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Vicky Beercock

Creative Brand Communications and Marketing Leader | Driving Cultural Relevance & Meaningful Impact | Collaborations

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The Future of Gaming in 2025: AI, Live Service Fatigue & Industry Shifts

Key Takeouts

  • AI in game development is a double-edged sword, offering efficiency but risking a loss of creative integrity.

  • Live service models are losing favour, with audiences seeking more meaningful, contained experiences.

  • The console wars are fading, as access and cross-platform experiences become more important than hardware.

  • Funding challenges threaten innovation, with financial pressures limiting the scope for experimental game development.

  • GTA 6 will be a defining moment, setting the tone for the future of AAA gaming and open-world experiences.

The global games industry in 2025 finds itself in an era of transformation, teetering between innovation and instability. What was once a space of boundless expansion has hit an inflection point, where technological disruption, economic pressures, and shifting player expectations are forcing the industry to redefine itself. The question now is not simply what games will look like in the coming years, but whether the structures that have sustained the industry for decades can continue to hold.

One of the most contentious developments is the increasing presence of AI in game development. On the surface, AI-powered tools promise efficiency—faster asset creation, streamlined animation, even AI-driven narrative design. But beneath the surface lies a deeper, more uncomfortable debate. What happens when automation starts to displace human creativity? The industry has always thrived on artistic expression, on the distinct fingerprints of developers crafting something singular. If studios prioritise AI-generated content to cut costs, will we see a decline in the uniqueness that makes games a cultural force? The push-and-pull between technological progress and creative integrity is set to define this decade.

Beyond the question of AI, the business of gaming itself is under scrutiny. Live service models, which once seemed like the holy grail of engagement and revenue, are now facing significant fatigue. While some franchises continue to dominate, the market is oversaturated, and audiences are growing weary of time-consuming, microtransaction-heavy experiences that demand continuous investment. Players are signalling a desire for more contained, meaningful narratives rather than endless content cycles, yet publishers are still gambling on the next big live service hit. The industry stands at a crossroads—will it double down on a model that is proving increasingly unsustainable, or will it recalibrate to meet the changing desires of its audience?

At the same time, the hardware landscape is undergoing a shift that few could have predicted a decade ago. The traditional battle between gaming consoles is becoming increasingly irrelevant as cross-platform play, cloud gaming, and subscription services break down the old silos. The latest console iterations have struggled to justify their existence in a market that is no longer defined by hardware exclusivity. For the new generation of players, access and experience outweigh brand loyalty, and the companies that embrace this reality will shape the future of the industry.

But for all the conversations around technology and business models, one of the most urgent challenges facing game development today is funding. Even as gaming continues to expand its cultural footprint, financial pressures are mounting. Major studios are downsizing, independent developers are struggling to secure investment, and the market is flooded with an overwhelming volume of new releases competing for limited attention. Where does the money come from for the next wave of truly groundbreaking games? If the financial structures underpinning the industry continue to shrink, we risk a landscape dominated only by the safest, most commercially viable projects, leaving little room for bold, experimental work.

Perhaps the clearest indicator of where the industry is heading lies in the anticipation surrounding GTA 6. Few games carry the weight of expectation quite like this one. Beyond being a guaranteed commercial juggernaut, it will set a precedent for the future of open-world gaming, player-driven content, and the broader blockbuster gaming experience. Will its approach reaffirm the industry's reliance on vast, expansive worlds, or will it point toward a new direction where more curated, concentrated experiences take centre stage? More than just a release, its impact will be a statement on where gaming is headed.

As 2025 unfolds, it is evident that gaming is in a moment of cultural and structural transition. The industry must decide what kind of future it wants to create—not just in terms of technological advancement, but in how it values creativity, sustainability, and the communities that sustain it. Whether this moment leads to reinvention or stagnation will depend on the choices made now, but one thing is certain: the future of gaming is being written in real time.

tags: Gaming, Tech
categories: Gaming, Tech
Saturday 03.15.25
Posted by Vicky Beercock
 

Kendrick Lamar Just Proved: The Revolution Will Be Televised

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9th February 2025

Cultural relevance isn’t just about showing up—it’s about shaping the moment. And last night at Super Bowl halftime, Kendrick Lamar did exactly that on one of the biggest stages in the world.

From Samuel L. Jackson playing a modern-day Uncle Sam—mocking Kendrick and telling him to “play the game”—to Lamar standing in front of an American flag formed entirely by Black dancers, every frame of his Super Bowl LIX halftime show was designed to challenge, provoke, and solidify hip-hop’s place at the centre of culture. As he stood before the flag performing HUMBLE., the message was clear—sit down, be humble wasn’t just a lyric, it was a challenge to the system itself. Gil Scott-Heron’s words echoed louder than ever—this time, the revolution was televised.

Dressed in Deion Sanders’ classic Nike sneakers and flared Hedi Slimane Celine jeans, Kendrick blended high fashion with hip-hop’s DNA, while his pgLang ‘GLORIA’ jacket and ‘a minor’ chain teased the Converse collab drop that went live right after the show. Cultural storytelling at its finest.

But beyond the style, the gaming references ran deep—because Kendrick isn’t just tapping into the culture; he’s part of it. A well-known gamer, he’s spoken about his love for video games, and last night, that influence was undeniable. The set itself was a giant controller, symbolising the struggle for power, agency, and who really gets to “play the game.” From the 8-bit “Game Over” text flashing on-screen to the dancers wielding controllers, Kendrick turned the performance into a statement about control, rebellion, and breaking free from the system. The Squid Game influence was unmistakable—just like in the series, the rules are rigged, but Kendrick made it clear: he’s playing his own game.

And in a political climate where Trump is calling for the “termination” of DEI programs, Kendrick’s performance felt like direct resistance. A reminder that hip-hop is built on defiance, on truth-telling, on pushing back against a system designed to exclude. As some politicians try to erase diversity initiatives and roll back progress, Kendrick stood centre stage proving why representation isn’t a “trend”—it’s the culture.

Then there was Serena Williams, mid-performance, Crip Walking in A Ma Maniére x Converse Chuck 70s—a full-circle moment from the move she was once criticised for at Wimbledon, now immortalised on the biggest entertainment stage in the world. And the fact that Serena—Drake’s ex—was dancing just as Not Like Us shook the stadium? A subtle but undeniable moment in Kendrick and Drake’s ongoing beef.

And when Not Like Us hit? That wasn’t just a song—it was a power move. Hip-hop doesn’t just belong on this stage. It owns it.

A halftime show that won’t just be remembered. It’ll be studied.

tags: Sport, Music, Fashion, Gaming
categories: Sport, Music, Fashion, Gaming
Sunday 02.09.25
Posted by Vicky Beercock