GI Podcast | London Games Week 2026

Welcome to the return of the games industry dot biz podcast. The GI podcast is back in a new what I'm calling a public alpha form after a long hiatus to recap the major events of the week. You can also look forward to hearing longer form interviews with leading industry figures which will be appearing on the podcast feed in the coming weeks and months. And hopefully a regular round up of what happened in the industry this week and the significance for those who make and market video games. I'm John Hicks, I'm the editor and director of gamesindustry.biz and I'm joined by features editor Lewis Packwood. Hello. I love that you're calling this a public alpha. It's basically a kind of train wreck in podcast form. But we're going to keep going with it. It's going to be great and it will become amazing eventually. Yes, we are going to this it's going to be a process of constant iteration with with consistent reaction to player feedback and by by players of course I mean I mean our listeners and the industry at large. So thank thank you for tuning in. Please be sure to share your feedback

when we finished. Are you sure about that? Do we Do we want to hear the feedback? Maybe let's just roll on. Let's spin on. Let's spin on. We will we will roll on. So this is particularly week to launch a podcast because it is London Games Week. So the industry has collected the global industry has communicated in London this week for a series of events which Lewis has Lewis has attended. We'll touch on those in a minute. A couple of news highlights that I wanted to point out kind of pull out was a announcement of government announcement of 1.5 million pounds of new government funding to to attract investment in British talent. Mhm. And a The government as part of this developers being urged to apply for a share of a new what it describes as a new 28.5 million pounds worth of funding. So it's around sort of 30 million total. They There are grants available for developers, which is broadly split

between an entry track of grants of up to 20,000 pounds available to newly formed companies with uh what's described as limited track records but strong potential for growth. Uh an emergent track for with grants of up to 10,000 pounds for prototyping new games and an expansion track with grants of up to 250,000 uh pounds, which is um the largest ever provided by the fund uh and that is for described as available to take games forward to completion and enable studios to scale up. And this is part of uh overall push for uh support for the games industry by the UK government. And I know some of the conversations I've been having at London Games Week uh this week echo uh things I've heard over the last sort of uh year or so, which is the UK is blessed with a very games forward uh uh parliament at at this point. Uh I think the the previous administration, uh I know people that I'd heard of various folks from the games industry that really struggled to get get them to understand what games were. Uh very much not the case uh with this

with this government, so that's been uh been very positive for the industry. I think and obviously the funding is very welcome. I think the only wrinkle I would add in that is that we've been reporting a little bit on the German uh government and their and their funding. Uh more recently there's been some coverage of that on uh on gamesindustry.biz and some of those numbers have been more like certainly more generous. Like we were uh talking to the developers of uh Everspace, Rockfish Games, and they they've got a government grant of like 3 million euro, uh which is basically funding the not entirely funding but significantly contributing to the uh the next game in that series. So, uh I I think this is obviously very welcome. I think it's a great um vote of confidence uh in the industry and there's have been a big focus around developing new IP, the kind of conversation I've had like there's there's uh real enthusiasm for develop developing uh IP in games that can then extend into

into other formats. But um it's uh there's there's always there's always uh appetite for more. Yeah, definitely. And and in terms of that German games funding, we had a feature interview with uh the creative imprinted this new game being made in Germany, and they they got most of their funding I think from from the Bavarian government. I think Germany Germany is the benchmark really in Europe for for that kind of funding, but it's encouraging to see that the UK government stepping up a bit. And I know Chris Bryant, the the minister for trade was uh was at Pocket Gamer Connects earlier this year, and definitely the government seems to know what they're talking about when it comes to video games, which is quite refreshing to be honest. Yes. Well, I I was having a uh an off-record conversation with somebody who would who will remain nameless, but who was saying that the she she uh had to explain to Jeremy Hunt uh what he he was a in uh leading figure in in the last Conservative government, like didn't know what FIFA was.

Uh like that was that was the level of uh uh uh in uh incomprehension uh at high levels of government. So, really really great uh vote of confidence in the industry, really great to see it. Uh somewhat overshadowed by uh the government announcing um sort of it's looking at social media bans. That's the a huge area of concern for the for the industry at the moment. I'm not going to go too deeply into it cuz it's a big topic, uh and it's something we're going to be reporting on uh on the site in the kind of coming weeks and months, but real concern in the industry that there's going to be some sweeping uh social media ban that is going to get games caught up in it. And um there is uh Uh, and this is not unique to the UK, but it's uh, there's you know there are similar there are similar kind of rumblings in in various European nations and and indeed within the EU. But it's it's a concern. There's some real big policy decisions coming down the pipe that the industry needs to

grapple with and there needs to be a unified response from the industry lest that everybody gets lumped in with uh, in Instagram and uh, TikTok and what have you and laboring under some some restrictions that could have a really serious effect. So, huge uh, talking points at uh, at London Games Week and just in the industry in general. We will have to uh, get back to that one. Yeah, it'd be interesting to see what happens there. I mean we've already had Peggy kind of clamping down on things like loot boxes, you know, by raising the age rating. Definitely there's something in the wind that there's governments want to be seen to be paying attention to the effects of of games on young people or or the internet and social media more generally. Mhm. Definitely. Uh, so more more to come on that one. Uh, another story I wanted to highlight this week was a leak from uh, Rockstar. Hackers got into uh, Rockstar and uh, publicly announced that they'd uh, they were going to leak data unless uh,

Rockstar paid a ransom and Rockstar's uh, formal response was uh, quite dismissive. Uh, described as it was uh, uh, I think it was described as uh, non-material company information. So, uh, the information duly was leaked and it's uh, includes or I should say this is not verified. So, Rockstar has not commented on the veracity of this information. I suspect it never will, but uh, the data appears to be uh, showing the financial performance of uh, GTA Online and Red Dead Online. Uh, the former really significant uh, revenue which has which we've known that's been uh, a huge performer for for Rockstar for for for Take-Two Interactive for a very long time, but uh, this put the figure of uh around $1.3 million a day uh over the last 6 months, which is really uh really impressive figure and a sort of nice little pseudo data point. Again, not verified uh and never will be verified, but it sort of puts a number on quite how successful that platform is and how it's been able to, you know, go

so long since the launch of GTA V um because it's clearly doing that well consistently. I guess it kind of shows why they're not really in a massive hurry to release GTA VI, right? Yes. I was
It's like this one's ticking along quite nicely, thanks. Yes, and it And that's just one of the recurring revenue streams, right? Like I I talked to Strauss Zelnick uh once or twice when they do the um financial when they do their financial reporting and, you know, GTA Online really solid performer and Zynga increasingly hugely solid performer. Uh so, that that that business is really motoring uh these days. And
But, it's quite embarrassing for Rockstar uh to have another leak cuz we had that big leak a couple of years ago as well. And and now we're here again. So, I don't know what's happened there. They must be furious. I I'm I'm sure they are livid. I believe it was a I should know this. Um it's I don't have the information in front of me. I I believe it was an external data partner, so I imagine there's some um there's some sharp uh

uh conversations going on there around um liability and uh litigation. But, it was just an an interesting uh if unofficial data point uh which we're we're which we're always interested in hearing on GI. And it did give a little pop to the Take-Two share price as well, which uh I mean it amused me as a just a just a straight-up terrible uh attempt at blackmail where the releasing the information actually benefits the person you're attempting or the entity you're attempting to blackmail. So, um although it did say the you know the whilst whilst it came up the uh Take-Two share price is still a little down you know, it's it's still down from where it where it was I believe this time last year um because they were one of the firms that like took took a dive around the debut of Google's Genie world generation tool which is a whole separate annoyance that I won't go into because Genie has it's it's almost totally irrelevant to GTA 6 but um

uh but yes it's a so an interesting an interesting week for uh for for Take-Two Interactive. I'm sure they weren't looking for the leak but I am confident they will take that share price boost. Um and the other thing story I wanted to point out was well up to pull out which is one of this a collection of stories around Roblox. It's been a big week for for Roblox. So earlier on in the week so on Monday they announced new parental controls which is two new age-based accounts for younger users. So there's now a Roblox Kids account which is for children age 5 to 8 and then there's a separate account called Roblox Select which is for kids age 9 to 15. Uh and they're working on additional parental controls. This is a step up from their previous system where uh parental controls only applied to players up to the age of 13 and afterwards there were there were no no restrictions. Which is odd really isn't it? I mean Roblox is about the only company in the world that thinks childhood ends at 13. That is.

Yes there was that was always that was always a curious inclusion. I think the I don't think they've ever really clearly expressed this but the company is on a big push to demonstrate its level of um child safety child support introduced the uh uh age recognition verification um a little while back as part of this announcement. I think they said that 50% of its players have have been through that now. And they're continuing to bring in age checks, what's described as account level defaults, content ratings, ongoing moderation, and expanded parental controls. So, big push for the company, and later on that week we got a little insight into why when it paid 12.5 million dollars to settle a case with the state of Nevada over claims it failed to protect young users. And the as was noted by Reuters in their

in their reporting of it, which we cited in our reporting on gamesindustry.biz, it currently has another 140 such claims with uh states in America alleging it enabled uh people to prey on children. So, it's it's a big problem for for that company. They're they're they're rolling this out to address it, but it's continues to be a a big issue for them. I I I feel it goes without saying that Rockstar Rockstar Roblox has been criticized in the past for its handling of uh child users, and uh it's probably about time that we had something like this, but maybe it's a little too late for them in terms of these lawsuits these ongoing lawsuits. Yeah.
Um I would also add in here as well, cuz I feel like it should be mentioned every single time we talk about Roblox, that that company still has yet to return a profit. Uh and we're in its entire existence, which is quite mind-boggling. And it's fine as long as the numbers keep going up, and they shot

up enormously last year, but it does make me wonder how they're going to make an actually sustainable model. Um I do think like a a vast I think nearly 50% of their profits kind of goes in store fees and paying out to to users. I don't think they can reduce the amount of payments they make to to Roblox users, cuz they only get about a quarter of the the face price for it for for anything they sell already, but it does make me wonder whether Roblox is going to push hard in terms of reducing the cut that it gives to places like Apple and and Google. We'll see. Yeah. Well, and that was one of the things that was announced around this. Uh, and I was on a call with Roblox when they were introducing the these new parental controls. So, one of the uh, they introduced as a when they described it as a as a feature around this is requiring a paid subscription. So, you need to subscribe to uh, to pay a monthly subscription, uh, which is called Roblox Plus, uh, in order to publish, uh, to publicly

publish games, uh, on the platform. So, anybody can create games for them and their friends, but if they want to make them available to a wider audience, they need to they need to pay uh, a subscription. And that is that will be, uh, of course, a a new source of revenue for them. And they continue, you know, and recently they've, uh, announced they're taking a cut of If anybody does a brand deal through the platform, then Roblox make to Oh, God, I'm doing it I'm doing it again. Roblox, uh, is taking will will take a cut of that. So, you can see them pushing up the the the the revenue streams, uh, and scaling it. I think the bigger picture, they they're in growth mode. They're spending a lot of money to, uh, to build that platform. I think uh, it's I think the most recent quarter that was I think they posted a there was there was a loss of I I think it was 315 million uh, dollars. Uh, so, clearly they're they're they're spending a lot with a with a view to, uh, to building something. They build they are building something huge. They are laying layering

in the additional revenue streams. So,
Mhm. it's, uh, remains a remains a fascinating, uh, platform. I think there's an increasing awareness from brands, uh, like certainly like marketing brands, but also like games brands looking at how can they be present? How can they reach that audience? You look at the success of, you know, steal a brain, rock, grow a garden. Uh, lots of people looking at how they can create games in that space, uh, what they can do. So, uh, yeah, really really interesting company, really interesting platform. Lots of problems, lots of, uh, lots of money, uh, lots or lots to cover. For us as GI. Yeah, I think there's a Roblox story pretty much every week, isn't there? There's always something going on.
Yes. Um, but, uh, but yes, let's let's let's uh, but take it a little bit closer to home now. So, let's let's stick to London Games Week. So, Lewis, you were you were our man on the ground at, uh, London Games Week. Uh, what did you what did what did you see? What were your highlights? Yeah, I was flitting

around like a gadfly, uh, between various different venues. I popped into, uh, Games for Change, which was very nice. I only saw the first couple of of sessions of that, but that was lovely. Uh, and I went to, um, the self-publishing toolkit. John Ingold gave a great talk there about the benefits of self-publishing. But I spent a lot of time going around the Games Finance Market, just chatting to people, trying to get a a feel for the mood. Interestingly, it seems it was quite positive, uh, considering, you know, the state of games funding over the last 3 4 years. Uh, it seems a little there's a things have perhaps turned a corner a little. The message I was getting from people was that, um, publishers seem to have opened their wallets a little bit more. Perhaps not a a huge amount, but a little bit more, because they're cognizant that in their 2027, 2028, there's not that much in the publishers' cupboards because of the the, uh, the kind of recent shortage of funding means that games aren't getting made or aren't getting as made as quickly as they should. So, it feels like there's been a bit bit of a

realization, oh, quick, we need to fund some things to get something out the door, and quick. The faster you can make it, the better. So, that seems to be the message on the ground, and and generally it's looking fairly positive, or more positive than it was, say, 6 months ago. Yeah, and and I and I and I think just just to chime in, I think that
and and and I and I think just just to chime in, I think that chimes with the conversations I was I was having at GDC and and and to a degree you mentioned at Pocket Gamer Connects in London back in January. there was and actually this is a conversation I was having with one of the CEOs I was talking to this week. The there is a realization now that there was you know when all the cuts started happening there was that mantra of kind of surviving survive till 2025 and then it didn't get better and there is an acceptance now it's not those days are not coming back. The the funding is not nearly as abundant as as it would as as it's going to be. That's actually we published an interview on the site this week with

Glenn Schofield. You know veteran of Dead Space and and Call of Duty and he was sort of talking about that period during and immediately after COVID when just huge amounts of money were being were being dished out with what he characterized as a shortage of due diligence. And that's not that's not happening anymore. There's but there is some funding coming back. It's it's quite specific. It's increasingly project based. There are there is a diminishing interest in equity investment. But there is money there for the right team with the right product and the and the right budget. Like it's still it's not incredibly generous. There are sort of you know you kind of hear hard limits on the amount of money people are prepared to invest but people are you know investors are out there and they are prepared to take a swing which is which is good. That's you know green shoots. Yeah, definitely. Especially for kind of the double A and and triple A sector

and which have been struggling in terms of raising funding. Interestingly on the ground I was hearing it's still very much focused on smaller games you know budgets of up to a million but maybe a little bit beyond now. Maybe a million isn't quite the cap, but uh there's still not that much support for double-A games uh from publishers at least. Yeah, I I think I've I've spoken to a few of the um of the smaller publishers. And you know, and that's another sign of health, right? The number of smaller publishers who are coming up. You know, we look at uh I think like Black Tabby, was it? Uh launched a launched publishing label. Um I think uh Outer Sloth uh is a sort of has sort of set and I don't I don't want to claim they pioneered it, but I think there's there's a few more studios kind of going down that way going down that route when they've got a bit of money, they want to put it into something. Uh so there was last week you was you were talking to Evil Landlord. Evil Landlord, I love that name. What a great name. They were just like what what are publishers like? Well, evil. Okay. So we're Evil Landlord.

Yeah. Uh yeah, they're they're they're they're throwing some of the the money they got from Peak and and content warning and and all those games and putting that into to new games, which is great to see. Interesting as well that they're kind of just funding. They're not uh publishing. So they're not doing the marketing or or any of the Mhm. you know, Yes. the kind of console conversion or anything like that, which you might expect from a publisher. They're just giving you the money and that their philosophy is like, well, you have to work out how to spend it properly, which is the kind of same thing that Outer Sloth is doing. And I think we'll probably see a lot more of that in future. People just want the money. They don't necessarily want the marketing or anything else. Yes, and and and some of the other people I've spoken to, I think it's a a little bit more a la carte, right? Like they they want to they want to be but again, it's project project-based. Like people are investors are interested in uh getting getting some uh returns on backing a a single product. Depending on the scale of the partnership, they can support it in different ways. Um and some of them will some of the conversations I've had where they'll

say, "Oh yeah, it's about it's about a million, but we'll go higher for the right thing." So I think there is there is some money I think if there if there's a sufficiently sure thing it might succeed but obviously the uh there are no sure things in in video games. Exactly, yeah. I had the same thing from one publisher I spoke to at the Games Market. They they said they've got, you know, half a dozen small games in the works but they've got like one double A game that they're kind of backing. They're kind of pushing the boat out for that one that they think is worth it. So yeah, it's interesting, you know, there there's always been an exception to the rule. Um but going back to London Games Festival, one I think the highlight for me was Screen Play and I wrote an opinion piece about it yesterday for the site. Um and that was really interesting to see. Really busy. Apparently one attendee told me that it was twice as busy as last year's Screen Play event. So it's all focused on transmedia and translating games into films and TV. And there's just so much happening in that sector there. There's a real gold rush in Hollywood to get game properties, you

know. Um And I I think Helen Jewell uh from Ubisoft said that nearly 25% of games being films being made in the next few years are based on game properties which to be honest sounds extremely high. I feel like society needed for this but but even if it's kind of partly true it's it's an enormous amount of game movies coming our way. Uh and yeah, we we're going to see an influx of them over the next few years. And Elden Ring of course is filming right now in the UK. We've got a Tomb Raider TV series on it's on the way. Uh it's just um unbelievable amounts coming. But what was really interesting to me was hearing about the troubles that people have had you know, in terms of communicating between Hollywood and and games because they're two different worlds rarely rarely meet and it it really struck me particularly when listening to Simon Pulman who's an entertainment lawyer in in New York. You know, he deals with a lot of these kind of movie deals all the time and he was explaining

about the uh the kind of how they work and it really is completely foreign country for for games firms. Games firms don't normally have to give up rights to things like stage adaptations or kind of book publishing or things like that. So I I can see that's going to cause quite a lot of friction in the coming years when people are negotiating these kind of deals. Um but overall interesting. I think it was uh what's his name? Mark What's his name? Uh Mark Maslowitz, that's it. He said Oh yes, Mark Maslowitz. He Mark Maslowitz Mark Maslowitz you like you and Maslowitz are like that. I remember Mark has been in the industry for a very long time. Our our UK listeners will will definitely cross paths with him at some point. But he he was saying the power balance has really shifted between games and films and now you're seeing games companies having much more creative control over the movies that get made compared to the past when we had Dennis Hopper as as Bowser {slash} King Koopa and Bob Hoskins as Mario. It's kind of weird.

Weird version. I'm I'm probably dating myself by saying I remember going to see the Super Mario Brothers movie in the cinema. But but it was a moment I I don't think I will ever truly forget. Uh but yes, I do think there is that that power balance and we're going to see a lot more transmedia stuff in the games industry. Um and if I'm brutally honest, you know, both games and TV and film they're all struggling. They've all been struggling over the past few years. But then you see things like the Mario movie and the Fallout series in particular. Fallout was a huge hit for for on on Prime Video and it sold enormous amounts of games as well. So it's a way this kind of transmedia opportunity is a way to raise up both industries at the same time. Yeah, definitely. And I think there's there's there's a few strands obviously from the Hollywood side from the entertainment side. They're they're facing similar sort of systemic issues that the games industry has. They really keep they they want to build stuff that has an audience. They want to tell stories that already have an audience and they can look at the

the the following that that games have and they want to they want to create something for that audience, right? Like there's look at I think you in your in your op-ed you mentioned the um comparison to to the the Marvel Cinematic Cinematic Universe. Um I think ranged against that and I've you know spoken to various people um from TV and um from movies uh that have said uh there's been all all people who know it people in that space going, "Oh, it's it's really bad in TV at the moment. Um I want to get into games because that's doing really well at the moment." And they're like, "Well, well, that's a thousand-yard stare." I got so many theories about the games. Yes, exactly. Yeah.
the similar thing. I've I've spoken to a lot of actors saying, "Oh, yeah, I want to get into games." And I'm kind of like, "Do you really?" I Yes, it's I I assure you the grass is uh I mean, if it is greener, it's it's not by much. But, the um but I I think there is and you and obviously like Minecraft, Fallout, uh

Super Mario are enormous IPs. And you know, they they definitely show success, but also they're going to be the outliers. And I think the um and there's some interest I mean, that you know, we haven't really reported on it much on GI, but there's an increasing tendency of um movie deals to be signed for Roblox games, which I think is uh is interesting because Roblox games can be hugely popular. They can have a huge audience, but Roblox is a very uh fleeting experience. Uh the game the games tend to be the most of the biggest games tend to be quite simple. They tend to sort of blow up and drop away. Uh I do I have my doubts as to whether an investment in a Roblox IP will last the duration it will take to make a movie about it. Uh if you look at the the speed uh at which that platform works and and that audience works, I don't know if conventional movies are the way to do it. I think uh I'm getting a little bit off topic here, but I I feel like if you were going to a possibly more compelling

universe or comparison for for Roblox games would be something like Skibidi Toilet, right? Which built a huge short-form video thing. And obviously that's now there's a movie being made of that, which I believe Michael Bay is producing wildly. So that will be a an interesting an interesting data point. But on the But the other thing that that sort of happened across at the start of this week was we ran an interview on on the site with the director of Exit 8, which is a which is an which is an interesting kind of transmedia example that coming from sort of the other side of it. So Exit 8, very popular indie game. There are it's based on being very similar to the playable teaser for that Konami put out many years ago for on on PS2. PT, PT, yes. And it's about being sort of We play the game, you're trapped in a sort of recursive loop of the

subway station in in Turkey.
in those subway stations in Turkey. It's basically a documentary of this It's just They're just like you can never find your way out ever. Yes. And it's And it's it's really well put together. It's a really good film. I I thoroughly recommend it to anyone who needs it, but it's also talking to the director, he's very very gaming literate person. The one of the reasons that like that that film is based on both his experience of playing the game and watching streamers and how people react to to to video games and how they consume video games. And that very much informed the way that he that he created it. It's kind of meta, isn't it? It's kind of meta.
Yes. There's that kind of fascinating end he's he's pitching it as I think with good reason as a sort of novel intersection of of games and movies. Um, which I which I and I think that's a really powerful example. I'd I'd love

that to inspire more movies like that. But at the other end of the spectrum you have just the the licensing deals the the desire to create something or desire from Hollywood to create something that reaches those people who play the video games and yeah, huge interest from that side. Obviously, I think nearly most people in in gaming would would love to be able to um, bring that you know, just to take the take their worlds take take their IP and and and tell have somebody tell their stories with it. But there is that big gap in in convention and certainly in in in contracts that is going to have to be navigated. I think it's interesting as well and you mentioned like casting the net wide. I think Hollywood is looking everywhere at the moment. And it but there was a um, a a sto- pitch not pitch a talk from Story Kitchen at the end of screenplay. Now, Story Kitchen's a production company

that works on making taking video games making them into films. They were working on the Sonic the Hedgehog movies, the Tomb Raider TV series. There's a whole long list of projects they've worked on. And if you look at their website some of the other projects they're doing they're making games based on that Devolver game that but sorry, making films based on like that Devolver game is it My Friend Pedro with the bananas the banana guy. You know, and at the conference they said that they just signed up The Drifter which is that Australian indie game that just won the IGA awards in Australia and then you know, it's it's a point and click kind of affair. Um, but not necessarily something that you'd think that would be made into a film, but it's potentially being made into a film and I think we'll see a lot more of that. And I know from the people I've spoken to in the industry that several of them have been approached by companies hoping, you know, to say, "Oh, can we sign up your your your game for a movie?" Often that the money isn't right or or the deal isn't right, so there's been a

lot of kind of like polite, "Thank you, but no." Yes. And and and again you highlighted this in in your piece, right? Like the the the Hollywood tradition is to do a deal that's like assigns all rights for everything in perpetuity, uh including in some cases the ability to make to make further games with the IP. Which is mad when you think about it. Exactly. So Yeah, no one's going to be wanting, "Oh, yeah, you And now you can make further adventures of Lara Croft for your to to for your time." It's just not going to happen. Yes.
But I I do think they you know, they're trying to meet halfway or at least trying to find a way to to get these deals over the line because the the the thing is like just making a movie alone isn't enough for for kind of movie companies. That that that is not going to give them enough kind of headway, enough profit just making a movie. They need something else, so I think games companies are going to have to just find some sort of compromise with the like, "Well, you can have the rights to this, but you can't have it for this." And basically means there's entertainment

lawyers are going to be well remunerated for the near future. Yes. There was I was chatting with a with a with a lawyer friend just I just this morning actually at the women in games event that that we were running with with IG and Entertainment and Dentsu. And we were just comparing notes on this and she said, "Yes, there's uh uh she ob- obviously was not about to break any any NDAs, but she said Simon's comments resonated." But def- definitely uh something something that will that will continue to run. Definitely. Definitely. We'll be writing about this for the considerable for not for for the foreseeable future. Indeed. Uh any before we close this, was there anything else to highlight from from your time at the show? Oh, do you know what? I had uh I'm trying to think I'm trying to think if I had any nice meals. I had a really nice meal in the the hotel actually. That five-star hotel that they did the

Games Finance Market. Oh, I'll tell you what, when you when you go in the That's it, the food is really good. And then by comparison at the BFI Southbank, I had a bag of crisps and a and some dry roasted peanuts. So But there is a particularly surprising lesson for for catering there is as as so often in life, follow the money. But okay, I think that will that will be the end of of this episode of the GamesIndustry.biz podcast. Thank you so much for listening. As I said at the start, this is a a pre-alpha return for for for this show. We will continue to refine and develop it, but the the bedrock should be a conversation each week highlighting what has happened that week and we will have some interviews as well. You can look forward to our first such with Peter Molyneux. I had a really interesting chat with him last week around his his career and the lessons from it and how that informed his new release Masters of Albion.

So you can look forward to that on your feed very soon. But until then, thanks very much for listening. If you would like to contact us, you can reach us at [email protected]. Of course, you can email us both directly. I am [email protected]. This is [email protected]. And you can find our articles on the website every day and I believe you will not be surprised to hear that the URL is gamesindustry.biz. Thanks for listening. We will We will You will hear us again soon. Yeah, it'll be better next time, I promise.