What monetization models (e.g., live service, premium pricing, DLC/expansions, bundle strategies) do you see working best for mid-tier and indie titles today?
Eugenio: There’s no universal formula – the right monetization depends on the game itself. Narrative-focused experiences tend to work best with upfront premium pricing, supplemented by DLC. Competitive multiplayer titles need regular content updates to justify ongoing engagement. Early access sits in an interesting middle ground: it can function as both a funding mechanism and an iterative design process, but only when developers stay transparent and deliver on their roadmap. Bundles also play a role – they can extend a title’s lifecycle, provide clear value to players, and improve visibility.
We look at each project’s mechanics, audience, and long-term vision to find an approach that feels authentic to the experience – not something grafted on.
How do you see the future of game distribution evolving? Particularly with respect to storefronts, curated platforms, subscription services, and direct-to-consumer models?
Eugenio: For us, it’s a multi-platform reality – you meet players wherever they are. But the bigger shift is that distribution alone no longer guarantees visibility. With tens of thousands of games releasing each year, the challenge has moved from “how do I get my game on a platform” to “how do I get noticed once I’m there.”
Steam remains dominant on PC and has become a truly global storefront. Console ecosystems are stable, but even first parties are going multi-platform now – Xbox releasing first-party titles on PlayStation, Sony steadily shortening the window between PS5 and PC releases. That signals where the industry is heading: platform exclusivity is losing its grip.
Subscription services are a tool, not a strategy. The smart approach is understanding when inclusion makes sense – some titles benefit from day-one exposure, others should protect their initial sales window. Treating subscription as a default rather than a deliberate choice leaves money on the table.
Editorial relationships and featuring have become critical. Algorithms alone aren’t solving discoverability – the platforms that invest in curation, and the publishers who build genuine relationships with platform teams, will have an edge.
Direct-to-consumer remains limited for most, but publishers who invest in community building create options for themselves. You can’t build that overnight, but when you have it, you’re less dependent on any single channel.
The publishers who stay flexible, think regionally, and maintain multiple paths to their audience will navigate whatever comes next. That’s what we aim for – not betting on a single channel, but building optionality.
Looking ahead, what do you think the industry is underestimating about the potential of indie games, and what opportunity do you believe is most ripe for innovation or disruption?
Eugenio: I think the clearest opportunity in our space is how effectively indie and AA studios can revive genres that larger publishers have moved away from. Look at RTS – the major publishers shifted focus as the genre didn’t fit mobile or free-to-play models. Yet 2025 has been the strongest year for real-time strategy in nearly two decades, driven almost entirely by smaller studios. Tempest Rising is a perfect example. The audience never left; it was just underserved.
Indie teams operate with different economics – lower breakeven thresholds mean we can take creative risks on projects that wouldn’t make sense at higher budgets. That flexibility also allows smaller studios to focus vertically on specific audiences and design with regional preferences in mind, rather than chasing a universal market that doesn’t really exist anymore.
We’re also seeing micro-studios and solo developers tackle projects that would have required larger teams just a few years ago. New engines, better middleware, and AI-assisted workflows are enabling ambition that wasn’t realistic before – not by replacing creative work, but by removing bottlenecks that used to stop small teams cold. The key is using these tools in service of a clear creative vision. When that discipline is there, the ceiling for what a small team can deliver has genuinely moved.