Securing funding for a video game has always been a daunting task, but in recent years, it’s become nothing short of a Herculean challenge. The days of COVID-era spending sprees are over, and developers are now facing a harsh reality: even modest budgets are hard to come by, let alone anything above $1 million. This shift has left many creators, like Brooke Burgess, struggling to bring their visions to life. But here’s where it gets controversial: while publishers like Devolver Digital and 11-Bit Studios are pivoting toward smaller, lower-risk projects, developers with ambitious ideas are being left in the lurch. Is this the end of mid-budget games, or is there still hope for projects like Burgess’s Fallen?
Publishers are increasingly adopting a ‘scattershot’ approach, investing small amounts in numerous micro-indies, hoping one will become the next Balatro. Nigel Lowrie, co-founder of Devolver Digital, sums it up: ‘There’s less risk, both for us and for the developer.’ But what does this mean for games that require more than $500,000 to get off the ground? Burgess, who’s seeking $1.5 million for Fallen, has encountered this barrier firsthand. Despite positive feedback from publishers, the consensus is clear: anything above half a million is a no-go.
Fallen itself is a captivating blend of combat and exploration, inspired by classics like Hyper Light Drifter and Death’s Door. The story follows Astra, an angel sent to hell to uncover a conspiracy about its very existence. Along the way, players must decide whether to forgive or condemn souls, each choice shaping the gameplay. But is this innovative concept enough to convince investors? Burgess’s industry experience, spanning from his days at EA to his work as a narrative consultant, should be a selling point. Yet, his first-time director status has raised eyebrows, adding another layer of skepticism in an already risk-averse market.
And this is the part most people miss: Fallen isn’t just another game—it’s a throwback to the self-contained, single-player experiences of the Xbox 360 era, a genre that still has a dedicated audience, as proven by the success of Warhammer 40,000: Space Marine 2. Burgess’s vision is clear: create a game that’s both memorable and accessible, without demanding 60 hours of a player’s time. But with publishers tightening their purse strings, even a reasonable budget like $1.5 million feels like a stretch.
Is the industry’s focus on open-world, souls-like, or nostalgia-driven games leaving no room for original IPs like Fallen? Burgess has explored every avenue, from private financing to crowdfunding, but the landscape has changed. Crowdfunding, once a haven for original ideas, now favors nostalgia-driven projects or established IPs. Even AI, often touted as a cost-saving solution, is a double-edged sword. While Burgess plans to use it for localization and QA, he’s adamant about not letting it compromise creativity. ‘I would never allow AI to write any dialogue, ever,’ he insists. But is this enough to convince investors?
The irony isn’t lost on Burgess: Fallen’s themes of deals and consequences mirror his own struggle. After months of fruitless searching, frustration is setting in. ‘I just want to make the damn game,’ he sighs. But in an industry that’s increasingly risk-averse, is there still a place for passion projects like Fallen? What do you think? Is the shift toward smaller, safer games a necessary evil, or is the industry losing something invaluable in the process? Let’s discuss in the comments.
