bloated and noisy. The live service model hinges on a sustained and growing player base, creating a beast that continuously needs feeding: More updates, more items, more events. For players, there can be comfort in that; a game to keep returning to, adding a constant to lives that often feel volatile. But there are only so many games we
can invest our time and trust in, so how long until what is supposed to be fun, starts feeling like a grind to just… keep up? New games only account for 8% of total playtime, and it’s no
coincidence the same titles keep dominating the charts. Getting into something new simply feels too hard, too much work - and with 1/3 of AAA developers currently working on a live service game, it’s not a leap to say there are too many games vying for our attention (and effort).
MANY GAMES FEEL THE SAME Photo realism and impressive high-fidelity graphics are a feat of modern game engines and there’s no question they do look stunning. But if every game is falling over itself to be as life-like as possible, where is the escapism? Where is the sense of individuality and playfulness that makes each game a distinct and rich experience? It begs the question whether games are still trapped trying to fulfil a burden of proof that they should exist at all: ‘Look at us!’, it seems they’re trying to say. ‘We look like the movies!’ But games aren’t simply interactive movies, they’re complex
experiences that challenge our ability to solve problems, deal with failure, to pick ourselves back up again – and so much more, all in their own way. So, if most games try to simply find variations to tried-and-true
formulas, and chase the same audiences, they cannot all succeed. If we try to make games for everyone, we end up making games for no- one. It takes courage to step off the beaten path, and explore different, playful possibilities - but it’s worth it!
IT PAYS TO BE PLAYFUL Delivering fun and playful experience isn’t simply about idealism – there’s a financial reward in doing so. Currently, it’s mostly Indie studios who are able to create weird, wonderful, and bravely playful games. With smaller budgets to play with, but more creative experimentation opportunities, they have more freedom to experiment. The results? In 2024, indies rivalled AA and AAA total revenue for the first time ever while the ratio of Indies vs. AAA/AA releases has stayed fairly stable for the past years. In simpler terms: Indies like Clair Obscur: Expedition 33, Manor
Lords or Balatro are making more money off their games. Their creativity and risk taking is, quite literally, paying off. Brawl Stars is another surprising case study for how it can pay to play. Whilst Supercell had its eyes (and targets) fixed on Clash of
Clans, the Brawl Stars team were able to move more freely, and do what they do best. Have fun, trust the team’s creativity, and take calculated risks to deliver fresh and exciting experiences to fans. The result was one of Brawl Stars’
biggest years since global launch, and what CEO Ilkka called an explosion in “...every conceivable metric, like I have never seen before in my entire career.”
Supercell can now boast annual revenue of $3B for the first time in its history. Thanks to playful innovation.
PLAY AS AN ANTIDOTE TO BURNOUT In an industry where burn-out and stagnation are a big concern for game devs, playfulness may seem like a luxury – but the opposite is true: It’s essential for productivity and performance. From navigating evolving technologies to meeting rising player
expectations, creating video games today demands more than ever before. As development cycles intensify, many teams are finding themselves working longer hours to keep up. Whilst short bursts of stress can elevate creativity, prolonged
stressful environments ultimately negatively impact our ability to solve complex issues or think creatively (Yerkes-Dodson Law). How can we expect game devs to create innovative gaming
experiences if we aren’t providing them with the core requirements of doing so? There is ample evidence from the fields of neuroscience,
psychology, education and organisational science that proves the positive impact of play: Not only were workers in more playful environments better able to positively cope with stress (Proyer, R.T., Tandler, N., & Brauer, K. Playfulness and creativity: A selective review, 2024), playful distraction is heavily associated with higher creativity and innovative thinking (Bateson & Martin, Play, Playfulness, Creativity and Innovation, 2013). It may seem counterintuitive to make time for playfulness in
an industry that feels like it’s never off the clock. But if science is teaching us anything here, it is that play shouldn’t be seen as a distraction, but as a key strategy for fulfilment and innovation.
BE BRAVE. FIND YOUR PLAYFULNESS. In 2011, the fantastic Jane McGonigal held a talk at SWSX that rings as true today as it did then. She said “Legendary work is something that should be on all of our minds [...] and some of us are going to have to rise to the heroic occasion”. Games should be fun. They should bring us value and teach us
things about ourselves and the world. At the moment, all of the industry’s troubles make it hard to remember
this, and limit our freedom to feel playful with our work again. But it’s not despite all this, but precisely because of it that we
should rise to the heroic occasion, and create legendary, playful work. For the sake of the industry - go and have some fun. I know I will.
June/July 2025 MCV/DEVELOP | 35
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