You may recall the intriguing announcement of Wyrdsong during Gamescom Opening Night Live three years ago. This ambitious open-world RPG, crafted by veterans of celebrated titles like Skyrim, Fallout, and The Outer Worlds, promised to transport players to a warped medieval Portugal. Set against a backdrop rich with mythological references to the Knights Templar, the game was designed to allow players to create their own characters and traverse a stunning 12th-century landscape dotted with castles, coastlines, and mountains.
However, the journey has not been as smooth as envisioned for Something Wicked Games, the studio behind Wyrdsong. Despite securing a .2 million seed investment from NetEase in 2022, the funding has proven insufficient for a project of such grand ambition. The initial plan was to attract further talent and investment through an enticing trailer, with hopes of expanding the team to around 70 members to bring Wyrdsong—pronounced “weird-song”—to life.
Adapting to Challenges
In a recent discussion, co-founder Jeff Gardiner shared insights into the studio’s evolving strategy. “We decided to add a rogue-lite element to it,” he explained. “The themes of life and death naturally lent themselves to this type of gameplay.” This pivot required repurposing existing assets rather than starting from scratch, a decision Gardiner likened to his early days at Bethesda, where resourcefulness was key to project success.
“We knew the clock was ticking,” Gardiner noted, reflecting on the bittersweet necessity of reconfiguring the original concept. While the process was challenging, it also represented a positive step forward. “Layoffs are very difficult for a company, not just for those who leave but for those who remain,” he added. The commitment of the remaining team members to push for a viable project was encouraging, allowing Gardiner to pitch a new vision that did not rely on seeking vast sums of funding.
Despite these efforts, Wyrdsong has struggled to secure the necessary financial backing. The situation has become more precarious as key team members have departed for other opportunities, including Charles Staples, who recently joined Disney, and Will Shen, who took a lead designer role at the studio behind Subnautica. “We’re down to a skeleton crew,” Gardiner admitted, emphasizing the ongoing search for investment or publishing offers. “I’m hoping to find something this year, but it’s tough.” The industry landscape has shifted dramatically since the game’s announcement, with many studios grappling with the aftermath of a post-pandemic boom that has since faded.
The Industry Landscape
As Gardiner observes, the gaming industry is currently in a state of flux. The once-rosy outlook for new projects has dimmed, and many developers now echo the mantra of “survive till ’25,” anticipating a return to more favorable conditions. However, the anticipated recovery remains elusive, and the competition for funding and player attention has intensified.
Gardiner’s reflections on the evolving gaming market reveal a growing trend among players. “My wishlist on Steam has grown from 20-30 titles to 250-300,” he shared. This shift has led to a more cautious approach to purchasing games, with many players opting to wait for discounts rather than buying on launch day. While this trend may benefit consumers in the short term, it poses risks for developers, particularly those striving to create cohesive teams that can build on their past successes.
Gardiner acknowledges the paradox of the industry, where the success of long-standing titles like Skyrim can inadvertently hinder new projects. “Once players invest time in a game, they’re likely to stick with it,” he explained, reflecting on his experiences with Fallout 76 and its tumultuous launch. The irony is not lost on him; the very successes he helped cultivate may now be a barrier for his current endeavors.
As he navigates these challenges, Gardiner draws parallels to the World of Warcraft phenomenon, where new MMOs often attract initial attention but ultimately see players return to familiar titles. “It’s a little frightening to see Something Wicked struggle,” he remarked, highlighting the implications for the broader industry. If an experienced producer like Gardiner faces difficulties, it raises concerns for newer teams with similar ambitions.
For now, Gardiner and his dedicated team continue to seek opportunities for Wyrdsong, hoping to transform their vision into reality. “I’ve been fortunate to work on many games, but this is the first that truly feels like my baby,” he expressed. The stakes are high, and the desire to see Wyrdsong flourish drives Gardiner’s relentless pursuit of a path forward.
