eSince my journey began in 1988, the annual Game Developer Conference (GDC) has taken place in California each year. It started modestly as a cozy gathering in the living room of Atari designer Chris Roford, hosting just 27 attendees. By the mid-90s, the event outgrew Chris’ home and expanded to over 4,000 participants. In 2005, it found a permanent venue at the Moscone Center in San Francisco. Nowadays, nearly 30,000 game development professionals attend annually. The GDC Vault online is a valuable resource, offering insights into the history of game development and practical tips across gaming disciplines.

However, GDC has faced challenges in recent years. Rising costs have become a significant barrier for developers, with conference passes exceeding $1,500, and expenses for travel and accommodation in one of the world’s most expensive cities can quickly escalate to between $5,000 and $10,000—even for small hotel rooms.

Additionally, following Trump’s re-election, many members of the global video game development community have expressed reluctance to visit the United States. The atmosphere at the conference has been dampened by the loss of funding throughout the gaming industry, alongside the pressures brought on by AI developments and ongoing layoffs. If securing funding for games is challenging, why should professionals spend thousands on travel for meetings with thousands?

As Jon Ingold, founder of UK Studio Inkle, remarks, “GDC, as an industry networking event, currently lacks financial viability and job opportunities. The United States feels like an inhospitable environment.”

This may be a reason behind the event’s recent rebranding. It was announced on Monday that the Game Developers Conference will now be known as the Festival of Gaming: GDC, promising a “week of opportunity” linked to a comprehensive B2B game ecosystem in a vision presentation. The key takeaway appears to be that obtaining a pass will be more accessible, with events being hosted not only at the Moscone Center but also across the city.

Unfortunately, this rebranding has not addressed long-standing worries among developers—that the conference is not accessible enough, and that San Francisco (or the U.S. at large) is an unsuitable venue for global gaming events. “Despite clear evidence from the COVID era that GDC could have integrated digital access, the exorbitant ticket prices reflect [organizer] Informa’s focus on profits rather than accessibility,” says independent game developer Rami Ismail, who has advocated for the global developer community on GDC’s issues.

Even when a visa is obtained, safety concerns regarding firearms, crime, and healthcare expenses linger. Furthermore, the Trump administration’s right-leaning populism has rendered the U.S. unwelcoming for many.

This concern is valid. Visitors to the U.S. face risks of deportation and even detention since Trump’s reelection. Many choose to carry burner phones and clean their social media profiles, with numerous European developers and journalists, myself included, feeling hesitant about traveling to the U.S. under the current administration. For individuals coming from Arabic or South American countries, these fears are intensified.

A consensus seems to be forming within the global game development workforce: the U.S. no longer serves as a crucial industry hub. While San Francisco remains home to top companies and studios, many feel the city has lost its creative spirit, hollowed out by the relentless pursuit of Silicon Valley’s interests.

There are viable alternatives. Canadian tax incentives make it an attractive destination for game development, and the current government is welcoming to foreigners. From Brighton in the UK to Game Connect in Australia, various regions host local developer gatherings. Events like Gamescom in Cologne, along with an increasing number of developer-centric events around the world, underscore this shifting landscape. While the GDC organizers cannot control U.S. policy, maintaining relevance as a professional game nexus will require more than a rebrand.

What to Play

The video game landscape continues to expand with exciting choices. Hades II, a visually stunning and challenging action game developed by Supergiant, is eagerly anticipated. Meanwhile, the horror reboot Silent Hill F has garnered positive feedback from many critics.

I am currently immersed in Consuming Me, an entertaining and occasionally uncomfortable game by developer Jenny Jiao Hsia about navigating high school amidst the pervasive diet culture of the 2000s. It features a quirky mini-game where players must focus on class and manage walking their dog while dealing with awkward conversations about weight with their parents.

This topic can be triggering for many, as it evokes painful memories of the 2000s’ beauty standards for women. If you’ve ever wrestled with disordered eating (or know someone who has), finding enjoyment might be challenging. However, the game addresses sensitive issues with humor, empathy, and plenty of satirical jabs, making the discomfort worth exploring.

Available on: PC
Estimated playtime: 5 hours

What to Read

• The developers behind last year’s hit, Palworld, are currently entangled in legal disputes with Pokémon companies over similarities to their creature-collecting games. They’ve announced a new game: Palpharm, which fuses adorable creatures with Stardew Valley-like gameplay.

• I’ve thoroughly enjoyed video game memoirs from TV comedy writer Mike Drucker. His latest release, Good Game, No Rematches, is now available in the UK. It offers a fascinating perspective on growing up with Nintendo across the Atlantic during the NES era, detailing how a young gamer turned into a game writer.

• For years, our game correspondent Keith Stuart has tackled the question: Why do some people choose to invert the controls? His 2020 article on the subject prompted scientists to delve into the matter, and they have finally determined that it relates to how our brains perceive 3D space.

Question Block

Following up on last week’s discussion about video game dialogue, reader William asks:

“I believe there are quotes from various video games that serve as life advice. Two of my favorite quotes are: ‘When the time comes, just act’ (Wolf O’Donnell, Star Fox Assault) and ‘Anyone who is stubborn enough can survive. Anger is an anesthetic hell’ (Zaeed Massani, Mass Effect 2). What video game wisdom resonates with you?”

This may be a contentious viewpoint, but I often find that video game quotes are profound by coincidence. The most memorable lines frequently emerge from translation quirks and voice acting inconsistencies (“I used to be an adventurer…but I took an arrow in the knee,” “Your bass is all ours,” “Jill, Master of Rocking”). They stick with us not necessarily for their deep meaning, but for their absurdity.

That said, the phrase “It’s dangerous to go alone” from the original Legend of Zelda somehow strikes me as genuinely supportive, while “The right man in the wrong place can make all the difference in the world” also comes to mind.

I invite readers to share: Are there any video game quotes that genuinely carry significance for you?

If you have a lingering question or want to include your favorite game quotes in the newsletter, please reply to this or email us at buttons@theguardian.com.