How to Start an Indie Game Studio – Lessons From Joe Dietsch, Director Turned Wolf Haus Games Founder:

Figuring out how to start an indie game studio is not a question most people answer the same way twice. Joe Dietsch answered it by directing two feature films first, spending years in commercial and music video production, and then discovering one afternoon that Unreal Engine was free to download.

Joe is the founder of Wolf Haus Games and the creative director behind Join Us, a doomsday cult simulator heading to PC, Xbox, and PlayStation as a day one Xbox Game Pass title. He joined Ash Cason, Head of Marketing and Community at IndieGameBusiness®, on the Indie Game Business podcast to walk through the full path: from teaching himself game development through YouTube tutorials and late-night Unreal sessions to landing funding from Lifeline Capital and Krafton and building a twelve-person studio in Montreal.

What he shared is one of the more honest and specific accounts of how to start an indie game studio without a traditional industry background, without an existing network in games, and without a clean plan from the beginning.

The Origin Story – Film School, Feature Films, and a Free Game Engine:

Joe’s creative instincts go back further than film school. His first game was a missile command clone programmed on a TI-83 graphing calculator in math class. He got in trouble for it and decided the programming was more interesting than whatever the class was supposed to be teaching. That impulse never fully went away, but film felt more accessible. You had a camera, some friends, and you could just go make something.

He went to film school, graduated, built a career in commercials and music videos, and co-directed Happy Hunting, a feature that landed on Netflix in 2018. A second feature, Manifest West, followed. Then in 2021, he assumed Unreal Engine cost around three thousand dollars and had never bothered looking into it. The day he found out it was free, he downloaded it.

From there the pattern was simple: he kept waking up excited to go work in it. Some days the goal was figuring out how to build an exploding barrel, which in Unreal is not complicated but was a full day of learning at the time. The excitement did not wear off. That sustained excitement is something Joe returns to as one of the clearest early signals that he was pointed in the right direction.

How to Start an Indie Game Studio With No Industry Connections:

One of the most common questions around how to start an indie game studio is how to find the people to build it with, especially when you are coming from outside the industry. A community question submitted to the IndieGameBusiness® Discord asked exactly this, and Joe’s answer was direct about both what worked and why it was hard to generalize.

He had almost no games industry contacts when he started. His network was in film. So he worked with what he had: the few people he knew who were adjacent to games, and trusted them to introduce one specific person they thought should see the project.

The chain looked like this:

• Joe showed an early proof-of-concept to his long-time film collaborator Michael Abbott
• Michael introduced him to a writer who had worked on Assassin’s Creed, Army of Two, and Arkham Origins
• That writer introduced him to Reed, who runs Raccoon Logic in Montreal
• Each person either joined or introduced one more person they believed would genuinely connect with the project
• Nobody blasted the project to their whole network. Every introduction was deliberate and personal

This process eventually produced six co-founders and a team centered in Montreal. From late 2023 through early 2024, everyone worked nights and weekends while holding other jobs. There was no registered company and no money. Joe’s observation on that period is worth taking seriously by anyone researching how to start an indie game studio on limited resources: having no money means having no burn rate, which means having no artificial runway forcing a premature decision.

He watched other projects, including film projects, get burdened by taking on small amounts of capital too early. When people put money in before the timing is right, they tend to believe they still have a say in the direction even after their moment has passed. His recommendation is to wait for the right funding partners, even if those conversations take over a year. Lifeline Capital was the very first group Joe ever pitched. They did not invest immediately. They watched the team for more than a year to see whether the founders would still be working well together. Then they came in. Joe said he would have made the same call in their position.

The Concept Behind Join Us and Why the Tone Mattered More Than the Mechanics:

Join Us started as something much more contained. The original concept was a simple base-builder: a doomsday cult compound, ATF agents showing up in waves instead of zombies, rebuild during the day, defend at night. Something small enough to show a few friends.

Then the map started growing. A road appeared. A fishing hole appeared. A handcrafted open world roughly eighty percent the size of the Fallout 3 map took shape. None of that was planned. It emerged from building in three dimensions in an engine that makes spatial expansion feel natural.

The final concept is more specific than a survival game with a cult skin. You begin as a member of an already-thriving doomsday organization, get called up by the cult leader, and are sent to a small rural town to start a franchise. Nobody knows you. Nobody trusts you. You have to build something from nothing in a place that would rather you were not there.

The tone was the thing that determined whether people got on board or did not. In early pitches, there would be a moment around slide five where the room shifted. People stopped being unsettled by the subject matter and started laughing. The game takes something genuinely strange and presents it with a completely straight face. A cultist riding a pig while firing a flamethrower is funnier when the world around it looks like it takes itself seriously. The team identified that tonal contract early and protected it deliberately across every design decision.

What Film Experience Taught Him About Making Games:

Going from film into game development came with some accurate assumptions and at least one significant miscalculation.

The miscalculation: Joe assumed a game studio would feel like post-production in film, where editors work in isolated bays and everything is compartmentalized. He planned around that. What he found was that the team wanted to work together on an open floor, desks connected, people around each other all day. The energy was much closer to a film set than a post house. He adapted quickly, but the gap between his mental model and the reality was real.

What transferred well from film was the instinct to tell stories economically. Join Us communicates a large portion of its narrative through radio transmissions from the cult leader, who is never physically present. The player builds a relationship with this voice over time without the production cost of animating every scene. That was a deliberate choice rooted in years of thinking about how to do more with less, which is exactly the kind of thinking that commercial and independent film work tends to build.

The other major difference was temporal. In commercial work, if the sun goes behind a building in five minutes, you have five minutes. In games, you are on a multi-year timeline where tasks are non-linear and almost nothing is truly lost forever. Joe found this liberating rather than frustrating, but it required a genuine mental shift in how he thought about urgency and pacing.

Scope, Map Size, and the Feature Creep They Did Not Regret:

A twelve-person team building an open-world cult survival game with base building, follower AI, a handcrafted six-square-kilometer map, and fully modular construction systems is not a small undertaking. Joe acknowledged freely that the team probably should have cut more scope and did not. The game is built on feature creep in ways the team is honest about internally.

But the decisions that drove scope were not arbitrary. The map size is a good example. Six square kilometers is large enough to support exploration, multiple bases, distinct stories, and genuine discovery. It is also a size that a twelve-person team can fill entirely by hand with no procedural generation, which means every piece of it can be made genuinely interesting. A bigger map filled with grass and trees is easy to make in Unreal. It is also empty in the ways that matter.

The base building system went through significant evolution. Early versions used large pre-assembled structures that players assigned followers to. The team eventually moved to a fully modular system where individual components, planter beds, fences, decorations, large effigies, can each be placed and managed independently. Players can tend crops themselves or assign followers. The follower AI handles the same tasks the player can handle. It made the development work harder. It made the experience substantially more alive.

How Wolf Haus Runs a Twelve-Person Studio Without Bureaucracy:

Wolf Haus Games operates with minimal management layers. Joe is CEO and creative director, but the organizational structure is deliberately flat. When a team member who had come from a much larger studio pushed back on a system decision, Joe agreed on the spot and moved on. The team member was visibly surprised that a decision at that level could be made that quickly without escalation or review.

That speed is realistic at twelve people and may not survive a significant expansion without adding vertical management. For now, the practical habits that make it work are:

• Meetings happen when actually needed rather than on a default recurring schedule
• Quick questions go into private Discord rooms and take five minutes instead of consuming a calendar slot
• Everyone knows what everyone else is building because the team is small enough that full transparency happens naturally
• Decisions that belong to the person managing a system get made by that person, not routed through multiple approvals

This structure lets the team move quickly, correct bad directions fast, and implement good ideas without waiting for the process to catch up. Joe is clear that it is a function of scale and plans for it to evolve as the studio grows.

The One Thing He Would Tell Someone Starting Out:

Ash asked Joe what he would tell his earlier self. His answer came with the caveat that a much better version of it would probably surface at two in the morning.

The actual answer: prioritize the build. When you are figuring out how to start an indie game studio, there is a pull toward initiatives that feel important in the moment and rarely matter in retrospect. Company setup tasks, exploratory conversations, peripheral decisions, all of it can consume the time that should be going into the product. Joe’s personal test for anything generating stress or eating attention: if he will not care about it in three years, he should not care about it now.

He was clear that some of what pulled attention away from the game was genuinely necessary. But on balance, more time on the game and less time on everything surrounding it would have been the right call. For anyone working through how to start an indie game studio of their own, that is probably the clearest and most honest thing he said in the entire conversation.

Where to Find Join Us and Wolf Haus Games:

Join Us launches on PC, Xbox, and PlayStation as a day one Xbox Game Pass title. The game appeared in the Xbox showcase alongside Fable, Halo, and State of Decay, which Joe described as genuinely surreal to experience from the back of the theater with two teammates.

The Wolf Haus Games Discord is the best place to follow development and is linked directly from the Steam page. The Steam page also hosts a series of development blogs covering music, two-dimensional art, storytelling, and production details for anyone who wants to go deeper. TikTok and Instagram carry the most frequent new content and story updates heading toward launch, and Joe responds to DMs personally on both platforms.

Want more insights like this?:

Join us for our IndieGameBusiness Sessions, taking place on September 30th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Joe and other industry pros.

The IndieGameBusiness® podcast drops new episodes regularly, covering the business side of making and selling games. Subscribe to the newsletter to get episodes, Discord events, and industry news straight to your inbox. Subscribe now

Why Indie Game Press Still Matters in 2026:

In 2026, getting Indie Game Press coverage as an indie developer is harder than it has ever been. Thousands of games launch each year across Steam, console storefronts, and emerging platforms, while media teams shrink, attention spans tighten, and algorithms increasingly dictate visibility. Yet despite these challenges, press coverage remains one of the most powerful credibility signals an indie game can earn.

In this episode of the IndieGameBusiness® podcast, host Dan Long sat down with Jade King, Lead Features Editor at TheGamer, to pull back the curtain on how games journalists actually work, how indie games get noticed, and what developers can do today to dramatically improve their chances of coverage. The conversation offered rare, candid insight into the realities of modern games media and the mistakes indie developers continue to make when pitching the press.

From Fan Blogs to Features Editor – Jade King’s Journey:

Jade King’s path into games journalism didn’t begin with prestige outlets or industry connections. Like many journalists, it started young, contributing to small blogs, reviewing anime, covering niche JRPGs, and gradually building a portfolio. While studying journalism at university in Brighton, Jade began freelancing for tech and gaming sites, eventually taking on more responsibility, attending events, and building industry relationships.

That gradual climb shaped how Jade approaches coverage today. Journalists are not faceless gatekeepers. They are players, writers, and fans who care deeply about the craft. But they also operate under intense constraints: deadlines, traffic targets, limited staff, and constant content pressure. Understanding this human context is essential for developers hoping to build productive press relationships.

What “Indie Game” Means in 2026:

A decade ago, “indie game” generally meant a small, self-funded project without a publisher. Today, the term is far more fluid. Games with dozens of developers, sizable budgets, and publishing partners are still labeled “indie,” while solo developers struggle to compete for attention in the same category.

From a press perspective, this creates tension. Larger “indie” titles often receive priority because they drive traffic, already have visibility, or resemble AAA releases in scope. Smaller projects, even excellent ones, risk being overshadowed unless they find a way to stand out.

For developers, this means relying on the “indie” label alone is no longer enough. You must clearly communicate why your game matters, what makes it unique, and why it deserves attention now.

How Indie Games Actually Reach Journalists:

According to Jade, indie games most often land on a journalist’s radar through a combination of factors:

• Steam visibility (wishlists, trending demos, Next Fest traction)
• Social media momentum
• Recommendations from trusted colleagues or developers
• Personal interest in a specific genre or theme
• Previous relationships with creators

Events like Steam Next Fest play a critical role, allowing journalists to quickly sample dozens of games without committing to full reviews. Demos that clearly communicate their appeal within minutes are far more likely to generate coverage than full releases buried in inboxes.

This reality underscores an important truth: press coverage is rarely a single moment. It’s the result of cumulative signals that tell journalists a game is worth their limited time.

The Reality of Journalists’ Inboxes:

One of the most eye-opening parts of the discussion was the sheer volume of emails journalists receive. Depending on the season, Jade may receive hundreds or even thousands of emails per day, many of them nearly identical press releases.

This makes it logistically impossible to read or respond to every pitch. Lack of response does not mean a journalist disliked your game. More often, it means they never saw it.

For developers, this means every detail matters:

• Subject lines
• Timing
• Brevity
• Visual assets
• Clarity of messaging

Your pitch must earn attention in seconds, not minutes.

Why Indie Pitches Fail Before They’re Read:

According to Jade, some of the most common pitch mistakes include:

• Sending messages through personal social media accounts (Instagram, Facebook)
• Writing overly long or unfocused emails
• Using all caps or spam-triggering language
• Failing to explain what the game actually is
• Assuming journalists “owe” coverage

Journalists value professionalism and boundaries. Cold DMs outside professional platforms often backfire, even when intentions are good. Email, LinkedIn, or professional social channels are far more appropriate.

What Makes a Pitch Stand Out:

A successful pitch does three things immediately:

1. Explains the game clearly
2. Shows why it’s unique
3. Makes coverage easy

Jade emphasized the importance of:

• A compelling subject line
• A short description with clear genre context
• High-quality screenshots or GIFs
• A trailer link
• Estimated playtime
• Demo availability

Comparisons can help — “X meets Y” — as long as they’re accurate and not overused. Most importantly, pitches should be concise. Journalists do not want essays; they want clarity.

Timing Is Everything:

Many indie developers unknowingly sabotage their pitches by sending them at the wrong time. Emails sent late Friday, over weekends, or during major industry events are likely to be buried by Monday morning.

Developers should research:

• The journalist’s time zone
• Typical working hours
• Industry calendars

A well-timed pitch can dramatically increase visibility, especially for smaller teams without PR support.

Building Relationships Without Forcing Them:

Developers often ask how to “build relationships” with Indie Game Press. Jade’s advice was clear: don’t force it. Commenting thoughtfully on articles, engaging professionally on LinkedIn or Bluesky, and respecting boundaries goes much further than aggressive outreach.

Once a relationship exists, through interviews, previews, or informal conversations, coverage becomes more natural. Journalists are more likely to champion games made by developers they trust and respect.

Reviews, Criticism, and Emotional Reality:

Negative reviews are difficult for developers, especially solo creators deeply invested in their work. But Jade emphasized that criticism is never personal. Journalists aim to be constructive, not cruel.

Importantly, many meaningful conversations happen before reviews are published, during previews, demos, and informal feedback sessions. Developers who engage openly often gain insights that improve their games long before launch.

Making Games “Fun” for Indie Game Press

One recurring theme was reducing friction. The easier it is to understand, play, and write about a game, the more likely journalists are to cover it. That means:

• Clear press kits
• Organized assets
• Accessible demos
• Honest communication

Press coverage is not a favor, it’s a collaboration. When developers respect journalists’ time, everyone benefits.

Social Media Is Part of the Equation:

While not every developer can manage multiple platforms, consistent social presence matters. Posting gameplay clips, GIFs, dev insights, and participating in indie spotlight hashtags can slowly build awareness.

Press coverage rarely exists in isolation, it’s amplified by community engagement, creator interest, and ongoing visibility.

Why You Should Never Force Coverage:

One of the fastest ways to lose a journalist’s interest is attempting to dictate coverage or headlines. Press autonomy matters. Developers should present their game, not script its narrative.

When coverage feels earned, it’s stronger, more authentic, and more impactful.

Final Advice for Indie Developers in 2026:

Jade’s closing advice to developers was simple but powerful:

• Be yourself
• Be confident in your idea
• Learn from rejection
• Keep going

Press coverage is unpredictable, but not impossible. Developers who treat journalists as collaborators rather than obstacles stand the best chance of being seen.

Anecdotes and Reflections:

The indie game landscape is crowded, competitive, and often discouraging. But as this conversation made clear, journalists still care deeply about discovering great games and sharing meaningful stories.

For developers willing to do the work, refining pitches, building relationships, and respecting the realities of modern media, press coverage remains a powerful tool for visibility and long-term success.

In 2026, indie games don’t just need to be good. They need to be understood, and that starts with how you tell your story.

Want more insights like this?:

Join us for our IndieGameBusiness Sessions, taking place on February 18th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Jade and other industry pros.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

The IndieGameBusiness® 2026 Battle Pass gives you access to the remaining 2026 lineup at a reduced price that continues to decrease as each event takes place.

As each event passes, the cost adjusts so you are only paying for what is left. Grab your ticket for just $88 USD Today!

You’ll still receive full access to expert talks, practical workshops, and direct industry insight designed for developers, publishers, and service providers. You will also receive two days of MeetToMatch access during the September IGB Session to connect directly with industry professionals.

What You Get with the IndieGameBusiness® 2026 Battle Pass:

When you grab the Battle Pass, you unlock:

• 3 live IndieGameBusiness® events
• 2 professional Masterclasses
• Two full days of MeetToMatch access during our September IGB Sessions
• A full year of expert talks, actionable workshops, and direct industry insight

Everything is streamed online across YouTube, Twitch, and LinkedIn, so you can attend from anywhere without burning travel money or PTO.

2026 Event Lineup at a Glance:

Included Events

• IGB Session & MeetToMatch | Feb 18 COMPLETED
  From Pitch to Partnership
• Deep Dive | May 27 COMPLETED
  Building Strong Publishing Partnerships
• IGB Session & MeetToMatch | Sept 30
  The Path from Storefront to Success
• Deep Dive | Dec 9
  Game Marketing That Works

Included Masterclasses

• June 17, 2026 — The Production Toolkit Every Game Team Needs | Completed
  Heather Chandler
• October 20, 2026 — Community Management: The Basics
  Ash Cason

IndieGameBusiness® Sessions – From Pitch to Partnership:

February 18, 2026

Event Details

• Lectures: February 18, 2026
• MeetToMatch: February 18–19, 2026
• Ticket Price: $0–$60 USD
• Time: 9am–5pm ET
• Platforms: YouTube, Twitch, LinkedIn
• Event completed

IndieGameBusiness® Deep Dive – Building Strong Publishing Partnerships:

May 27, 2026

Event Details

• May 27, 2026
• Free
• 9am–5pm ET
• YouTube, Twitch, LinkedIn
• Event Completed

Masterclass – The Production Toolkit Every Game Team Needs:

June 17, 2026

Led by Heather Chandler, a veteran producer with 25+ years of experience on titles like Helldivers 2 and Fortnite, this Masterclass cuts through over-engineered systems and focuses on what actually works.

Heather breaks down:

• The core production tools every team needs
• How to spot problems before they explode
• How to course-correct when things slip
• Building production habits that support the team, not slow it down

If development chaos feels familiar, this Masterclass gives you clear, practical steps you can use immediately.

Masterclass Details

• June 17, 2026
• Completed
• 11:00am–12:30pm ET
• Heather Chandler — Head of Production, The Powell Group

IndieGameBusiness® Sessions – The Path from Storefront to Success:

September 30, 2026

Launching on a storefront is only the beginning. Turning visibility into sales takes planning, data, and execution.

This one-day Session focuses on helping developers understand how storefronts work — and how to make them work for you.

You’ll Learn:

• How to optimize your store page for conversion
• How platform algorithms and sales cycles work
• Managing discounts and promotions strategically
• Tracking analytics that actually matter
• Building long-term sales momentum post-launch

Perfect for teams preparing a launch or trying to improve performance after release.

Event Details

• Session: September 30, 2026
• MeetToMatch: September 30 – October 1, 2026
• $0–$60 USD – Grab your ticket today!
• 9am–5pm ET
• YouTube, Twitch, LinkedIn

Masterclass – Community Management, The Basics:

October 20, 2026

In this Masterclass, Ash Cason breaks down what community management actually looks like for indie teams.

This isn’t theory, it’s real-world insight into:

• Community 101 fundamentals
• Building safe, inclusive player spaces
• Supporting community team mental health
• Hiring the right community manager for your project
• Avoiding common (and expensive) mistakes

If your community is growing or is about to, this is required knowledge.

Masterclass Details

• October 20, 2026
• Grab your ticket today!
• 10:00am–11:30am ET
• Ash Cason — Marketing & Community Lead, IndieGameBusiness®

IndieGameBusiness® Deep Dive – Game Marketing That Works:

December 9, 2026

Great games still fail without the right marketing strategy.

This free, one-day Deep Dive focuses on helping developers build marketing plans that drive real results! Without wasting time, money, or sanity.

Topics Include:

• Marketing strategies for every stage of development
• Building authentic, engaged communities
• Messaging that sells without overselling
• Working with influencers and media effectively
• Using analytics to guide smarter decisions

Whether you’re launching your first game or refining your next campaign, this event gives you tools you can actually use.

Event Details

• December 9, 2026
• Free
• 9am–5pm ET
• YouTube, Twitch, LinkedIn

Why the IndieGameBusiness® 2026 Battle Pass Matters:

When you purchase the IndieGameBusiness® 2026 Battle Pass, you’re not just investing in your own growth.

You’re helping IndieGameBusiness® continue offering free and deeply discounted education, supporting developers and professionals who might not otherwise have access to these resources.

Together, we’re building a stronger, more accessible, and more sustainable game industry. One well-informed team at a time!

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

A New Chapter for IndieGameBusiness®:

The IndieGameBusiness® community is entering its next phase, focused on deeper education, broader access, and long-term sustainability for indie developers worldwide.

In the first podcast episode of the year, Jay Powell sat down with Ash Cason to outline what’s next for IndieGameBusiness® and The Powell Group. What followed was a candid, detailed conversation about growth, lessons learned, and a major evolution in how IndieGameBusiness® serves the global game development community.

From restructuring flagship events to expanding free educational resources, IndieGameBusiness® is doubling down on its core mission: breaking down barriers, removing gatekeeping, and giving developers access to the same insights and connections typically locked behind expensive conferences.

Rethinking Events – A Smarter, More Accessible Format:

IndieGameBusiness® is restructuring its events to reduce conflicts, increase value, and improve the attendee experience.

One of the biggest announcements centered on a fundamental shift in how IndieGameBusiness® events are run. Instead of overlapping lectures and networking sessions, events will now follow a clearer structure: one full day of talks, followed by dedicated days for MeetToMatch networking.

This change directly addresses a common frustration among developers—being forced to choose between learning and networking. By separating these components, attendees can fully engage in both without missing critical opportunities.

The goal is simple: maximize value while minimizing stress, decision fatigue, and scheduling conflicts.

Introducing Competitive Pitching with Real Incentives:

A new pitching event adds tangible rewards while encouraging developers to refine their presentation skills.

A standout addition to the 2026 lineup is a competitive pitch event offering three $1,000 USD prizes. Unlike traditional pitch reviews, this event requires polished decks and live presentations, mirroring real-world pitching environments.

Awards will be given across multiple categories, such as best pitch deck, strongest presentation, and most anticipated game. Importantly, no single team can win all categories—ensuring broader recognition and opportunity.

Beyond the prizes, this event serves as high-impact practice, helping developers sharpen their pitch before meeting publishers and investors in the following days.

From Pitch to Partnership – A Clear Development Path:

Each event builds logically on the last, creating a structured roadmap for indie success.

Rather than isolated topics, IndieGameBusiness® events are now designed as a progression. After pitching fundamentals comes a session focused entirely on publisher relationships—how to find the right partners, negotiate effectively, and avoid common pitfalls.

Later sessions tackle storefront optimization, sales strategy, and long-term visibility. This “stepping ladder” approach reflects the real lifecycle of a game studio, helping developers focus on what matters most at each stage of growth.

It’s education with intention, not noise.

Save the date:

 | Lectures – February 18th, 2026
 | MeetToMatch – February 18th & 19th, 2026

 | $0-$60 USD
 | 9am – 5pm ET
 | YouTube, Twitch, and LinkedIn

Free Deep Dives with High-Impact Knowledge:

Free, single-day deep dives provide focused learning without financial barriers.

In addition to multi-day sessions, IndieGameBusiness® will continue offering free deep dive events. These are designed to go deep on one topic—such as publishing partnerships or marketing strategies—without networking components or ticket costs.

By keeping these events free, IndieGameBusiness® ensures that developers at every stage, regardless of budget, can access expert knowledge that would otherwise be locked behind paywalls.

Masterclasses and the Battle Pass Model:

The new Battle Pass unlocks full access while simplifying participation.

A major operational improvement comes in the form of a Battle Pass. Instead of registering individually for each session, developers can unlock all IndieGameBusiness® sessions and masterclasses with a single purchase.

This includes guaranteed access to two premium masterclasses led by industry veterans, covering production workflows and community management fundamentals.

For busy developers, this removes friction and uncertainty—once you’re in, you’re in.

Year-Round Support Beyond Events:

IndieGameBusiness® continues to provide free weekly and monthly resources.

Events are only part of the ecosystem. IndieGameBusiness® also offers:

• Weekly pitch deck reviews inside Discord
• Monthly legal discussions with a game-focused attorney
• Live YouTube pitch reviews for public feedback
• Affordable one-on-one pitch consulting

These resources remain free or deeply discounted, reinforcing the organization’s commitment to accessibility and developer advocacy.

The Power of Community and Real Outcomes:

Success stories from publishing deals to studio acquisitions, prove the model works.

One of the most powerful moments in the conversation was the reflection on real outcomes. Over the years, IndieGameBusiness® has helped developers secure publishing deals, funding, jobs, and even acquisitions.

These aren’t abstract metrics. They’re real studios, real people, and real careers shaped by access to better information and stronger networks.

Hearing these stories remains one of the biggest motivators for the team.

Data That Tells a Bigger Story:

IndieGameBusiness® has grown into a global platform with measurable impact.

The numbers paint a clear picture of sustained growth:

• 471 podcast episodes
• Spotify : 50,793 plays, 6,171 hours, Streams & Downloads: 113.4k
• YouTube : 336.6k views, 59.3k hours watchtime, 8009 subscribers
• Over 10,500+ Discord members
• Nearly 10,000 active newsletter subscribers
• 9,986 event registrations
• 143 Decks reviewed between Discord and YouTube
• Social Media Reach of 17k+

What started as a small Twitch experiment has become one of the most trusted indie-focused business education platforms in the industry.

A Philosophy Rooted in Anti-Gatekeeping:

IndieGameBusiness® exists to remove barriers, not create them.

At its core, IndieGameBusiness® was founded out of frustration with inaccessible conferences and expensive passes that excluded the very developers who needed the information most.

By offering free streams, open Discord discussions, and transparent education, the platform challenges traditional industry gatekeeping. Knowledge should be shared, not hoarded.

That philosophy continues to guide every decision moving forward.

Looking Ahead – Growth with Purpose:

The future is about sustainability, feedback, and meaningful impact.

As IndieGameBusiness® looks ahead, the focus is not just growth for growth’s sake—but sustainable impact. Community feedback, topic requests, and real developer needs will continue to shape programming and content.

Whether through new event formats, expanded educational resources, or partnerships with organizations like Make-A-Wish, the mission remains clear: support developers, elevate voices, and make the game industry more accessible.

Anecdotes and Reflections:

IndieGameBusiness® is evolving—but its values remain unchanged.

What’s next for IndieGameBusiness® isn’t a departure from its roots—it’s a refinement. More structure, more clarity, more opportunity, and the same commitment to openness and community.

For indie developers navigating an increasingly crowded and complex industry, IndieGameBusiness® remains a steady, reliable resource—one built by developers, for developers.

And this next chapter is just getting started.

Want more insights like this?:

Join us for our IndieGameBusiness Sessions, taking place on February 18th from 9am – 5pm Eastern or hop into the IndieGameBusiness® Discord to connect with Jay, Ash, and other industry pros.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!

Don’t miss this opportunity to learn from industry pros as they offer expert insights and practical tips to enhance your own pitch process.

The Secrets to Pitching and Publishing Success – Insights from Joshua Garrity:

The process of game pitching and publishing a game can often feel like a complex and daunting task, especially for indie developers looking to stand out in a crowded market. Joshua Garrity, Head Game Scout at Secret Mode, shared his invaluable experience and insights on how to successfully pitch a game and navigate the publishing world during a conversation with Jay Powell, CEO and Founder of The Powell Group and IndieGameBusiness®. In this blog, we break down the key takeaways from their discussion on pitching, publishing, and finding success in the gaming industry.

Joshua Garrity’s Journey into the Gaming Industry:

Joshua Garrity’s career in the gaming industry spans over a decade, with a strong foundation in product marketing. Starting his career as a product marketing manager at Sold Out (now Fireshine), he played a pivotal role in transitioning the company into a digital publisher. During this time, Joshua helped sign popular indie games like Core Keeper and Shadows of Doubt. His role as an acquisition manager, later evolving into a game scout, allowed him to build relationships with developers and discover promising titles in need of publishing support.

After six years at Fireshine, Joshua moved on to Team Seventeen, where he worked as a senior game scout, further honing his skills in identifying potential titles. His most recent role is at Secret Mode, a relatively new publishing house, where he heads up the scouting department and continues to work with indie developers to bring fresh and exciting games to market.

The Art of the First Impression – What Game Scouts Look For:

When it comes to evaluating game pitches, Joshua emphasizes the importance of making a strong first impression. He compares reviewing game submissions to looking through resumes for a job—he relies on his gut reaction to the initial pitch. In the first pass, it’s about quickly assessing whether the genre and visuals resonate with him, whether the game has potential, and if it’s a good fit for Secret Mode’s current slate of releases.

One of the key factors Joshua looks for is how the game fits into the publisher’s capacity. For instance, if there are already several releases planned for a particular time frame, he will pass on a game that doesn’t fit into the schedule. While it’s essential to present a polished pitch, he advises developers not to be discouraged by initial rejections, as timing, genre, and the publisher’s current portfolio play crucial roles in the decision-making process.

Playing the Long Game – Building Trust and Relationships:

In the gaming industry, Joshua believes the key to long-term success is trust. Although it can be painful for developers to hear that a game won’t be accepted because of timing or fit, Joshua stresses that honesty is the best policy. By being upfront about capacity issues, publishers like Secret Mode help developers find the right home for their games, even if that means referring them to a different publisher.

He also highlights the importance of maintaining strong relationships in the industry. The ability to play the long game is vital—while publishers might not always be able to sign a game immediately, building trust with developers opens the door for future opportunities. Joshua’s approach focuses on creating meaningful partnerships that go beyond short-term gains.

What Makes a Game Worth Pitching – Key Elements for Success:

The Demo vs. Paper Pitch: Which Is Better?

When it comes to pitching a game, Joshua believes that there are no one-size-fits-all answers. For new developers, having a solid playable demo is crucial. It’s not just about having a flashy trailer or impressive concept art; it’s about showcasing the gameplay mechanics and demonstrating that the game is fun and engaging. A good game demo needs to have that “white box Mario test”—the idea that a game’s core mechanic should be fun even if the visuals aren’t fully fleshed out.

For games that are still in the conceptual phase, paper pitches supported by strong marketing materials can also be effective. However, developers need to manage expectations when submitting these pitches, as having no playable content means the pitch is more of an informational exercise. Joshua looks for pitches that show a deep understanding of the development process and demonstrate that the developer is prepared to address challenges along the way.

The Role of Marketing Materials:

In addition to a solid demo or paper pitch, marketing materials play a critical role in the pitch process. Developers are advised to include things like concept art, potential visual direction, and early promotional assets in their pitch. While Joshua doesn’t expect fully polished assets in the demo, having a clear vision for the final product can go a long way in impressing publishers.

When it comes to a game’s marketing potential, developers should aim to create a pitch that not only showcases the gameplay but also includes a plan for how the game will be marketed. Strong marketing materials, including press kits and social media plans, give publishers confidence that the developer understands the importance of post-launch marketing.

Budgeting and Funding – What Publishers Are Really Looking For:

The financial aspect of game development is another critical factor that can make or break a pitch. Joshua emphasizes that publishers like Secret Mode are always looking for a clear and realistic budget. One of the common mistakes developers make is underestimating the cost of development or failing to present a well-thought-out financial plan.

Publishers need to know how much funding is required and when it will be needed throughout the development process. Joshua highlights that a high burn rate, especially in the early stages of development, can be a red flag for publishers, as it increases the risk of a project exceeding its budget and delaying its release. A well-planned production schedule with realistic milestones and a buffer for unexpected delays is crucial to gaining a publisher’s trust.

The Importance of Post-Release Support:

Be Honest About Your Weaknesses

Joshua’s most significant piece of advice for developers is to be honest about the challenges they face. Whether it’s a lack of experience in certain areas or concerns about meeting milestones, developers should be transparent about what they’re capable of. Publishers are looking for developers they can trust, and being upfront about weaknesses allows them to help guide developers through the process.

Know Your Audience

Understanding the publisher’s needs and interests is essential when pitching a game. Developers should research the publishers they are targeting and tailor their pitches accordingly. A game that may not be the right fit for one publisher could be exactly what another is looking for, so understanding the publisher’s portfolio and capacity is crucial for a successful pitch.

Prepare for the Long-Term

The publishing process is rarely quick, and developers should be prepared for a lengthy journey. From the initial pitch to final release, it can take years of work to bring a game to market. Developers should be ready to engage in ongoing conversations with publishers and be flexible with their plans as things evolve.

Anecdotes and Reflections:

Pitching and publishing success ultimately comes down to trust, transparency, and preparation. Joshua Garrity’s insights provide valuable guidance for developers looking to navigate the complex world of game publishing. By focusing on delivering a solid pitch, being realistic about budgets and timelines, and maintaining open communication with publishers, developers can build lasting partnerships that lead to successful game releases.

For indie developers, understanding the nuances of pitching, financing, and post-launch support is critical to success. By applying the strategies Joshua shared in this conversation, developers can improve their chances of getting their games published and creating lasting relationships with the right publishing partners.

This blog post is inspired by the podcast discussion between Joshua Garrity and Jay Powell on the topic “The Secrets to Pitching and Publishing Success“.

Level up your indie gaming journey! Don’t miss out on the latest IndieGameBusiness® podcasts – sign up for our newsletter today and stay tuned for upcoming episodes, Discord events, industry news, and more. Stay in the loop – Subscribe now!