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The acquisition of *Polygon* by Valnet, a Canadian media firm, represented a major turning point for the gaming platform, similar to an unexpected plot twist in a video game storyline. This shift came after a series of secretive negotiations and non-disclosure agreements (NDAs) that left many staff members uninformed, uncertain of their future amid the ownership transition. Maddy Myers, the previous deputy editor at *Polygon*, voiced her bewilderment over who knew about the forthcoming sale and its repercussions, emphasizing a widespread feeling of discomfort among the employees.

Following the acquisition, Valnet carried out significant layoffs, impacting the majority of *Polygon*’s staff, including all union members. The rapid shift from a well-established editorial team to a dependence on underpaid freelancers raised alarms concerning the quality and integrity of the content being created. Zoë Hannah, the former games editor at *Polygon*, characterized the management’s strategy as manipulative, utilizing key personnel as leverage to swiftly assemble the new team of contractors.

As the reality of their situation became apparent, both Myers and Hannah recognized they could not persist in an environment that had abandoned its core values of community and ethical journalism. Myers openly shared her emotional distress regarding the layoffs of her peers and her choice to depart after observing the chaos resulting from the sale.

In response to these obstacles, both former editors decided to forge a new path by launching a website named *Mothership*, designed to amplify voices often overlooked in gaming media—especially through the perspectives of gender and identity. They envisioned it as a platform akin to *Teen Vogue*, but specifically tailored for the gaming community. Their aim was to emphasize comprehensive reporting and insightful criticism over the fast-paced clickbait commonly found in the industry, which they had both become disenchanted with.

*Mothership* is gearing up to debut with a variety of content, including podcasts and videos, while remaining anchored in written journalism. This platform seeks to foster an inclusive atmosphere for diverse identities in gaming, filling a void left by other outlets that have succumbed to homogenizing pressures from social media and advertising demands. By prioritizing subscriptions over ads, *Mothership* aspires to create a sustainable model focused on quality journalism.

As the digital games media landscape transforms, *Mothership* emerges alongside a growing number of independent outlets exploring alternative routes. The site is joining others such as *Aftermath*, *Second Wind*, and *Rogue*, all initiated in reaction to shifts in traditional gaming journalism. With its unique emphasis and dedication to diverse narratives, *Mothership* aims to challenge the prevailing norms in gaming media and cultivate a community that embraces a myriad of identities and experiences.

Myers and Hannah are not just responding to the difficulties of the current media climate; they are proactively attempting to reshape it. By establishing *Mothership*, they are not only looking to fill a gap but are also confronting the pushback against feminist discourse in gaming journalism. Their launch signifies a reinvigoration of the commitment to inclusivity in terms of gender and identity within a space that has often sidelined these perspectives. The creation of *Mothership* represents a promising outlook for the future of gaming media—one that honors diversity and champions rigorous, ethical journalism.

**The Uncelebrated Champion: Wyll’s Path in Baldur’s Gate 3**

In the vast realm of *Baldur’s Gate 3*, players set off on an epic adventure along the Sword Coast, assembling a varied group of allies, each with intricate backstories and captivating narratives. Among this vibrant ensemble, Wyll, the Warlock, emerges as a character who, despite his compelling design and role, garnered noticeably less focus and content than his counterparts.

Wyll’s character experienced notable transformations before the game’s official release in 2023. The developers at Larian Studios acknowledged that his original storyline from the early access version was not having the desired impact. Although his character design, Warlock class, and recruitment setting remained unchanged, his narrative was entirely reconstructed, with changes to his voice actor and stronger ties formed with other characters, especially the Tiefling ally, Karlach.

During a live Reddit AMA, Larian’s team discussed the difficulties surrounding Wyll’s development. Senior writer Kevin VanOrd shared insights into the unfortunate timing of Wyll’s character evolution, which aligned with the finalization of other companions’ narratives. As some key plotlines intended to involve Wyll were ultimately removed, the character’s role seemed limited. To add to the complications, VanOrd also dealt with health issues during crucial periods, which contributed to delays in expanding Wyll’s story.

VanOrd confronted the challenges straightforwardly, stating, “We weren’t connecting with Wyll’s Early Access recruitment and initial questing, so we started over…” He admitted that significant decisions were made later in production that impacted Wyll’s assimilation into the overarching story. Despite efforts to link Wyll’s character to pivotal events—like the legendary Red War College—these plans were curtailed, resulting in a less fleshed-out narrative arc for the Warlock.

The narrative complexity of Wyll’s journey is divided into two separate storylines—the Mizora story and the Ravengard story—which VanOrd believed could have been a miscalculation. He expressed a desire for a more satisfying resolution for Wyll, who, depending on player choices, can conclude his journey as the “Blade of Frontiers” without significant character development. Nevertheless, VanOrd takes pride in Wyll, praising his genuineness and heroism, while lamenting the inability to offer players more substantial content.

Following the launch of *Baldur’s Gate 3*, Larian has introduced additional content for Wyll and other companions. However, there persists a sense that Wyll is somewhat eclipsed in comparison to his party members. Players who have invested their time in Wyll have voiced their disappointment, especially when observing increased character interactions and narrative richness given to others in the game.

In conclusion, Wyll’s story is one marked by both ambition and circumstance. The character’s complexity and the hurdles encountered during development reveal the intricate nature of crafting immersive and impactful narratives in contemporary gaming. While he may not have received the same degree of emphasis as other companions, Wyll’s authenticity and the development team’s commitment to him guarantee he remains a noteworthy aspect of the *Baldur’s Gate 3* journey.

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### The Influence of Controversy on Game Sales: A Case Study of Kingdom Come: Deliverance 2

In the world of video game creation, debates surrounding representation and cultural sensitivities frequently take precedence, particularly as a major release approaches. Warhorse Studios, the group responsible for the critically lauded RPG *Kingdom Come: Deliverance*, finds itself in this situation with the impending launch of its sequel, *Kingdom Come: Deliverance 2*, set for 2025. Martin Klíma, co-founder of Warhorse and executive producer for the sequel, has provided insights into how online discussions about representation have affected game sales.

#### Background: Historical Context and Initial Controversy

Upon its release in 2018, *Kingdom Come: Deliverance* encountered criticism due to its perceived lack of diversity, with many reviewers noting the absence of people of color within a game situated in early 15th-century Bohemia. Warhorse Studios countered this critique by stressing historical fidelity, asserting that it mirrored the demographics of rural Bohemia during that era. While some endorsed this argument, others condemned it as a sidestepping of present-day representation obligations. This sparked a continuing conversation regarding storytelling in games and the challenge of balancing historical accuracy with inclusivity.

Fast forward to 2025, as Warhorse geared up for the sequel’s debut, they again found themselves embroiled in controversy—this time for the incorporation of more diverse characters and the inclusion of same-sex relationship options. Klíma highlighted that the new installment features a broader city environment, realistically suggesting greater diversity, and he observed that a considerable segment of gamers remained resistant to the idea of altering representation.

#### Klíma’s Insights on Online Controversies

In a recent interview with *PC Gamer*, Klíma deliberated on the potential ramifications of these controversies for the game’s success. He expressed interest in whether the discussions had a positive or negative impact on the game’s visibility and sales. He recognized that arguments could be made for both perspectives: enhanced visibility could aid sales, with the adage “any publicity is good publicity,” while conversely, negative or distracting discussions might undermine the game’s story and reception.

Klíma remarked, “The real players really don’t care about it at all, and probably most of them never really even heard about these pseudo-controversies.” This sentiment indicates a gap between the outspoken minority engaged in online discussions and the wider gaming audience who may simply prioritize gameplay and favorable reviews.

With *Kingdom Come: Deliverance* achieving over 10 million sales since its launch and the sequel already exceeding four million copies sold, Klíma’s viewpoint underscores a crucial reality in the gaming industry: the general player base may not be as preoccupied with online dialogues as some analysts speculate.

#### Conclusion: The Broader Implications of Online Discourse

Klíma’s insights serve as a reminder of the varied landscapes within gaming culture. While discussions about representation are important and reflect wider societal themes, they do not consistently resonate with the casual gamer, many of whom may base their purchasing choices on game quality and recommendations rather than online discussions.

In summary, the differing views regarding *Kingdom Come: Deliverance* and its sequel highlight the intricacies of game development in an ever-connected world. As the gaming community evolves, grasping this divide may be essential for developers, critics, and players alike, ensuring that diverse narratives can thrive alongside engaging gameplay without losing focus on the essential gaming experience.

The self-explanatory Don’t Stare is both a gamejam creation I enjoy for itself and also, an idea I’d love to be incorporated into any number of first-person RPGs. Here is how the latter possibility might work: you are bandying insults with the Demon King ahead of the final battle. You’ve got some solid bantz going, but there’s a note of awkwardness, for the Demon King has very large, protruding ears, and you can’t stop looking at them.

Such biteable tubercles! Such luscious lobes! The more you stare, the more agitated the Demon King becomes, till at last, he flees in tears before you’ve exchanged a single blow. And that, young Chosen One, is how we first defeated evil many decades ago. I understand the Demon King has had some plastic surgery since.

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Valve is anticipated to introduce pre-order options for the Steam Machine in early 2026, a much-awaited gaming console designed to integrate PC gaming into the living room. Nevertheless, the escalating costs of PC gaming have sparked concerns among consumers. A Czech retailer has allegedly published placeholder prices for the Steam Machine, indicating an initial cost of approximately $950, with a 2TB variant valued at around $1,070. Though these amounts have not been officially verified by Valve, they reflect apprehensions regarding rising expenses due to RAM shortages and supply chain challenges that could obstruct cost-effective production.

As gamers await the pricing specifics of the Steam Machine, Ubisoft is creating excitement for its forthcoming title, The Division 3. Executive producer Julian Gerighty suggested that the game’s potential influence could be akin to that of the original The Division, although a release date remains unannounced.

In a related update, a forthcoming Xbox showcase set for January 22 will highlight a surprise game, which may be a smaller-scale endeavor from one of Xbox Game Studios’ developers. Speculation includes options such as Obsidian Entertainment’s Pentiment 2.

In other gaming developments, Fable is reportedly under production for PlayStation 5, alongside additional titles like Forza Horizon 6 and Game Freak’s Beast of Reincarnation, indicating a movement away from Xbox exclusivity.

Furthermore, Helldivers 2 is poised to enhance its gameplay experience in 2026, with new content designed to challenge players against the game’s foes in increasingly demanding situations. The game’s developers have committed to a year filled with exciting content updates.

Where Winds Meet has commenced 2026 with a robust presence following the launch of its 1.2 update, which has rolled out new gameplay elements that have improved player involvement.

Lastly, Warner Bros. Games has regrettably reduced staff at its San Francisco mobile studio as part of its restructuring plans, representing a setback for its ongoing projects.

The gaming domain is undeniably progressing, with significant announcements and advancements on the horizon as we welcome the new year.

With Baldur’s Gate 3 and its gang of rowdy adventuring mates in the rear view mirror, Larian are hoping to improve a couple of aspects of how they handle companions going forwards – a process that’ll likely kick off in Divinity. In particular, the development of deeper relationships between party members and a more subtle build to the moment when the player’s relationship veers into deeply horny territory are on their list of learnings.

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### The Misconception of Todd Howard’s Aversion to *Fallout: New Vegas*

Lately, conversations about Todd Howard, the creative director of Bethesda, and *Fallout: New Vegas*, a title crafted by Obsidian, have ignited numerous dialogues among gamers. The widespread rumor that Howard has negative sentiments towards *New Vegas* has circulated extensively, particularly after the debut of *Fallout 4* in 2015. Numerous fans of the franchise make light of Howard’s purported disdain for the game, especially considering the positive acclaim that *New Vegas* has received compared to *Fallout 4*. Nevertheless, these assertions are baseless and lack substantial proof.

### Sources of the Rumor

The notion that Todd Howard dislikes *New Vegas* seems to have gained momentum a few years post the game’s launch in 2010. The discourse appears to have amplified following the release of *Fallout 4*, in which a portion of the gaming audience conveyed discontent with the title. Many enthusiasts believed that *Fallout 4* leaned more towards shooter mechanics rather than a classic RPG, prompting comparisons that positioned *New Vegas* as a superior installment in the series. Exchanges on platforms such as GameFAQs brought this sentiment to light, with users conjecturing about Howard’s reluctance to speak positively about *New Vegas*.

### Evaluating the Evidence

In spite of the widespread appeal of the myth, a deeper inspection shows that Todd Howard has indeed shown respect for *New Vegas*. From the outset, there has been public recognition of its quality:

1. **Howard’s Initial Recognition**: In 2010, Howard voiced positive feelings about *New Vegas* during a Game Informer preview, where he highlighted creativity and enjoyment in game creation.

2. **Backing from Obsidian**: Key figures at Obsidian, such as Feargus Urquhart and Josh Sawyer, have lauded their partnership with Howard. In several interviews, they characterized him as encouraging and receptive to innovative design choices.

3. **Ongoing Affirmations**: Over the years, in various interviews, including those with The Guardian and IGN, Howard has reiterated his admiration for *New Vegas* and acknowledged the outstanding work accomplished by Obsidian.

4. **Recent Statements**: As recently as 2024, Howard refuted the rumor during an interview on *Kinda Funny*, underscoring *New Vegas*’s importance to both Bethesda and its community, while expressing respect for Obsidian’s contributions.

5. **Canon and Factions**: Clarifications regarding the canon of *Fallout* have also been made multiple times, emphasizing that Obsidian’s *New Vegas* remains a crucial part of the series. The only stipulations made by Bethesda for *New Vegas* were minimal, primarily focused on the incorporation of factions.

### The Allure of the Myth

The tale of Todd Howard disapproving of *New Vegas* has an enticing quality, frequently portraying a David-versus-Goliath scenario between the well-established Bethesda and the smaller Obsidian team. Many fans delight in the underdog narrative, nurturing a sense of loyalty and identity within the community. This viewpoint may aid in the continual existence of the myth, despite ample evidence that contradicts it.

In summary, while the rumor that Todd Howard dislikes *Fallout: New Vegas* may persist among fans, it stands as a myth lacking evidential support. Howard’s public statements reflect not disdain, but appreciation for the effort invested in the game, underscoring its significance within the *Fallout* series. As the popularity of *New Vegas* endures, so too does the necessity for accurate representations of its legacy and the individuals responsible for its creation.

Larian CEO Swen Vincke has provided an update as to how the studio are planning to go about handling the use of generative AI in the making of Divinity. In an effort to alleviate concerns, the newly decided plan is to avoid using it in any capacity as part of the concept art development process. In general, Larian are aiming to ensure any in-game generated assets in their games come from models “trained” on data Larian already own, rather than risking the charge of creative theft or actual copyright breach.

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