and of course new banner characters to roll precious primogems on.


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Among Us will be getting a Paimon costume—complete with wig and crown and everything—along with a Genshin-themed nameplate. In the collaboration announcement, Innersloth says “One of the Crewmates has been obsessed with playing Genshin Impact between tasks, so we had the pleasure of working with HoYoverse to cook up these cosmetics and satisfy your Paimon-ial needs for free.”

The Creation of Sus ඞ#GenshinXAmongUs #ItStartsInNodKrai #GenshinImpact #原神 pic.twitter.com/9kcSZn9PbsSeptember 8, 2025

Of course, the idea of Paimon being a spaceship imposter has the artistically skilled going absolutely wild on X, and it’s a rare occasion where I can say my timeline has been utterly blessed with some of the most absurd Genshin/Among Us art known to man right now.

The collaboration starts on September 10 and runs for an entire month, ending on October 10. Sadly there’ll be no tiny spacesuit dweebs running around Teyvat anytime soon, but folks who log into Genshin Impact will be able to grab a free five-star unit, including:

  • Dehya
  • Keqing
  • Mona
  • Qiqi
  • Jean
  • Tighnari
  • Diluc
  • Mizuki

While collaborations are pretty rare for Genshin—which probably explains a lack of anything Among Us-y—Innersloth’s social deception game has been going full Fortnite as of late. It’s added in cosmetics from the likes of Yakuza, Spirit City: Lofi Sessions, Ace Attorney, Vox Machina, and Undertale over the years.

Keep up to date with the most important stories and the best deals, as picked by the PC Gamer team.

Crewmates have also shown up in the likes of Balatro, Super Monkey Ball, Vampire Survivors, and The Binding of Isaac.





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September 9, 2025 0 comments
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The envoy from Avowed takes a dreamlike rest amongst a glimmering city.
Gaming Gear

You’ve all been playing too much Silksong this weekend, have some sleepy videogame soundtracks so you can finally get a little shuteye

by admin September 7, 2025



I’ll tell you something, I’ve been tired this week. Summer is winding down in the northern hemisphere, the days are getting shorter, and I feel like my body is already preparing to go deep into a winter hibernation. Hot chocolates, caning an entire sleeve of biscuits and then feeling mildly gross afterwards, scorching my skin under an electric blanket. All that good stuff.

Soundtrack Sunday

Welcome to Soundtrack Sunday, where a member of the PC Gamer team takes a look at a soundtrack from one of their favourite games—or a broader look at videogame music as a whole—offering a little backstory and recommendations for tracks you should be adding to your playlist.

As the temperature starts to shift, I find the music I listen to does with it. I crave mellow beats and twinkly chimes as it gets colder—like a MIDI fluffy blanket. Videogame music is literally perfect for this. If there’s a mood I’m in, there is almost definitely a videogame soundtrack out there that fits my desired vibe perfectly: cleaning, working out, writing, and of course, falling asleep.

I think part of that is just down to how we engage with music in videogames compared to any other medium. A film score might only need to orchestrate a short battle, or a fleeting moment, and an artist’s album is often more a reflection of themselves than of a world built around their music.


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But videogame music can end up playing for hours on end, as big a storytelling device as the narrative or the characters, leading to this delicate balance of the genre where its looping melodies can’t be too invasive but neither can they be too forgettable. It’s that balance that makes it so perfect—the music finds the perfect nook in the back of my brain to snuggle up in.

Nostalgia almost certainly plays a part in crafting cosy videogame playlists, too. While I’ll happily listen to chilled-out tunes from games I’ve never touched, I always get the biggest fuzzies from the ones I have a huge emotional attachment to.

I would argue that Nintendo easily has the cosy videogame music market cornered—Animal Crossing hourly music is a mainstay in my relaxing playlists, and The Legend of Zelda has some some straight bangers—but that doesn’t mean PC gaming is bereft of snug tunes that wouldn’t sound amiss amongst a crackling fireplace.

If you’re also feeling the changing seasons waning on you, maybe drop a few of these tracks before bed or while curling up with a good book. Assemble a videogame playlist so snug as a bug in a rug that you accidentally hole up in a Stardew Valley-induced winter coma for the next three months.

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C418 – Sweden

Minecraft Volume Alpha – 18 – Sweden – YouTube

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For a game that can give vibes so deeply unsettling—I once got into a proper tizzy as a child when I became lost in a giant cave while zombies groaned and spiders screeched—Minecraft somehow manages to envelop all of that in one of the most beautifully comforting soundtracks.

While the survival crafting game continues to put out very good music, Volume Alpha, the original soundtrack composed by Daniel ‘C418’ Rosenfeld, is where some of its best tracks lie. His approach to creating a simplistic, ambient soundscape is where so much of Minecraft’s charm lies, but those songs still hold much of the same power outside those blocky walls.

There are so many good tracks to choose from here, but nothing gives me the fuzzies more than Sweden. There’s a reason it’s the most popular one—the gentle piano that gradually increases in velocity as strings enter into the party.

It’s incredibly simple—as much of the early Minecraft music is—but it’s what makes Sweden work so dang well. The same melody looping, occasionally with different instruments, giving a sense of familiarity that lends itself so well to being cosy as hell. A crazy good gem of videogame music.

ConcernedApe – Dance of the Moonlight Jellies

Dance of the Moonlight Jellies – YouTube

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Bar Minecraft, Stardew Valley may well be the de facto cosy PC game. For the current vibes, nothing felt more fitting than chucking Dance of the Moonlight Jellies on this list. It’s a song that plays during the festival of the same name in late summer—hey, that’s where we’re at right now—in an incredibly serene moment of jellyfish lighting up the nighttime sea.

It’s got all that twinkly goodness I was yapping about earlier, and is a song I could easily listen to on loop over and over again. The fact that Eric Barone was able to compose such a cracking soundtrack while also, you know, making the entire game, is a ridiculous feat and I will forever be envious of that man’s talent.

FoldEcho — Stellar Fishing Ground

Stellar Fishing Ground – YouTube

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Infinity Nikki has a song for just about every damn thing in that game, but the one that always has me sticking around to listen is the song that plays at the Stellar Fishing Ground. It genuinely bums me out that it’s barely a minute long on Spotify, because it perfectly captures that simplistic ambience I love so much about other entries on this list.

The melody is minimalistic, almost reminiscent of late-night Animal Crossing hourly music, and I’ve fallen asleep to a looping playlist of just this song more times than I can count. Maybe it’s the Nintendo-ness of it that makes me feel weirdly nostalgic for it, despite not even being a year old.

Masayoshi Soken – Serenity

Speaking of nostalgia, this is a song I have heaps of it for. I’ll always have a soft spot for early Final Fantasy 14 tracks as someone who’s been playing for over 10 years now, and I’m especially biased towards the music of Gridania. It’s where I started as a hopeless catgirl archer all the way back in 2014, and while most of my days are spent in Limsa now (as is the way), I’ll forever love the Shroud for all its foresty warmth.

That’s exactly why I had to pick Serenity—though Endwalker’s One Small Step is an incredibly close second choice. It’s the field theme for the lands beyond the city of Gridania, and always throws me back to memories of spamming levequests and tackling FATEs I most certainly was not equipped to handle. It’s got all the things I love in a relaxation/sleep playlist—piano, soft strings, delicate melodies. It’s almost Tolkeinesque in its sound, something I wouldn’t feel amiss hearing in a Lord of the Rings film.

The “Piano Collections” version of Serenity is equally excellent, with resident pianist Keiko somehow making the entire track even more tranquil than its original.

Toby Fox – Shop

I played Undertale many moons ago and honestly cannot remember much about it (I know, I’m sorry) but the OST has always stuck with me. This is another case of one person being able to do it all, with creator Toby Fox also penning the soundtrack.

I’d argue that Megalovania isn’t exactly prime dreamland material, but Shop certainly is. It toes the line of being just mildly unsettling in the way almost all of Undertale is, but strangely homely at the same time.

It’s another track on the shorter side, but still packs a real peaceful punch. It’s a little less ambient than some of the other tracks on this list, but that’s kinda what I dig about it, with a wonderful blend of retro chiptune style and piano taking turns throughout the 50-second track.



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September 7, 2025 0 comments
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Dante's epic poem La Divina Commedia is getting turned into a videogame again
Game Updates

Dante’s epic poem La Divina Commedia is getting turned into a videogame again

by admin August 20, 2025


Enotria: The Last Song developers Jyamma Games are making a new action-RPG inspired by and named after Dante Alighieri’s 14th century epic poem La Divina Commedia, aka the Divine Comedy.

Like the poem, it sees you descending through the circles of Hell, each the geological manifestation of a particular Sin. Unlike the poem, it features a set of combat classes, a choice of protagonist genders, a narrative alignment system, procedurally generated extraction dungeons, and customisable weapons and armour. As the poet himself might say: in the middle of the journey of our life I came to myself within a dark wood where I had to grind for crafting materials.

The games industry has not been mega gentle with poor old Dante, whose monumental work helped establish the Tuscan language and influenced a brace of English writers, from Blake to Beckett. The best-known video game adaptation is probably still Visceral’s cheeseball 2010 action-adventure Dante’s Inferno, which is often more interested in aping God Of War. A cynical man or snob (hello!) might look at the below, hacky-slashy trailer for Jyamma’s adaptation and consider it to be another act of wanton literary desecration. Terza rima isn’t supposed to be a three-hit combo, you blistering philistines!

Watch on YouTube

Still, this isn’t quite another exercise in crafting boobwalls for the circle of Lust or punching organs out of bodies. Enotria was pretty metaphysical for a Soulslike, building a universe and combat system around the practice of stagecraft, and Jyamma’s take on the La Divina Commedia is similarly dreamy – it turns Dante’s poem into a kind of overarching mythology.

“In this new adventure, the studio presents an epic journey set in a world where The Divine Comedy has supplanted the old faith, bringing about a golden age of righteousness among humanity,” explains a press release. “When dark forces subvert the promises of the poem, order collapses and the world is thrust into chaos. The player will take on the role of a warrior-poet trapped in the infernal depths, called to descend through the circles of Hell, face increasingly powerful demons, and redeem a sinful past.”

Sounds quite involved. Still, I’m not sure where the procgen extraction dungeons fit in, exactly. The idea of mining hell for loot and progression materials is the kind of videogame conceit I’d love to lay before an actual 14th century theologian. I’m sure the humour of the situation would be well worth the inconvenience of being burned at the stake. Anyway, there’s no release date yet for La Divina Commedia. The poem took about 12 years to write – hopefully, Jyamma will turn their version around a little sooner.

Check out our Gamescom 2025 event hub for all the PC game announcements and preview coverage from Cologne.



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August 20, 2025 0 comments
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Varric and Harding in Dragon Age: The Veilguard.
Product Reviews

We can’t keep making videogame stories for players who aren’t paying attention to them

by admin August 18, 2025



Harvey Randall, Staff Writer

(Image credit: Future)

Last week I was: Talking about entropy in MMORPGs, and being a busy bee in World of Warcraft.

I’ve noticed a trend—particularly in some recent RPGs—of, well, let’s call it ‘Netflixiness’.

Dialogue designed to leave absolutely nothing to interpretation, to exposit information in the most direct way possible, devoid of any real character or context. There’s an assumption that any moment the audience spends confused, curious, or out-of-the-loop is a narrative disaster.

I hate to keep knocking Dragon Age: The Veilguard about, especially since I still had a decent time with it all told, but the thing that made me break off from it after 60 hours really was its story. It’s a tale that does get (slightly) better, but it gave me a terrible first impression I never quite shook.


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Given the game’s troubled development history, and the fact that some of its writers have produced perfectly fine work before (Mordin Solus, for cryin’ out loud), I’m led to believe this pattern comes from the top. Well, I have a hunch.

When Varric says “That ritual is going to tear down the Veil—the only thing separating us from the Fade and an endless number of demons” to Rook, his mission partner, who should know all of this already, I can’t help but think of one thing. Second screen viewing.

In this excellent article in the International Journal of Communication, Daphne Rena Idiz recounts a time where an interviewee told her that Netflix had insisted: “What you need to know about your audience here is that they will watch the show, perhaps on their mobile phone, or on a second or third screen while doing something else and talking to their friends, so you need to both show and tell, you need to say much more than you would normally say.”

Now Harvey, one might say, that makes absolutely no sense. Videogames—with some exceptions in genre, like idlers—aren’t played as second screen activities. To which I would reply: You’re exactly right, but since when has that stopped executives from chasing trends against common sense before? These are the people who thought Veilguard still should’ve been a live service game. After everything.

Keep up to date with the most important stories and the best deals, as picked by the PC Gamer team.

This is conjecture, but I don’t think it’s out of pocket to assume some of these companies are chasing the narrative successes of streaming services. Or that in doing so, their big bosses might adopt all sorts of “wisdom” designed for making media meant to be consumed, not enjoyed.

After all, in these second-screen shows, nothing is left up to chance. If your audience gets lost, it’s bad. If your audience gets confused, it’s bad. Bad stories are confusing. Good stories are understood. I know these things because I’ve looked at other good, popular stories.

The Veilguard follows in this trend, because it’s a game that’s terrified of audiences getting lost at any point. As fellow PCG writer Lauren Morton put it, it’s “desperate to chew my food for me”. And whether the problem lies with big movers and shakers at EA, or their selected testing audiences, it doesn’t matter. Because we’re shooting ourselves in the foot, here.

Everybody loses

Videogames are enjoyed in a ton of different ways—some are even designed for you to tap out of the story entirely, or to only engage with it as an option. And this is fine. But you cannot, as EA did, reach for other audiences on the assumption that the nerds will like whatever you give ’em.

(Image credit: BioWare, Electronic Arts)

Some players will skip every cutscene, glaze over every dialogue entry, and hammer their skip button ’till the face button’s worn out. And I have no qualm with these people—they simply value a different set of things from me. We can coexist. It’s the design assumption that we must be met in the middle that’s messing us up.

For this player, a story that’s impossible to ignore will barely register for them. If anything, it might backfire—making them feel coddled or pushed into situations they don’t care about. And for me, dialogue that’s written for people who aren’t paying attention makes my brain want to crawl out of my skull and autonomously go do anything else.

Here’s the thing: Good writing advice says to ‘show, not tell’ not because everything must be shown as soon as it comes up, lest the audience be lost, but because it’s inherently more interesting to give us the pieces we need to draw conclusions. Crucially, you don’t always have to actually give people information.

Confusion isn’t a fail-state, not having the answers immediately isn’t a disaster. It’s okay to let a question mark float above your player’s head, or to trust they’ll get the gist from context clues. We can tell the ritual Varric and Rook are trying to stop is dangerous because they’re trying to stop it. I promise.

Confusion isn’t a fail-state, not having the answers immediately isn’t a disaster.”

I feel like there’s this phantom assumed viewer who, without a full set of narrative cards in their hand, will throw their controller and immediately do something else. And that makes me sad, because it assumes your players aren’t curious. That they don’t want to have questions, or aren’t interested in seeing where something leads.

Some aren’t, sure, but if you design videogame stories for them, you rob from your most invested players the simple pleasures. Analysing the story, looking deeper into scenes, discussing it with each other online. And as someone who watched Final Fantasy 14 reach a fever-pitch of over-explaining during Dawntrail, that stings, let me tell you.

I’m sick of seeing games with an air of corporate weight sitting on top of them. I’m tired of watching a scene and going “yep, that probably tested well with audiences”. I’m exhausted by this pervasive idea that writers are to be resented, or that I have the memory of a goldfish (I do, but that’s besides the point).

I want to get a little lost. I want to have to think about what a scene I just watched meant. I want to see where your story goes, rather than be told where it’s headed. We simply cannot keep making videogames for people who aren’t paying attention, because it won’t change anything for them—and it’s making the rest of us bloody miserable.

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August 18, 2025 0 comments
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Sketch crew Aunty Donna's latest improv piece turned their set into a giant side-scrolling videogame and it's great
Product Reviews

Sketch crew Aunty Donna’s latest improv piece turned their set into a giant side-scrolling videogame and it’s great

by admin August 18, 2025



What happens when you put three very silly sketch comedians in a fantastical videogame environment reminiscent of the most frustrating, foolish, and hilarious 1990s point-and-click adventures? You get Aunty Donna’s latest sketch, “IRL videogame,” which in addition to using the PC Gamer preferred spelling of videogame is pretty funny stuff.

In it, comedians Mark Bonanno, Zachary Ruane, and Broden Kelly get dropped into a fantasy world by their producers and have to play along, including marching in place as the background scrolls past, through a series of increasingly strange and unhinged adventure encounters. Do they survive? What do they encounter besides a king that’s kind of like a baby? I don’t want to ruin it, but I can tell you there are way too many milkshakes for one man to handle.

The 30 minute version on YouTube is a cutdown of the full thing, which was made for subscribers of Aunty Donna’s (free) Patreon which has over 20,000 subscribers which is honestly a lot of subscribers for a Patreon even if it’s a free one. Anyway, subscribed or not, both versions are good and funny to me. They’re properly the exact kind of reaction you’d wish you could give to the goofy NPCs that popular adventure series.


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Sketch group Aunty Donna has been doing their thing in Australia, and also the internet, for a long time now. It’s somewhere between surreal and absurd. They came to greater worldwide attention with Netflix series Aunty Donna’s Big Ol’ House of Fun, which prominently features a mouthy dishwasher that gets its rightful comeuppance.

Anyway, shoutout to Zachary Ruane for just straight-up sitting down because he’s tired. Man’s gotta get his rest somehow.

You can go watch these men react in an absurd way to their absurd life for about 30 minutes on YouTube and the full 70-minute cut on the Aunty Donna patreon.

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