oIn the modern gaming landscape, many developers agree that generating any buzz for new projects is a challenge without hefty marketing budgets. Last year, nearly 20,000 new titles hit PC gaming platforms, as noted in Steam. This deluge has effectively vanished into the vast sea of online content. So, when a small studio snagged a spot on stage at the Summer Game Fest, live-streamed to approximately 50 million viewers worldwide, it was quite a significant achievement—not one to be underestimated or misrepresented.
This brings us to Ian Proulx, co-founder of 1047 Games. During his brief appearance at the event, he took the stage wielding a baseball bat to promote the online shooter Split Gate 2, stating he was “tired of doing the same things year after year.” Unfortunately, this approach backfired. Both gamers and fellow developers criticized his choice to incorporate another studio’s game alongside politically charged memes, especially during a time when anti-ICE protests were facing violence across town. Proulx defended his actions by asserting that the slogan’s use was non-political; however, just four days later, he issued an apology. He explained, “We needed something to capture attention. The truth is, we struggled to come up with something. This is what we settled on.”
What Proulx hadn’t anticipated is that the fast-evolving memetic culture of 2025 is crucial, with its nuances and sociopolitical implications constantly shifting. You can’t just throw around cheeky symbols or memes from platforms like 4chan without understanding their contexts. Just look at how embarrassingly out of touch figures like Elon Musk and Edgelord Shacktick became in the mid-2000s. Memes require context for expansion. And you can’t present yourself as the vanguard of FPS while peddling battle royale modes, especially when they are recycled versions of existing games. Are we serious about 2025?
While I’m not fully aware of 1047 Games’ specifics, I’ve visited numerous game development studios worldwide. Regardless of how progressive they wish to be, they often overlook the fact that the dominant monocultural preferences of middle-class men may not resonate with everyone else. Proulx commented, “We tried to think of something. This is what we came up with.” In a boardroom filled with like-minded individuals, it likely felt humorous, but they should have consulted with someone outside their bubble first.
Split Gate 2 now finds some potential customers turned off by the misguided MAGA-themed bit, while another segment that Proulx has apologized to holds resentment; it’s a negative spiral. This situation is problematic, especially since multiplayer games depend on enthusiastic communities to promote themselves.
Proulx could have made smarter use of his 30 seconds of fame on stage. Reflecting on memorable moments from recent E3 events, positive memories include: former Xbox chief Peter Moore showcasing his Halo 2 tattoo; game artist and director Nakamura engaging the audience with her infectious enthusiasm for Ghostwire: Protocol; and actor Keanu Reeves exclaiming, “You take your breath!” with audience members during the Cyberpunk 2077 presentation. In a climate rife with faux machismo and posturing, these charming and genuine moments shone like beams of sunlight. You don’t need to step on stage brandishing slogans or baseball bats; your most valuable asset in this highly digital, anonymous creative world is your humanity.
What to play
This week, we have several intriguing game releases, including I’ll Date Everything, a game where you can date a toaster, FBC: Fire, a spin-off from Remedy’s Cult Studio, and Tron: Catalyst, Bithell Games’ Disney cyberspace classic.
I’m particularly excited about Rematch. It’s an arcade-style 5-v-5 football game influenced by the Rocket League phenomenon. Unlike EA Sports FC, it focuses on individual players, each equipped with flashy skills, meaning you don’t need extensive knowledge of soccer to enjoy it.
Available on: PC, PlayStation 5, Xbox
Estimated playtime: Whatever you choose
What to read
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Question block
Leader Adam asks this week’s question:
“As a British literature student, I found Button’s newsletter this week about the intersection of video games and Shakespeare thoroughly engaging. It got me thinking—what classic literary works could be transformed into video games, and I’ve always considered Edmund Spenser’s 16th-century epic, ‘The Faerie Queene,’ a prime candidate.”
Conveniently, this is a subject I frequently pondered post-graduation from British literature. When considering classic works that could make great games, I envision ‘The Rime of the Ancient Mariner’ as a dark, rogue take on the Oregon Trail, styled like the revival of OBRA Dinn. I imagine Conrad’s ‘Heart of Darkness’ reimagined as a Hill-style psychological horror. Or even turn ‘Pride and Prejudice’ into a rich dating sim (we’re almost there; titles like ‘Tom Jones’ and ‘Middlemarch’ could inspire an incredible open-world adventure).
In the “Historical Author Turned Game Designer” category, two evident candidates arise. Mary Shelley and H.G. Wells stand out as deeply inspired writers in science and technology. Bertolt Brecht, a playwright known for engaging popular audiences with various methods, along with August Strindberg—who dabbled in photography and the occult—could see themselves crafting iconic RPGs at the Summer Game Fest.
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Source: www.theguardian.com
