This is a story about serendipity and probability.

Nicole He met Arnaud De Bock while waiting in line for the bathroom at a GDC developer party in 2019. She was giving a talk on voice technology in art and games based on her work as a creative technologist, her portfolio filled with interactive projects like the True Love Tinder Robot, Garden Friends, ENHANCE.COMPUTER and Soylent Dick. De Bock was working on the Reigns series and Card Shark for Nerial, and finishing up Pikuniku on the side.

Technically, He wasn’t invited to this particular party, but Ape Out co-creator Maxi Boch snuck her in.

“There in the bathroom line, I met Arnaud,” He told Engadget. “We started chatting, and we were sort of mutual fans of each other's work, and we talked about potentially collaborating on something. A few months later, we were trying to work on this other idea that he had with his collaborator Rémi [Forcadell] from Pikuniku. That idea never really worked out into anything. But at the same time, Arnaud and I were both obsessed with this reality show called Terrace House.”

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Terrace House was a Japanese reality series that aired from 2012 to 2020, featuring a rotating cast of six strangers, mainly young professionals, as they lived together for months at a time. Episodes followed the participants as they navigated work and relationships, and the entire thing had a soothing, quiet kind of vibe, even during explosive arguments about eating someone else’s steak. Though cast members often ended up dating each other, you could call Terrace House very demure and very mindful — especially in comparison to Western reality shows like Love Island or Too Hot to Handle, which are built around the themes of bikinis, lust, betrayal and neon-lit product placement.

Inspired by Terrace House and 1990s reality shows like The Real World and Room Raiders, He and De Bock started creating a game called The Crush House. Nerial jumped on board: The studio was finishing up Card Shark and co-founder Francois Alliot saw this reality TV project as an opportunity for his team to flex their narrative muscles.

“At some point, we made a major pivot as far as the writing goes, just ramping it up from this chill Terrace House style, slice-of-life relaxed thing, to be trashy, essentially,” He said. “Like, the dialogue needs to be a lot more engaging. It needs to be funnier and raunchier, more over the top.”

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That’s when shows like Love Island and The Ultimatum entered the production conversation. In its final form, The Crush House falls in the space between Terrace House and Love Island. It’s set in a bright seaside mansion (with an infinity pool, of course) and it stars four characters at a time as they form strategic friendships, have fiery arguments and make out with each other between ad breaks. 

The Crush House is set in 1999, before smartphones enabled a call-and-response relationship with viewers, but the audience still plays a critical role. Players are the on-site producer and videographer, and they have to respond in real-time to demands from different categories of viewers, like drama queens, foodies, fish freaks, divorced dads and butt guys, while also appeasing advertisers and the mysterious network overlords. Capturing the correct footage, playing ads at the right time and placating the suits makes for a surprisingly intense gameplay loop. There’s a sprint button here for a reason.

One of the most intriguing aspects of The Crush House is its replayability. There are 12 cast members to choose from at the start of every run, and they have distinct personality traits that play off of each other in unique ways. There are classic reality-TV archetypes, like the himbo, the naive girl and the pretentious one, and their interactions are driven by procedural generation.

“Everything that you see on the screen, the dialogues, are generated,” Alliot said. “We have a system called rigmarole, which is a system that matches the traits of a character with what we call sagas, which are like models of stories. For example, if you got a love triangle, you have a number one, number two, number three, they will have different traits that we will match to the characters. If we have a match, we play that story and then it unfolds like that, with possible outcomes that may be different depending on the character that you picked. And this system allows us to have a very broad or very narrow type of narrative.”

He and the developers at Nerial wrote about 50,000 lines of dialogue for the Crush House rigmarole system. With 12 characters to choose from and four characters in each playthrough, there are 495 total possible cast combinations in the game. Essentially, The Crush House had to be procedurally generated.

“We have things that are logical, but it's never 100 percent super structured,” Alliot said. “It's a bit loose, a loose narrative that fits very well with reality TV. And so you can play the game basically forever, matching different characters, and it will still surprise you.”

The Crush House was a jumble of random dialogue and code for a long time before its procedural generation systems had enough information to produce a rational, powerful experience, He said. Alliot warned her this would be the case, and encouraged her to be patient and watch out for the moment when everything would snap into place. Eventually, that’s exactly what happened.

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“It's kind of a mess for a long time,” He said. “But when we reached the point where actually it all came together — we had enough writing, we had the technical stuff working out, and the animations playing and all this stuff happening. It's like there's something that clicks and it kind of becomes magical.”

The Crush House still surprises He, even after years of studying its code and iterating on its outputs.

“I had this experience even yesterday playing the game, where there was a very sweet, romantic scene between Veer and Alex, and then the next scene, Veer says something that's really cruel to him,” He said. “And I was struck by that. I mean, I can see through the veil of it, I know how everything works, but it's really awesome to have that effect.”

The Crush House is available on Steam for PC, developed by Nerial and published by Devolver Digital.

Indiana Jones and the Great Circle is set in 1937, in the space between Raiders of the Lost Ark and The Last Crusade, and it’s being developed by MachineGames, the studio behind the most recent Wolfenstein installments. So, of course the game’s main enemies are Nazis, and obviously it has a robust range of Nazi-punching mechanics. What makes The Great Circle intriguing, even after just a 30-minute hands-off preview, is its lighthearted interpretation of classic Indiana Jones tropes, leaning into the series’ humorous tone and adding twists like open-handed Nazi slapping to Indy’s repertoire.

When it comes to combat, Indiana has a whip, a revolver and his fists (or palms). His whip appears to be the most useful tool on his belt, allowing him to swing across gaps, activate levers, and pull in enemies nice and close for a one-two punch. Hitting a Nazi with the whip briefly incapacitates them while they’re reeled in, setting up an advantageous close-quarters melee situation. Hand-to-hand combat requires precise timing in order to land knockout combos or finishing moves, and on top of throwing punches and slaps, Indy is able to block and defensively parry. In fistfights, the game’s first-person perspective crops in extra tight, filling the screen with punchable Nazi surfaces and enhancing the tension behind each blow and dodge. He can also pick up objects and hit enemies with them, and in pre-recorded gameplay footage, it all looks supremely satisfying.

MachineGames

Indiana Jones and the Great Circle isn’t just an action game, though. Many of its encounters can be approached with stealth mechanics, where players sneak past guards and perform silent takedowns without fisticuffs or gunfire at all. The revolver is really a last-ditch option in each scenario, game director Jerk Gustafsson and creative director Axel Torvenius said. Otherwise, puzzles are a pivotal component of gameplay.

Indiana is joined on his adventures by Gina, an Italian journalist who’s searching for her sister, and together they encounter a variety of logic and spatial puzzles. Some are quick, like finding an alternative entrance to a sealed room, and others are more involved, requiring a few minutes of focus to fully understand.

The preview focused on Giza, Egypt, showcasing bustling outdoor marketplaces, a depressing Nazi meeting room and a vibrant temple hidden beneath the sands of the Great Sphinx. Here, Indy and Gina had to catch the sunlight with a series of ancient mirrors, lining them up one by one until the beam bounced to the proper place. This particular puzzle room seemed straightforward and slightly clever (though maybe that’s just because The Mummy is one of my favorite childhood movies), but there are apparently more challenging riddles in the game, too. The most complex puzzles are hidden, requiring some light exploration in various regions, and they’re not necessary in order to complete the main storyline. These bonus riddles are just some of the many secrets to find around the game’s world.

MachineGames

“I don’t really like too difficult puzzles myself,” Gustafsson said. “I like to just enjoy the experience and not be so challenged by them. That said, we do have a mix [of puzzle difficulties] because I like a lot of variation. It’s not like we have some unique puzzle mechanic that goes across the entire game. We tried to create every puzzle in a different, unique way.”

There are also difficulty options for the puzzles overall, allowing players to choose how complex they’ll be throughout the entire game.

Indiana has a notebook that fills up with evidence, objectives and photos that he takes while investigating various relics around the globe. The camera is an essential tool in The Great Circle, and each snapped pic can unlock new clues and trails to follow. Indy also carries a lighter, which functions as a flashlight and can set stationary torches ablaze. His play style is customizable, with dozens of upgrades available as the game progresses. One potential upgrade is True Grit, an ability that allows him to recover from a fatal blow by crawling toward and grabbing his fedora within a certain amount of time. You know, classic Indiana Jones stuff.

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I’ve seen some angry chatter online from people who don’t like the first-person perspective in The Great Circle, citing a desire to actually see Indiana as he does all this cool stuff, just like in the movies. I don’t think these people have much to worry about — not only are there plenty of cutscenes featuring Troy Baker’s utterly impressive 1980s Harrison Ford impression, but parts of the game are in third-person after all.

“When it comes to a character like Indiana Jones, I want to play the character and I want to be the character, I want to look through and explore the world through his eyes,” Gustafsson said. “To me that’s a very important part of what we do here. For me, it was a very easy choice. But also, we do mix in some third-person elements here. We have very much come back to our own history with games like Riddick and The Darkness where we also did this mix between first-person and third-person perspective. We do that for this game, too. Everything is not first-person, even though the core experience is in first-person.”

Torvenius added, “There’s a great opportunity here as well for us because we do have a large section of the game that is mystery, it’s solving puzzles, being up front and close to ancient relics and ruins and scriptures. So it adds an intimacy to the adventure to some aspect, that you can get really up and close and can really inspect things, which is actually pretty nice how it plays out in the game.”

MachineGames

Even in first-person scenes, Indiana Jones and the Great Circle looks, sounds and feels right so far. Baker’s Indiana Jones is nearly indistinguishable from the early film versions, his voice drawling and gravelly with a sarcastic bite. There’s a dry humor built into his interactions, as is fitting. In one scene, he’s introducing himself to a woman who has an intricately designed eye patch; she seems to be indigenous to the jungle they’re sitting in.

“I’m an archaeologist,” Indiana says.

“Another one,” she replies, clearly unimpressed.

It’s a quick moment from a short preview, but it sets a solid tone for the game as a whole: dry, lighthearted, and a little punch-drunk in between all the actual punching. Or you could say, a bit slap-happy amid all the slapping. Either way, these Nazis won't know what hit them.

Indiana Jones and the Great Circle is coming to Xbox Series X/S and PC on December 9. It'll be available on Game Pass Ultimate, and it's also coming to PlayStation 5 in spring 2025.