I have another 10 Steam keys to giveaway for VOID/BREAKER, a bullet hell roguelite FPS in early access.
If you're interested in potentially winning a key then do all of the following:
- Follow me
- Follow @voidbreakergame
- Like this post
- Retweet this post
Good luck!
Si vous avez un appartement à louer ou que vous lâchez le votre dans Paris ou banlieue très proche (Saint-Ouen, Bagnolet, Lilas, Pantin, Pre-saint-gervais, Montreuil ect), T2 ou T3 minimum 45m² max 1200/1300€, n'hésitez pas à venir DM je suis très intéressé !
@_SDamien_ Jsais pas ce que c'est cette tendance de plein de studios de faire des jeux multis qui vont bien évidemment échouer vu que 90% des joueurs tournent en boucle sur les 5 mêmes jeux depuis 10 ans
This gesture is widely recognized as a discreet way for someone to signal they need help, allowing victims to ask for assistance without drawing attention.
Be on the lookout!
To show our appreciation for all of the support you have shown us, we're doing ANOTHER GIVEAWAY 🥳
We have teamed up with SiegeOC & Hollowtide to giveaway a Marathon Collectors Edition (No game included)
How to enter:
👍- Like this post
🔃- Retweet this post
👥- Follow @MarathonGG_@SiegeOC@Hollowtide
Extra Entry - Subscribe to our YouTube Channel (https://t.co/4ZR925hGvR) & comment down below showing proof 👇
Winner picked on March 5th!
#marathonthegame #MarathonTakeover
To celebrate Marathon's Server Slam, we're giving away a copy of Marathon for ANY platform!
How to enter:
- Like
- Repost
- Follow
- For an extra entry, Comment your favorite Runner Shell
Winner picked on Feb 26th! #marathonthegame
Pleased to announce that we have officially secured the next two years of development costs through pre-purchases. Combined with my personal commitment of ten years, we are looking very strong for the future ❤️
Thank you all for the support.
Hytale is saved.
We are almost home.
Video games will never be taken seriously as an art form because neither the industry nor the audience treats them as art, and the audience is the larger part of the problem. Games are treated as products to be made fast, sold loud, consumed, discarded, and replaced. That is why Call of Duty and FIFA sell in the billions, not because they endure, but because they are disposable and familiar.
This has nothing to do with graphical fidelity, art style, music, voice acting, or budget, even though players insist otherwise. For most people, “artistic merit” means how flashy, pretty, and expensive a game looks. Spectacle is mistaken for depth, and production value is confused with meaning.
Games are not built to be evergreen because the audience does not want evergreen. The people who revisit old titles, engage deeply with systems, or approach games patiently are a minority. Most want the new release, the hype cycle, and the spectacle, then move on as soon as something shinier appears. This is the same reason Avatar makes a billion dollars per film yet leaves almost no cultural footprint. Audiences want stimulation for a few hours, then the exit.
Art requires patience and trust, and games demand both. They ask players to learn systems, accept friction, and think. The audience rejects this. Anything slow, strange, or uncomfortable is dismissed as boring or pretentious, so risk is punished not just by publishers, but by players themselves.
Because of this, metrics replace meaning. Engagement time, retention, and monetisation become the measure of success, because that is what the audience rewards. Art asks what something is saying. Products ask how long you stayed logged in. Games suffer most here because their greatest strength, player agency, is treated as an inconvenience rather than an opportunity.
Legacy is impossible without permission to fail, and the audience does not allow failure. A bad novel does not kill literature. A bad film does not kill cinema. A bad game can kill a studio, because players demand perfection, constant novelty, and infinite support while rejecting experimentation.
So the ceiling stays low by choice. Not because games cannot be art, but because an audience trained on disposability, spectacle, and instant gratification will not tolerate sincerity, patience, or risk. What survives is not what lasts, but what sells loudly and disappears quietly.
The Directors Guild of America, led by president Christopher Nolan, plans to meet with Netflix to address major concerns regarding the streamer’s acquisition of Warner Bros.
The Writers Guild of America says the Netflix & Warner Bros merger “must be blocked”
“The world’s largest streaming company swallowing one of its biggest competitors is what antitrust laws were designed to prevent”