“It’s going to become more challenging to access quality content if the subscription model dominates,” Vincke shares. “Direct interaction from developers to players is the way forward.”

Vincke expresses concern that subscription models may lead to games driven solely by “cost/analysis” and profit maximization,
potentially sidelining games with smaller fan bases. He argues that this trend could stifle creativity in the industry: “Getting approval for an idealistic project is nearly impossible, and idealism requires space to thrive, even if it involves risks. Dependence on a limited number of digital platforms is already challenging for discoverability, and a complete shift to subscription models could exacerbate the situation.”

While Vincke’s concerns hold theoretical validity, it’s important to note that the gaming industry already faces profitability challenges, especially for vision-driven developers. Larian, an independent studio, faced financial struggles during the development of the first Divinity: Original Sin game.

Comparing this to on-demand subscription service TV, where critically acclaimed shows often face unexpected cancellations,
Swen acknowledges that subscriptions offer opportunities for many developers. However, he emphasizes the need to ensure the survival of the traditional ecosystem, recognizing its value.

The discussion around subscription-based services is noteworthy, given the industry’s evolving landscape. Unlike the natural shift from cable TV, the move towards subscriptions in gaming seems more manufactured. While subscriptions provide flexibility for watching content,
Swen highlights the distinct nature of gaming, where purchasing a game allows unrestricted access without ads, fostering a unique experience.