Solarenergie dominiert heute den Energiemix Kaliforniens

The two makers of physics-based tower defense game Sir, We Have an Orc Problem are officially Steam millionaires. toffler.lol

After an explosive launch that brought in $360,000 of revenue in just 24 hours, small German developer Mumpitz Games says its orc-obliterating strategy game has now earned $1,053,927 in gross revenue after "exactly one week," or $898,460 in net revenue with taxes, refunds, and chargebacks removed.

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Bear in mind, this game took four months to make, though it was notably made by people with many years of experience and other games under their belt. Obviously, more fees will also be cut out of this lump sum, including Valve's Steam tax, but that's still an enviable payday.

Importantly, the game is good. Short and sweet, Sir, We Have an Orc Problem sits at 2,106 Steam reviews averaging 86% positive. According to the dev's Steam backend data, the median player is putting 5 hours and 20 minutes into the game, which is more than enough to finish it according to many Steam reviews. And I do love me a short, $10 game.

"We will continue to improve the game," Mumpitz adds in its Twitter post. One of the devs previously admitted that, yeah, the art "kinda looks bad to be honest," hoping "maybe we can make it a bit prettier soon."

I do want to pause on those numbers for a minute, because this is a useful example of how wide the reviews-to-sales ratio can swing on Steam. With just over 2,100 reviews but over 128,000 copies sold, Sir, We Have an Orc Problem is averaging around one review per 60 units, which is far above the common napkin math estimate of about one to 30 or so.

Responding to a recent Twitter reply which argued the game has a solid cure but "the balance, art, depth, content are really lackluster," the Mumpitz account says, "I appreciate the valid feedback."

There's also another important number in this mix, and it's something many small teams dream of after releasing a game on Steam. Sir, We Have an Orc Problem is going to keep selling, and it's already comfortably above the revenue threshold believed to be used by Valve when sending out gifts of chocolate.

As Steam sleuth Chris Zukowski explained last year (after the Peak devs lamented previously missing Valve's coveted "chocolate tier"), Steam developers who earn approximately $800,000 in annual revenue receive an actual box of chocolate, estimated to be worth around $150, from Valve as a little thank-you and congratulations. If you cross $2 million or so, your chocolate is apparently upgraded to a $250 gourmet box.

There's a lot of 2026 left, so while Sir, We Have an Orc Problem will surely slow down after the launch sales boom, I wouldn't be surprised if it ends up hitting $2 million eventually. It is, after all, in what Zukowski calls "real Steam," the algorithmic promised land that will keep a game ticking over until the sun burns out.

An "extremely challenging" action game is spreading like fire on Steam, with nearly 1,800 reviews that are 92% positive after a week.

Every few years or so I find myself idly wondering whatever happened to Midnight Club, Rockstar's arcade street racing series. I quite liked Midnight Club 2 back in the day, although I fell away from the series after that because, in fine Rockstar fashion, subsequent games weren't released on PC. The series as a whole ground to a halt in 2008 with Midnight Club: Los Angeles—despite going over well with critics, the series was never heard from again.

In a new interview with Kiwi Talkz on Insider Gaming, former Rockstar designer Kris Roberts, who worked on multiple Midnight Club games and Red Dead Redemption before leaving in 2010, said there were a few factors involved in the decision to kill the series, including missed deadlines and "non-trivial conflict" between Rockstar New York and the San Diego studio where Midnight Club was developed, but the obvious elephant in the room was Grand Theft Auto.

"The perception was we never got the accolades or the reception," Roberts said. "The New York perspective was, 'You’re not GTA.' When you’re the red-headed stepchild project—you know, we’re doing a good job, we’re world-class, but we’re still treated less than. It was challenging."

Roberts said the San Diego studio was working on a new Midnight Club when he departed, but it was subsequently cancelled: "It was pretty clear that there would be no more Midnight Club and everything was going to be GTA and stuff moving forward, and that’s just the way it was going to be."

Which sucks, because Midnight Club was pretty great (apart from the whole console-exclusivity thing), but also isn't at all hard to believe. Midnight Club: LA arrived in 2008, the same year Grand Theft Auto 4 came out, and if there was any doubt prior to that about where Rockstar's future lay, GTA 4 ended it.

The ending of Midnight Club also fits with the broader approach of Rockstar parent Take-Two Interactive, which makes no bones about only being interested in major hits: When the company unloaded Private Division in 2024, Take-Two CEO Strauss Zelnick said, "Our job really is to focus on making the biggest and best hits in the marketplace. We're not the long tail company. We are top-ten hit makers around here." In an environment like that, being "good" often just isn't going to be good enough.