{"id":1203681,"date":"2026-02-19T21:54:51","date_gmt":"2026-02-19T21:54:51","guid":{"rendered":"https:\/\/www.polygon.com\/?p=599594"},"modified":"2026-02-19T21:54:51","modified_gmt":"2026-02-19T21:54:51","slug":"the-top-two-goty-2025-front-runners-are-aa-games-and-thats-a-good-sign","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/the-top-two-goty-2025-front-runners-are-aa-games-and-thats-a-good-sign\/","title":{"rendered":"The top two GOTY 2025 front-runners are AA games and that\u2019s a good sign"},"content":{"rendered":"
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A familiar refrain over the last few years has been the death of what we like to call AA games: mid-budget games made by mid-sized teams. AA games have production values that are comparable with AAA blockbusters \u2014 you know: full voice acting, cinematic cutscenes, fancy 3D graphics \u2014 and occupy similar genres, but tend to have a more modest scope and realistic set of ambitions. They used to be the industry\u2019s stock-in-trade, until they were squeezed out by an exploding indie scene on one side and risk-averse publishers\u2019 focus on mega-budget sure bets on the other. Now they\u2019re an endangered species.<\/p>\n

Or are they?<\/p>\n

A post on the gaming forum ResetEra<\/a> recently alerted me to something interesting. The two best-reviewed games of 2025 so far (alongside the indie darling Blue Prince<\/em><\/a>) \u2013 and the two leading front-runners for Game of the Year<\/a> at The Game Awards in December \u2014 are Clair Obscur: Expedition 33<\/em> and Split Fiction<\/em>. These both retail for $50 \u2014 not the industry-standard $60 or the increasingly widespread premium price point of $70 (never mind Nintendo\u2019s decision to break the $80 taboo<\/a> with Mario Kart World<\/em>). The poster framed this as a triumph of fair pricing over the greed and bloat of AAA gaming.<\/p>\n

Personally, I\u2019m wary of constructing critical arguments around pricing and value \u2014 not least because paying more for our games is an arguably necessary, if painful, counter-measure if the game industry is to survive inflation, skyrocketing development costs, and stalling growth in the gaming audience.<\/p>\n

But it\u2019s also true that accepting more expensive games that take even longer to make<\/a> isn\u2019t the only path to sustainability for gaming. Alternatively, we could reframe our expectations for the scope and technical specifications of the games we play, and the sheer amount of labor that goes into making them. As the meme puts it<\/a>: \u201cI want shorter games with worse graphics made by people who are paid more to work less and I’m not kidding.\u201d<\/p>\n

\"\"<\/p>\n

That sounds like a description of a AA game to me. Well, maybe not the \u201cpaid more to work less\u201d part \u2014 certainly not in the category\u2019s 2000s heyday \u2014 but even this might have room to change as new publishing and development models emerge.<\/p>\n

Consider Clair Obscur<\/em> and Split Fiction<\/em>. Neither can really be called an indie game, but they\u2019re both made on the outskirts of the traditional publishing system. Clair Obscur<\/em> is the debut game of Sandfall Interactive, an independent French studio founded by Ubisoft veterans. It has a team of about 30 people, supported by outside contractors<\/a>. The game was funded and released by Kepler Interactive, a young, hungry publisher that was itself founded by a coalition of indie studios.<\/p>\n

Split Fiction<\/em> is more of an establishment release, but only kind of. It was bankrolled by industry giant Electronic Arts. But its Swedish developer Hazelight (team size: around 80) is fully independent, and like Hazelight\u2019s previous games, Split Fiction<\/em> was published under the EA Originals label in an arms-length relationship that gives the developer full creative control. I don\u2019t know what the working conditions are like at Sandfall and Hazelight, but I wouldn\u2019t be surprised if they were better than the industry norm.<\/p>\n

That\u2019s one thing that sets these two releases apart from the AA games of old. Another is their critical reception. The AA classics of the past \u2014 games like Second Sight<\/em>, Stranglehold<\/em>, or The Darkness<\/em> \u2014 were good, but seldom considered great in their time. They were enjoyably pulpy genre efforts that mostly stayed in their lanes, and were gently penalised by reviewers for their lack of ambition.<\/p>\n

\"\"<\/p>\n

Clair Obscur<\/em> and Split Fiction<\/em>, however, have both enjoyed universal acclaim, reflected in 90-plus ratings on both Metacritic and Opencritic. Review scores like these are usually reserved for AAA blockbusters, expensive first-party vanity projects, and mold-breaking indies. (And Nintendo games, which arguably often fit the AA template, but that\u2019s an argument for another time.) It\u2019s very unusual for mid-budget productions like these to resonate with reviewers in this way \u2014 although perhaps a bit less unusual as time goes on. You can argue that last year\u2019s acclaimed Metaphor: ReFantazio <\/em>belongs in this category, and even 2023 GOTY winner Baldur\u2019s Gate 3<\/em>.<\/p>\n

The two new games succeed for different reasons. Split Fiction<\/em> is laser-focused on a style of gameplay \u2013 split-screen, co-operative gaming for two players \u2013 that\u2019s very popular, but underserved by the industry. (Hazelight\u2019s previous game, It Takes Two<\/em>, has sold an astonishing 20 million copies<\/a>.) Split Fiction<\/em> stands out just by executing this rare breed of game very well. Clair Obscur<\/em> resurrects a AAA genre of the past \u2014 basically, the turn-based Final Fantasy games of the 2000s \u2014 with a more modest scope and a strongly individual flavor in its writing and artwork. It feels both nostalgic and fresh.<\/p>\n

But, more broadly, the games do have something in common. Unencumbered by the need to be huge, or to appeal to the widest possible audience, they\u2019re both able to give players something specific that they crave and that the mainstream gaming industry isn\u2019t giving them. And they do so in a gaming vernacular that looks almost indistinguishable from a full-blooded AAA release. That\u2019s why they\u2019re resonating so strongly with critics and players.<\/p>\n

In the game industry\u2019s current crisis of sustainability, it\u2019s heartening that AA games are having a moment and earning a respectability that they\u2019ve never enjoyed before. If Split Fiction<\/em> or Clair Obscur<\/em> is crowned Game of the Year at The Game Awards in December \u2014 which, following Grand Theft Auto 6<\/em>\u2019s delay, is quite possible, perhaps even likely \u2014 we\u2019ll know for sure that the AA comeback is happening at last. <\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

A familiar refrain over the last few years has been the death of what we like to call AA games: mid-budget games made by mid-sized teams. AA games have production values that are comparable with AAA blockbusters \u2014 you know: full voice acting, cinematic cutscenes, fancy 3D graphics \u2014 and occupy similar genres, but tend to have a more modest scope and realistic set of ambitions. They used to be the industry\u2019s stock-in-trade, until they were squeezed out by an exploding indie scene on one side and risk-averse publishers\u2019 focus on mega-budget sure bets on the other. Now they\u2019re an endangered species. Or are they? A post on the gaming forum ResetEra recently alerted me to something interesting. The two best-reviewed games of 2025 so…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":1203682,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1203681","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nThe top two GOTY 2025 front-runners are AA games and that\u2019s a good sign | Arcader News<\/title>\n<meta name=\"description\" content=\"A familiar refrain over the last few years has been the death of what we like to call AA games: mid-budget games made by mid-sized teams. 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