The story goes back to 2017, when Netflix published a retro-style game tie-in with Stranger Things. Last week, The Ringer published an in-depth look at Netflix’s foray into videogame publishing, which, to this point, has primarily consisted of mobile games on iOS, iPadOS, and Android. The game, which was released on consoles and Steam last fall, marks the comeback of the classic point-and-click adventure series and its creator, Ron Gilbert. Last week also saw the release of Return to Monkey Island on the iPhone and iPad. This approach isn’t too far off from how game subscription services work, bringing Netflix in line with products like Xbox’s Game Pass and Apple Arcade. Netflix supplies its studios with resources, and they’re free to pursue whatever artistic avenue they want. Netflix’s gaming philosophy right now resembles a kind of patronage system. The story reinforces the sense I got from The Ringer’s story explaining that: Night School’s game director for Oxenfree II, Bryant Cannon, told Parrish that:įrom a creative perspective, we have been able to maintain our creative independence, which is personally what I care about the most. It seems Netflix has been busy getting the word out to more publications because not long after The Ringer’s post, Ash Parrish of The Verge published a story about Netflix Games from the perspective of its in-house studio, Night School, and Ripstone, an outside game developer that created the recently-released game, The Queen’s Gambit Chess. ![]() Not long ago, I linked to an in-depth profile of Netflix Games published by The Ringer.
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