If you look back a decade or more, the structure of the sport business has modified. And certainly one of the essential recent sorts of firms in that structure is the layer of the sport industry often called external development, or what was often called outsourcing.
And the most important company in that space is Keywords, which has 13,000 game developers across dozens of studios world wide. Bertran Bodson has been the CEO since taking up from Andrew Day in 2021. Bodson got here aboard within the midst of the pandemic and handled the downturn and layoffs that hit games previously 2.5 years. Since he has joined Keywords, there hasn’t been a “normal” 12 months yet.
But Bodson believes that Keywords and other external development firms have created a cushion of sorts for game makers, allowing them to operate ambitious game studios with perhaps not more than 50 people. Those studios can flex up or flex down the workforce, and so they can use teams from Keywords from the very start of a project in what’s often called co-development. When a studio hits its peak after which begins to wind down its team, it doesn’t at all times should lay off people. Rather, Keywords can take people off one project and put them on one other rising project — on the bet that not everybody finishes a game t the identical time. This is a structural change in the sport business that would make the ride easier for all.
I talked to Bodson concerning the state of gaming in 2025, as he gets a view of so many firms and game projects across the industry. Keywords serves many of the top 25 game firms, and without delay he sees a “massive shift to quality” and to partners they’ll trust for the long run. As an example, Keywords has six or seven studios working to offer content for Fortnite alone. And of the winners of The Game Awards last December, Keywords touched about 86% of the games.
As for change, he said, “It won’t occur overnight. It’s going to occur at different speeds. But I believe it’s fundamental.” One of the nice things? Bodson sees a number of “green shoots” rising in gaming that would replace the “doom and gloom” of the past 2.5 years. But that also could mean that 2025 will likely be a tricky 12 months, while real recovery could possibly be more visible in 2026.
Here’s an edited transcript of our interview.
GamesBeat: Where do you stand when it comes to variety of employees and studios now?
Bertran Bodson: We have about 13,000 people world wide in 26 countries. We have about 25 studios around our create division. We have three big divisions: create, globalize, and have interaction. Create is co-development, design, art. About 5,000 professionals in that space, creative technologists. Around 25 studios in 4 or five big regions world wide. Globalize is roughly one other 5,000 people, after which Engage – which incorporates trailers, cinematics, in-game capture, and influencer marketing, all of the solution to paid engagement – is about 2,500 or 3,000 people.
GamesBeat: Does that offer you something near 70 studios still, or is it greater than that now?
Bodson: We’ve quoted that (previously), and there’s some truth to it, but really Globalize is under one brand. It’s really Keywords. When we began there have been separate brands, but we’ve drawn that together into one single brand, Keywords. The point of Globalize is in testing and localization, to have the ability to be 20-30% more efficient than individual publishers or partners may be. That’s essentially one studio. We have different locations world wide. From a language perspective we cover about 30 languages.
Engage has roughly 10 studios, plus player support, player engagement, which fully operates under the Keywords brand. So it’s lower than that 70 figure that you just might need heard, because we’ve brought quite a number of things together into these divisions.
GamesBeat: What was it like if you first joined and were getting began in 2021?
Bodson: An amazing company. That’s why I joined in the primary place. An amazing culture. Their sense of collegiality, their sense of entrepreneurship. I’m a former entrepreneur myself. I really like working with entrepreneurs. Many have put their soul into their studios, into what they’ve been doing for a few years. It’s interesting. It’s big, but at the identical time it feels small. We were 9,000 people on the time, roughly, so we’ve grown quite a bit since then, nevertheless it still feels very approachable. At GDC last week all of us knew one another. We all interact on Teams on a regular basis. We can reach out at any time. I pride myself on the way in which things can escalate in a short time across the organization, which is a little bit of a tradeoff for entrepreneurs. I sit in the course of the studios once I’m in London, where we’ve five marketing studios. There’s really that vibe of entrepreneurship, that vibe of moving fast.
At the identical time, I just like the indisputable fact that–once I began in 2021, we had nine service lines on the time. To be honest, certainly one of the observations we got from clients was, “Who are you at Keywords?” It’s a wide range of different services. That’s why we decided to have a look at, who’re the important thing deciders? That’s why we moved back to create, globalize, and have interaction, which mapped the deciders on the production side, on the post-production side, and on the engagement side. It’s a mirrored image of that.
We are games through and thru. You can feel that wherever you go, that absolute passion for games. If you were within the office at a studio like Maverick–a number of what they do is Pokemon. It’s all Pokemon all over the place. If you walk a couple of steps further to a different studio you’d see a unique atmosphere. But at the identical time there’s a unity of platform that joins us together. The thing that was essential to me early on was how we are able to make the perfect of one another. How can we construct a partnership, a platform in order that when a studio joins us, they fit not only on the balance sheet to grow themselves, but they may profit from joint projects, from access to larger clients and larger projects, more profession mobility. My job is to be certain that that we may be an enabler for lots of the divisions, entities, service lines, or studios themselves.
GamesBeat: The timing if you joined was interesting. It seems like you’ve never really had a standard environment. You joined in the course of the pandemic, after which this post-pandemic funk that the industry has been in has lasted for 2 and a half years now. It’s not been what anyone would call a standard 12 months for the sport industry for a while. How do you take care of that form of environment, one which’s not so predictable?
Bodson: When I joined in 2021, indeed, we were in the course of a surge. I remember there was a month in December where I took something like 26 COVID tests to have the ability to fly and meet as lots of our studios and teams world wide as possible. It was quite an experience from a private perspective, nevertheless it was a terrific solution to get on board. It was a terrific solution to be welcomed by the teams.
That being said, you’re right. There have been challenges. But the great thing about entrepreneurs, and in addition of the platform at the identical time, is that there are also opportunities. As much because it feels difficult on the market–it’s still a really difficult market, and everyone knows that. You just have to have a look at the variety of layoffs across the industry more broadly. But we’re beginning to see more green shoots. GDC was quite interesting for us. It looked as if it would me there was less attendance than there was last 12 months, however the intent of the meetings was much stronger. Many developers are beginning to search for content further down the road. The BD team had greater than 300 meetings. Each of our studios had many more meetings, with real intent behind them.
If you consider where we stand on this industry, we’ve reimagined the way in which we do games. Effectively publishers can take into consideration their games–in case you return in time 10 years ago, there was no Keywords equivalent as such. There was a fragmented landscape. You needed to do a number of work yourself. You had no other alternative. Now we’re beginning to see many publishers and developers take into consideration the right way to keep a core team, highly creative people in-house, but then also surround themselves with partners they’ll trust with the journey of getting a triple-A game out, whether it takes five, six, seven years.
Some of the Microsoft studios, for instance, have kept themselves to only 40 or 50 people while surrounding themselves with partners. We can coordinate several of our studios to make it incredibly easy for them. Many partners are beginning to take into consideration, “Do we actually need to have a few thousand testers internally?”
GamesBeat: How is that structural change in the sport industry making things different? As you said, 10 years ago this layer really wasn’t there in a proper way. You guys have 13,000 people. I believe Virtuos has 4,000. There’s this layer of hundreds of developers doing co-development, external development, that wasn’t there before. You also mentioned that a few of these studios can get by with possibly 50 people internally. Can you discuss how big a change that’s and what it means?
Bodson: It won’t occur overnight. It’s going to occur at different speeds. But I believe it’s fundamental. My view is that there are two cycles happening without delay. Part of it’s the hangover from COVID, and a part of it–there’ll at all times be a necessity for content. It’s an enormous industry. I believe we’re beginning to see a turn of this cycle, and in media and entertainment as well by the way in which, which we also serve partly. But fundamentally I’m with you. There’s a structural shift.
To some extent, the indisputable fact that the industry has undergone two very tough years has forced many to have a look at their business models. That’s how I am going back to reimagining more. Reimagining the way in which they need to structure their teams. Reimagining what’s a hard and fast cost business and what’s a variable cost. Reimagining what’s mission critical and core to them versus what’s possibly less core and where partners like us could are available.
There’s also one other major shift I’m seeing, that I’m very near. I spend about 30% of my time with our clients. We serve just about all the top 25, and in addition a number of newcomers. One big commentary I’d make is that there’s a massive move to quality and to partners they’ll trust for the long run. In a cycle like this there have been a number of smaller players who’ve been struggling. Some are even on the sting of collapse after a nasty cancellation or further delays.
Many publishers have had enough. They have to have partners who they’ll trust to tackle that journey, especially once they’re making changes related to that. This could be very real. It doesn’t change the indisputable fact that the magic happens at prod to prod. That’s really where it happens. But there’s a restructuring of the way in which that lots of our partners are fascinated with this. It may occur at a unique speed, at a unique pace, with different partners. But probably half of my discussions with clients are entirely around that topic without delay.
GamesBeat: It appears like one thing that needed to occur was some real trust between the external development firms and the core game firms. Embedding someone out of your team right into a project from the very start appears like an incredible risk for things like leaks. How do you manage that, or persuade folks that this may be done in a reliable and secure way?
Bodson: You’re right that it’s all right down to trust. When we bring teams on board, bring studios on board–it’s about culture, about quality and trust in the connection with our clients. That’s all it’s, fundamentally. When you have a look at a studio like High Voltage Software, like Hardsuit Labs, like Climax and so forth, they’re incredibly embedded into the market. They’ve spent years, even before joining Keywords, on establishing trust production to production. Their consistency, the repute of their founders. You can take Fortnite. We have six or seven studios working with Fortnite. Several of them began in 2017. They’ve been there since day certainly one of Fortnite. You’re absolutely right. It’s all right down to trust.
We’re also ensuring we’ve a platform behind them to assist when it comes to infosec, cybersecurity, leaks, and processes for that. It’s true that if you’ve gotten a protracted tail of partners, you might be more vulnerable in that space. But the one solution to construct trust is to speculate on this. We put money into systems, in HR systems, in ensuring we’ve the best platforms to take that on. We put money into ensuring you could get the perfect of Keywords. If you’re a partner and you’ve gotten your favorite studio, you wish a really specific piece of co-dev, absolutely nice. There are some who resolve they need to do something more transformational and so they need more muscle. They might have UX, UI, backend engineering, across the clock. We have personal solution architects who can orchestrate those partnerships while having one single point of contact in case you want it.
All those things are within the DNA of Keywords. We’ve been working on that through the years. Certainly there’s been a giant push within the last three years to be certain that we’ve all the best infrastructure to earn a seat on the table on those topics.
Going back to your earlier point, there are more structural discussions happening on the board level across lots of our top 25. We’re also spending a number of time fascinated with how we are able to have our proposition in the perfect possible shape to be helpful there. We’re willing to speculate. We’re investing in change management. We’re investing within the interface to external development. We’re investing in those solution architects. How do we actually guide you thru it?
We have discussions with C-suites where we’re talking about this. What form of incentives can we put in place to have the ability to return into that? How can we time that? Which studios are those amongst–our partners have their very own studios and their leadership as well. Which ones have had great experiences with co-dev? Which ones have had great experiences with what we do in testing and other areas? How can we effectively use that to go and win hearts and minds across dev firms more broadly? There’s a number of us truly being a partner that happens on that journey.
GamesBeat: How does it work to have a versatile workforce, where you may flex up and flex down based on where a project is that you just’re working on for a customer? How do you are attempting to reconcile that with the other, which is a cohesive team that likes working together and does well as a studio unto itself?
Bodson: In globalize it’s much easier. We have a pool of 5,000 talents world wide in the best geographies. We have a few thousand people in Montreal, a thousand people in Poland, a good presence in Mexico, and more in India and China. You can see that it’s much easier to administer the up and down there. Part of the service we provide is the power to flex. That’s in the character of what we do.
The advantage of getting scale is you could scale when you’ve gotten ups and downs. Hopefully not every part goes in a single direction. You have clients who’ve different needs, so you may start planning ahead. I’m spending a number of time as well with a few of our teams and studio heads to be in those rooms, so we are able to plan two or three years prematurely. What is coming up for you? What are your big pain points? What’s your agenda? We have recently opened Keywords Consulting, which helps us advise them on the hard data around their very own business in order that they can plan for the long run. Your query can be applicable to our clients. When you’ve gotten a cancellation, how do you redirect your personal resources? We help based on our own experiences with those elements.
The tougher part is in co-development, what we call create. Cancellation can in fact be painful. But take into consideration a unique situation. You’re a single studio and all of your livelihood will depend on two projects. All of a sudden you get 50 people facing a cancellation when you’ve gotten 100 people within the studio. You’re facing an existential risk. Going back to culture and platform, we are able to absorb that rather more easily. We plan. We’re in a position to take the long-term view. At the identical time, we will help one another. We recently had a few cancellations. The studios had some overflow because they were at greater than max capability. They could help one another and support one another on the back of that. It’s right down to culture and making the perfect of entrepreneurship and scale at the identical time.
GamesBeat: What are among the trends you see, on condition that you’ve gotten such a window on the whole industry?
Bodson: Quite a couple of. Top of the list to me, and it’s something we discussed with Matthew Ball quite a bit on the back of his report–I used to be talking to him last week a few times. It’s mainly trends around UGC, around trends, about mobile mini-games. Those are some key areas. But fundamentally, to me, at the highest of the list is one which he didn’t really discuss, or discuss openly. We hear this increasingly more from our partners as well. It’s that fundamental shift across publishers. The structural shifts around moving fixed costs to variable costs. How do you equip yourself with partners? How do you make those partnerships work? That, to me, is the important one.
Another one for me, we see newcomers coming to our space. We talk lots concerning the doom and gloom at some moments, but the reality is, not only are there many green shoots, but there are some big winners as well within the space. We are likely to forget the DLCs, the upgrades, the brand new seasons and so forth. We don’t talk as much about those. There’s a number of growth within the space. There are newcomers when you consider Mattel, about Hasbro, about Lego, about Disney. Each has put meaningful stakes into our space. They’re each taking a look at being more of an IP company. How can they keep it asset light, but find partners to go where the players are, where the communities are? As a part of their digital strategy, or whilst a part of their broader strategy, games are a giant a part of it. They’re not going to create massive studios themselves. They’ll search for partners to drive them on their journey.
Some firms need to construct a bridge between east and west. Think about GCL, which just IPO’d recently on the NASDAQ. That’s a brilliant interesting company, an incredible publisher. It’s amazing what they’re doing within the space. Look at Savvy and what Brian Ward and his team are doing. What they’ve done now with Niantic and Pokemon could be very interesting. There’s rather more to return. There’s a number of growth opportunities without delay, including markets that we are likely to underestimate.
GamesBeat: How does that come back to influence Keywords’ own individual strategy, your organization strategy?
Bodson: There are five areas of strategy that we are likely to spend a number of time on. One is how we go to market in that context. How can we organize ourselves to serve the needs of our clients? How can we equip ourselves to have the ability to handle our structured partnerships more broadly? How can we actually serve? How can we be three steps away? How can we put money into those relationships? That’s primary.
Number two, how can we improve on our own operating model? How can we keep adding scale? We just took on a number of firepower with EQT coming on board. The goal is clearly to scale over the following five years, to maintain constructing our platform more broadly. How can we be as efficient as possible? You’re only beneficial based on the standard of what you’ve gotten to supply and the efficiency of your systems. We’re doing a number of work on that. You can have seen what we’re doing with AI solutions, what we’re doing with Project KARA. I actually have about 200 software developer-engineers constructing a tech stack on the post-production side to be certain that that we are able to construct the workflow. We imagine that technology is a giant a part of it as well, within the hands of humans. That power is de facto key.
The fourth one is we’re taking a look at some adjacency. We’re games through and thru, but we’ve 5,000 creative artists. We’re probably the most important partner on Unreal on the planet. That lends itself nicely to virtual production, to animation. How can we play in those spaces? We’re a robust presence in Asia. We have about 3,000 people. They could possibly be playing much larger roles in those areas. We’re looking into that. The last piece is M&A. The majority of our growth is organic, about two-thirds of it, but there’s one other third that comes through M&A.
Those are the five elements, and making a partnership with our investors as well. They understand the business. They understand our space. There’s a real appetite to say–they almost pitched it to us. “Look at how we are able to make it easier to speed up along those five dimensions over the following 5 or 6 years.”
GamesBeat: What would you say your pattern has been for M&A? What is it going to be like going forward?
Bodson: M&A is a key pillar of what we do, nevertheless it was probably–it was essential within the early days to construct the platform. Now we are able to do every part from soup to nuts – create, globalize, engage. Where we draw the road is owning the IP, so we are able to get to work with everyone in a really real, neutral way. Hopefully there’s also learning that comes from all those things that makes us more attractive as well. There’s also Keywords Consulting.
In areas like globalize, we’ve largely built our stack. We’ve built a company with amazing leadership at the highest of globalize. We can scale organically quite naturally with that. On create, we’re at all times taking a look at the areas, especially in game dev, where there are some recent specialties coming in, where there are real gaps available in the market. As much as there have been a lot of layoffs available in the market, there are some areas where the perfect people get snapped up very quickly. We are likely to forget that. There’s expertise that’s in super high demand, where there’s not enough available in the market without delay. There are still some geographies that we wish to regulate. That’s where M&A will help us complement.
When you consider us being a platform for the industry more broadly, there are a number of smaller players who’ve been struggling, but which have some amazing qualities which might be highly appreciated by partners. They’ve just found themselves in a difficult situation without delay. We can generally help with that. But we’ll do it thoughtfully. The bar might be highest, because we wish to be certain that that they’ve the best pipeline, the best quality level, and that the culture fit is correct for us. But M&A will likely be a crucial a part of our strategy for the following three, 4, five years.
GamesBeat: On this strategy for people, is external development more just like the ground floor for a way people can break into the industry? How do you view the opportunities that young people should concentrate on as they’re attempting to break in?
Bodson: We talk lots about this internally. Depending on the world–there are some areas in localization where we’re a terrific platform to start out within the industry. In three areas of the world we’ve academies. Lakshya could be very well-known for his or her academy. Artists will come through the academy within the third 12 months of their degree after which we provide a six-month internship with us. Many are likely to stick with us. Some find yourself elsewhere within the industry, which is equally great for us. We help shape the industry more broadly. It’s a springboard for talent.
That being said, to your point, many individuals actually come from the industry, who’ve been working at very big-name publishers. They come to us saying, “I don’t just need to work for five years on the identical title, on one a part of the issue, as one piece of a giant machine. I would like to have more autonomy. I would like to work on more titles, on more complex challenges.” Maybe they need to work on something like KARA, what we’re doing with AI. Keywords offers that. It’s a spot where you may have multiple experiences more quickly. You’re still working in a really entrepreneurial setting. We are likely to attract a number of seniors. Maybe a bit counterintuitive, but many seniors come later of their careers because they get to see a greater diversity of labor.
One thing that we’re very pleased with internally, in case you have a look at the Game Awards in December of last 12 months, I believe 86% of the winners had a bit of Keywords inside them. That’s quite special. Look on the exposure you get if you work here. I do a session once a month with about 30 or 50 talents we’ve across the organization. There’s at all times a theme. Last month’s was more media and entertainment because we wish to be certain that they feel an element of it, because we discuss games a lot. There are times where it’s individuals who have joined us within the last 18 months. What’s your first impression?
This morning I used to be with a series of leaders who’ve been with us greater than 10 years. There’s an appetite there for learning, for working on more, for mobility, for breaking the boundaries into different sides of the organization. That’s a possibility as well. Frankly I believe there’s much more we are able to do, definitely within the post-COVID world, to create more mobility around that. People are likely to be attached to a studio, to an entity, but you may create many careers on those. It’s a long-winded solution to say that we’ve our academies, we’re a springboard, but for a lot of it’s almost a high-level profession to some extent, where you get a much larger diversity of topics, of IP, of challenges, of problems that actually interest our form of people.
GamesBeat: One thing I’ve been talking lots about these days, after talking to a number of people within the industry–a healthy game industry goes to have a couple of different components. Revenue growth, getting back to the expansion that it saw for greater than a decade. But the opposite components are–finding and accepting recent technology. This could possibly be AI, or this could possibly be other things. And then creating job growth. Doing that each one at the identical time looks as if a challenge for the industry. I don’t know if we’ll have the ability to do it, but that looks as if the best way for the industry to grow. If we grow revenues, but jobs disappear because AI has eliminated them, that’s not a terrific scenario. I ponder in case you think that is a super goal, or if it’s even possible.
Bodson: I actually have very strong views on the subject of AI, nevertheless it’s somewhat separate between post-production and the creative side of things. If it’s used well, if we’re inquisitive about it, if we lean into the space, if we stay three steps ahead, this can be a massive opportunity for us. For creativity it’s an enormous opportunity for us. I’m deeply convinced of that.
Let me start on the creative side. It’s in our DNA to make use of technology. We’ve at all times been that way. We’re naturally inquisitive about it. We’re at all times using technology for creativity, whether it’s from an engine perspective, whether it’s a proprietary engine–that is just one other wave that’s moving incredibly fast. It’s almost all-consuming. It’s extra superpowers, frankly, within the hands of our teams. And by the way in which, we thrive on complexity as well. The reason we exist is because this stuff are complex. We don’t just have the capability for imitation. To your point about trust, about coming in early on the project, there are a lot of places where after we do it well, you don’t even know who it’s from, whether it’s the developer or the publisher or Keywords. It’s one team. But the more complexity there’s, the more it means you may create experiences, the more you wish help to have the ability to tackle that.
To make it more concrete, we had a project that you just covered on the time. I can talk concerning the genesis of that project. The idea was that when every part was moving so fast around ChatGPT, we locked ourselves in a room back in mid-2023. It was presupposed to be a three-day concentrate on strategy. We said, “What if we only do half a day of strategy, after which take two and a half days to actually concentrate on this tech and what it could possibly do? Where is it scaling? What is the impact on jobs and so forth?” Then certainly one of our studios–back to entrepreneurship, they raised their hands and said, “What if we were to initiate a game with this?” The goal was never to launch a game, but to learn. What if we had a typical sandbox, a typical firmware, a typical setup where we could go and learn together on this?
We gave them the means to go for it. An interesting insight is that fairly quickly–at first we gave them three people to go ahead and rejoice on the side. See what works. Report back. Before we knew it we had 30 people working on that sandbox by some means. The more complexity there was, the more humans we would have liked to have the ability to do it, to unlock the ability of the engine. The idea was to actually have a look at–eventually we moved them to a different project. We did a readout at GDC last 12 months. We moved them to what we called Project KARA, which thoroughly. We did one other readout this 12 months.
Eventually, to chop to the chase, we ended up mapping 500 partners across 2D, across 3D, across lighting, across levels, across backend engineering, across concept art, to map them out in a really systematic way. We checked out what works and what doesn’t work. We took certainly one of our little games we’d worked on before, a game called Detonation Racing that we did in partnership with Apple on the time, and we actually checked out, where does it work? Where does it not work? It wasn’t a lot that the magic was–we ended up having seven studios involved in that. The audio team checked out it. How can we use that? The engineering team, how can they use this part? Can they test this? I get bombarded by partners on a regular basis. Can we put them into the sandbox?
It transformed the controversy about whether AI is nice or bad. Of course we absolutely need to do that responsibly. But it moved right into a debate about, where does it work? Where does it not work? We ended up having our legal team involved as well. Where do we’ve traceability? If you don’t have traceability, don’t even give it some thought. Nobody with good sense would use that in production. What are the models which might be inbuilt a really transparent way? We used our BD team to map those which have a probability of being alive two or three years from now. But more essential, our production teams and artistic teams began to have a look at, where does this work? Where can it avoid wasting mundane work and time?
The conclusion–it’s not done. With that game, we tried to create entire levels. Contrary to all the excitement you see online, we haven’t been able, at the least in our case, to create recent levels entirely. However, there are many experiences we’ve been in a position to improve, loads of tech-savviness that we’ve been in a position to bring on this. There are tasks when it comes to lighting that we’re handling totally in a different way. Fundamentally, we’ve began to construct seven or eight recent workflows that we wish to roll out across our studios. My dream can be to now embed in partners. If you’re 2K, in case you’re Microsoft, come and play in our sandbox so we are able to learn together, so we are able to all be smarter about this.
My important piece is, we’ve 5,000 people in create. How can we be three steps ahead of the industry? No judgment. We’re doing this very responsibly. We have a transparent chart on ethical AI. But how can we be three steps ahead, so we will help the industry navigate this? How can we imagine the business model? How can we be a partner? How can we be tech-savvy around this? I didn’t should push this in any respect. It was initiated by a few of our studios. It’s the natural DNA of our teams to be inquisitive about this.
The interesting piece now’s we’re having discussions–we met with some big-name partners last week at GDC. We’ve had quite a couple of sessions over the past three months, where a few of our partners were taking a look at–how can we help them learn from the processes we control? Not a lot about what works and what doesn’t work, but more as a framework, as a strategy. How can we work on this together? To your point about structural transformation concerning the industry, we want trust. We must be more attached. This is way greater than just providing a service here and there. This is rather more of a strategic partnership, strategic relationship that’s build up amongst all of us.
I’m quite passionate that it will lead to more creativity, higher work, and higher games. The industry is facing a conundrum without delay. It’s too expensive to create a triple-A game. It’s way too complicated. The timelines are way too long, with far an excessive amount of risk when it comes to delays and unpredictability. How do you intend your marketing and publishing behind that? If we are able to foster all that, it’s an incredible force for good. We definitely need to play responsibly with the best leadership position in that space.
GamesBeat: For your stakeholders, have you ever signaled much of what you consider what 2025 goes to appear like?
Bodson: I believe it’s still going to be a tricky 12 months to navigate overall for lots of our clients. Our job is to be certain that we are able to organize ourselves in order that we will help them. Partners, clients, publishers, developers–it’s going to be an enchanting time for us to construct the Keywords of tomorrow on this. Hopefully we’ll play an element in shaping the industry as a force for good. My personal view is that I expect 2026 to be a really interesting 12 months, where a number of growth can come back into the industry.
