Devolver Digital puts out a lot of good games and it's looking to spread that magic around to licensed content. The company just announced a sub-label called Big Fan Games that will specialize in developing indie titles based on pre-existing IPs. Devolver describes Big Fan Games as "a brand new label giving developers license to create original game adaptations using the worlds and characters of iconic film, television, and comic properties." To that end, the team is staffed with industry veterans who have worked with companies like Disney and Dark Horse Comics. Today we launch Big Fan ( @BigFanPresents) - a brand new label giving developers license to create original game adaptations using the worlds and characters of iconic film, television, and comic properties.

E3 is canceled this year due to both the pandemic's effects on development schedules and the success of events elsewhere in the year, like The Game Awards. As such, expectations are higher than ever for Summer Game Fest (SGF). It's now the biggest mid-year opportunity for developers to reveal new games and hype up their upcoming releases. At the same time, you might not see absolutely everyone. Don't worry if it's all a bit overwhelming -- we'll let you know how to watch, and what you'll likely see when Geoff Keighley and partner studios take to the stage.

It's June, and video game fans across the globe know what that means – it's not E3. The old, in-person gaming show has been canceled for the third year in a row, but this summer will still be filled with news and virtual events, thanks in large part to Canada's sweetheart Geoff Keighley. It all takes place in early June, which is like right now, so let's take a look at the schedule for Summer Game Fest and break down what to expect from the studios involved. Summer Game Fest is less a singular event and more a state of mind. It comprises a handful of virtual shows spread over 10 days, starting on June 2nd with the PlayStation State of Play stream.

Therapy has an engagement problem. Despite the benefits of treatment plans and at-home exercises, people generally resist anything that feels like work, and this impedes the mental-health recovery process across the board. Clinicians have attempted to bridge this gap with various devices and reward systems, but still, it's often incredibly difficult to motivate patients to help themselves. Video games have the opposite problem. Players can spend hours immersed in a single digital experience, seated in one spot and lost in their own world, but they're often branded as "lazy" for this behavior.

We all wanted to see Metroid Prime 4, the long-anticipated first-person science-fiction shooter-adventure that has been in development at Nintendo for an absolute age. But instead we got a whole new Metroid – a 2D one in the vein of the SNES and Game Boy Advance classics, the first game in the series in this style for about 19 years. Metroid Dread features Samus Aran being chased by distressing, transforming drone-robots who appear to be largely impervious to her ever-expanding array of weapons, and it looks genuinely scary. It'll be out on 8 October on Nintendo Switch. Back in the mists of time, pre-pandemic, before everything went wrong, it was announced that FromSoftware – the studio behind dark fantasy classics Dark Souls and Bloodborne – was working on a game with Game of Thrones creator George RR Martin.

Publishing deals in the video game industry are generally kept secret, with terms hidden behind non-disclosure agreements and the threat of legal fallout. However, in the realm of AAA publishing, it's common for independent developers to sign contracts granting them less than 10 percent of a game's lifetime revenue, in exchange for marketing and financial assistance from a multibillion-dollar organization. In some cases, the developer also signs away their intellectual property rights, losing creative control over the game entirely. Or, a huge company will simply buy the smaller studio outright, devouring its existing library and creative talent, and overseeing all of its future products. In late March, Epic Games launched a multiplatform publishing initiative touting "the most developer-friendly terms in the industry." Under this deal, developers are guaranteed 50 percent of a game's revenue once production costs are recouped, and they retain full creative control over their own titles. Epic also promises to cover up to 100 percent of a game's development costs, including salaries, advertising and publishing fees. "We're building the publishing model we always wanted for ourselves," said Epic founder and CEO Tim Sweeney. Epic Games has been experimenting with publishing models since the early '90s, decades before the launch of Fortnite, The Epic Games Store or the Unreal Engine. We're talking about the days of BBS, back when Sweeney was building ZZT out of his parents' house and the World Wide Web was just flickering to life.

The Devolver Digital parking lot has been the best part of E3 for half a decade, even though it's technically not associated with E3 at all. A big white balloon marks the spot across the street from the Los Angeles Convention Center where a handful of bullet-like Airstream trailers huddle around tents offering free beer and hot sausages wrapped in tortillas. A giant screen sits under the shade, pixels flashing as a group of people play the latest local multiplayer game under Devolver's publishing label. Some years, an arcade controller with neon dildos as joysticks sits on a low table in front of the screen, waiting for someone to load up Genital Jousting. High-profile indie developers float in and out of the parking lot, showing off their games in the trailers and indulging in the festivities.

I've never liked rushing through video games. I prefer to take my time, strolling aimlessly through the digital brush and marveling at each beautifully-realized world. There's just one problem: I don't have 100 hours to spend on Monster Hunter World or Assassin's Creed: Origins. Still, when I dive into a game I want to immerse myself and move at a speed that respects the time and effort put in by the developers. That glacial pace means I rarely play the same game twice.

In 2011, Microsoft was the indie king. The industry was just blossoming thanks to services like Steam and Xbox Live Arcade, which introduced independent games to huge, hungry audiences. Indie Game: The Movie was about to debut, giving fans a deep, behind-the-scenes look at the perils and triumphs of small-scale development. The Xbox 360 served as the foundational platform for the film's major projects, Super Meat Boy, Fez and Braid. And then, the pendulum swung -- in 2012, Journey landed exclusively on the PS3.