In 2012, gamers were buzzing about the ending of Mass Effect 3, while Barack Obama was in office. Two developers from Arkane Studios, Harvey Smith and Raphael Colantonio, flew on a private jet to the Spike Video Game Awards in Los Angeles. Their game, Dishonored, was nominated for multiple awards. They ended up winning Best Action-Adventure Game, and when they received the trophy, emotions ran high. “When someone says, ‘Here’s a bonus, and by the way, we’re going to The Game Awards,’ you cry. Literally,” Smith recalled during a recent video call.
Fast forward to 2025. The gaming landscape has shifted dramatically. With Donald Trump as president, the industry has faced layoffs, studio closures, and a rush to adopt AI technology. Video game releases don’t carry the same excitement they did in the past. Events like the Game Awards, while still important, don’t have the star-studded appeal they once did.
The Game Awards has become a unique spectacle. Organized by Geoff Keighley, the event seats over 7,000 people at the Peacock Theater. Unlike traditional award ceremonies, the Game Awards heavily relies on sponsors and paid trailer slots due to its streaming format. According to industry sources, a 60-second trailer can cost up to $450,000, indicating a hefty price for companies looking to showcase their games.
However, getting tickets for nominees can be difficult. Studios typically receive only two complimentary tickets for their teams. This shortfall often forces nominees to purchase additional tickets—costing up to $1,000 each. Some smaller studios struggle to accommodate more than a couple of attendees due to financial constraints. For instance, Sandfall Interactive, which set a record with 12 nominations, had to buy extra tickets for their team members. Not every studio can afford this; many end up feeling excluded despite their hard work being recognized.
This year, social media buzzed with discussions about ticket pricing and attendance struggles. A narrative writer from a nominated game revealed that they had to buy their ticket separately and felt the ticketing process favored fans over actual developers. “I wanted to support my game, but the prices are just insane,” they said.
The contrast is stark between the Game Awards and other events like the BAFTA Game Awards, which prioritize honoring creators over showcasing upcoming titles. A designer who attended both events pointed out that the BAFTAs felt more respectful and reverent. “It’s a better experience, but the Game Awards at times feels more like a promotional event,” they noted.
Keighley himself acknowledges this balancing act of maintaining industry recognition while keeping fans engaged. The Game Awards aims to celebrate gaming’s achievements, but it also feels the weight of commercial interests. For many developers, a nomination could mean new opportunities, but the high costs surrounding the event complicate their participation.
Even though there are major challenges, the Game Awards still serve as a pivotal moment for many in the gaming community. Smith and Colantonio reflected on how it opened doors for them in the industry. “If you work in games for decades, you’ve probably faced a lot of hurdles,” Smith said. Winning a prestigious award can lead to fresh opportunities and highlight talented developers who deserve recognition. The debate around the event continues, revealing a divide in how the gaming community perceives its significance. It raises questions about how to honor the very individuals who make gaming possible in an increasingly commercialized environment.
For more on the evolution of gaming awards, check out this insightful article on The Game Business.
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Clair Obscur: Expedition 33,Geoff Keighley,The Game Awards
