Long before I became a Games Journalist™ and was thus compelled to watch nearly every gaming showcase, conference, and direct as part of my job, I was simply a passionate gamer doing the same things out of pure enthusiasm, not obligation. Regardless of whether these events required me to wake up at an ungodly hour (looking at you, Nintendo), I’ve been participating in them for over a decade, filled with excitement and ready to preorder items I definitely didn’t need.
If you’re reading this, there’s a good chance you also enjoy tuning in to these events. While it’s accurate to describe what’s presented at these conferences as glorified advertisements, I’ve often viewed them as our version of a “Super Bowl commercial celebration” happening every month, which I think is pretty cool.
Through years of attending these often solitary viewing experiences, I’ve started to associate certain expectations with specific studios and publishers. Devolver consistently delivers somewhat convoluted yet high-value productions that embrace the absurd, while Wholesome Direct combines soft colors with brief promotional reels, giving each of the numerous indie titles it showcases a moment in the spotlight. Among the “big three” video game companies—PlayStation, Xbox, and Nintendo—Nintendo was, in my view, the first to really craft a strong, publicly recognizable identity. If it ever abandoned its quirky voiceovers and charming transitions, I would be incredibly saddened.
I would argue that PlayStation was the second company to do this. When PlayStation steps into the spotlight, you know to expect significantly more gameplay than dialogue. Although its State of Plays might have someone formally dressed speaking briefly between trailers, the company generally avoids unnecessary embellishments. Instead, you’re treated to a stream of trailers, with its narrative-driven flagship titles receiving ample screen time. I understand and appreciate this approach: sometimes, the games should indeed be allowed to speak for themselves.
And then there’s Xbox. In multiple ways, Xbox has wrestled with an identity crisis for years. Is it its assortment of first-person shooters and multiplayer games that makes it attractive? Should we perceive it primarily as a home entertainment hub? Is it the ability to play in various methods—including not directly on the consoles—that differentiates it? Does the company’s increased focus on accessibility render it the best option for gaming? Is Game Pass genuinely the greatest value in gaming and a significant selling point?
To clarify, this isn’t a criticism of Xbox. I believe it’s admirable to be ambitious, versatile, and continually evolving—the current landscape of media and entertainment calls for such qualities. Yet, for some time, this resulted in the company lacking a distinct identity. However, Xbox’s most recent Developer Direct prompted me to consider how far the company has progressed and how, over recent years, it has made impressive strides in establishing a much-needed identity.
In recent years, Xbox has honed in on one primary focus: the developers. Some of this has manifested in ways that I don’t particularly appreciate, as both Xbox and PlayStation have eagerly sought to acquire virtually any studio willing to sell. However, while PlayStation openly emphasizes the games and franchises they are securing, Xbox seems quicker to shine a light on the studios and teams behind these games.
In its Developer Direct event in January 2025, Xbox dedicated nearly an hour to showcasing just five titles: Ninja Gaiden 4, Ninja Gaiden 2 Black, South of Midnight, Doom: The Dark Ages, and Clair Obscur: Expedition 33. The company provided a significant amount of gameplay footage, giving those unfamiliar yet curious a chance to understand what each game offers, and maintained a balanced amount of time for each title, even though some had a higher level of mainstream recognition. What I found even more fascinating was how they allowed the studios behind these games sufficient time to share their own stories.
As a fan of dark fantasy and gothic themes, it was a joy to hear the creative team behind South of Midnight speak passionately about their inspirations and their appreciation for the folklore of the American Deep South. While Clair Obscura’s turn-based combat invites comparisons to JRPGs, it was enlightening to learn that the team chose this structure due to their strong affection for the genre and a desire to infuse it with their unique sensibilities and culture. Moreover, id Software—the team responsible for Doom—discussed the studio’s legacy and how they are blending classic series elements, such as high-octane action and heavy metal music, with new features like medieval-style weapons and mech control capabilities. Finally, as someone who, for reasons unknown, has not yet dipped into the Ninja Gaiden series, I enjoyed hearing the developers share insights about the game’s universe and what collaborating with Platinum Games signifies for Team Ninja.
Xbox has repeatedly stated its commitment to empowering the developers it acquires rather than absorbing them into its ecosystem and gameplay style. However, we have seen evidence to the contrary, as the company closed Arkane Austin, Alpha Dog Studios, Tango Gameworks, and Roundhouse Games just last year—it would be remiss not to highlight this and express my regret about it.
Nevertheless, this showcase holds significant value for me and fosters hope that such closures will become less frequent moving forward: that they will find ways to better support studios and avoid the failures noted by Phil Spencer regarding the lack of effective assistance for developers in realizing their creative visions.
Part of why this matters to me so much right now is my strong belief that we are facing a widespread dehumanization crisis. I came across a thought-provoking BlueSky post that resonated deeply with me, which essentially stated that, as games increasingly align with the tech industry, they are treated more as commodities rather than as forms of art. This is evident in how many studios are directed to chase specific trends—like live-service games—rather than capitalize on their natural strengths.
Games are expanding in size, complexity, and technological sophistication like never before. But are we prepared to sacrifice artistic integrity and individuality for that? This, along with the growing advocacy for ethically questionable AI utilization, makes me feel that despite the impressive scale and presentation of certain games, we may actually be moving backward. When developers are laid off constantly, and those who remain feel unheard while others take credit behind the scenes, I can’t help but feel frustrated by how often the individuals who create these games are overlooked or marginalized.
Xbox is by no means a perfect company. To be clear, none of these companies are. However, I do have admiration for the way it is tackling its showcases with more humanity and emphasis on developers. It is a trend I hope other studios, big and small, follow, lest we lose the innovation, humanity, and magic that makes my favorite hobby so incredibly special.
