Secret Mode is currently riding a wave of optimism. After parting ways with Sumo Digital and its parent company Tencent last year, the newly independent UK publisher has been accelerating its growth at a rapid pace. In an interview with GamesIndustry.biz conducted at Gamescom, Chief Publishing Officer James Schall highlighted that the company has experienced "phenomenal growth" over the past year and a half.
He explained that the team had originally drawn up a strategic roadmap extending to 2030, only to exceed those targets within roughly four months of implementation. Schall also noted that the split from Sumo, which was facilitated by fresh capital from Emona Capital, proceeded smoothly.
He praised Tencent for being "very helpful" throughout the transition, describing the divestiture as swift and positive for all parties involved. From Tencent's perspective, the separation made sense as well.
After Tencent acquired Sumo in early 2022, the conglomerate began evaluating its expanding portfolio and concluded that it did not need to retain eighteen separate publishing entities. This sentiment aligns with recent comments from Tencent executive Yong‑yi Zhu, who told GamesIndustry.biz that the firm is actively pruning its holdings to focus on companies that fit its long‑term vision. So what is Secret Mode’s own roadmap? Schall and CEO Ed Blincoe say the publisher is building around two distinct pillars: a "pure indie" stream and a higher‑budget, IP‑driven stream exemplified by titles such as Star Wars: Galactic Racer.
The belief is that by backing quality projects across both spectrums, the company can carve out a sustainable niche in an increasingly crowded market. Schall acknowledges that discoverability has become a major hurdle.
"In today’s climate, selling a mediocre game is almost impossible, and even a very good game can struggle to find an audience," he said. "There is no longer a simple playbook; you have to make the right choices and hope luck is on your side." One of those choices has been to place a substantial wager on Star Wars: Galactic Racer, slated for release on 6 October. According to Schall, the game’s wish‑list numbers are "phenomenal," and Blincoe described the early playtest experience as "exceptional" – a sentiment that has only grown stronger over the past year.
The title is being developed by the newly formed UK studio Fuse Games, and Secret Mode secured the publishing rights at the end of September 2022 after convincing Emona Capital of its commercial potential. The publisher’s high‑budget bets, however, are not limited to blockbuster IPs. Secret Mode has also taken on publishing responsibilities for Fancy Games' "Escape the Backrooms"—originally launched in Early Access in 2022—and Anegar Games' 2024 release "Chained Together." Both titles are cooperative experiences that cater to a demographic raised during the COVID‑19 pandemic, a group that spends a great deal of time on platforms like Twitch and expects ongoing content updates.
Schall explains that these co‑op titles appeal to players who enjoy staying connected with friends online. "You can either rely on a short‑term viral spike, or you can iterate, add new features, and keep the community engaged over the long haul," he said. Blincoe added that Secret Mode is not merely a publisher for these games; it is also acting as a development partner. External studio Blackbird Interactive has been extending "Escape the Backrooms," while Secret Mode has opened its own internal development studio in Sheffield to produce additional content for these and future projects.
Both games are generating a steady stream of sales that cover their development costs, and the community is demanding fresh updates, prompting the publisher to invest further. This approach reflects a growing "caretaker development" model in the industry, where a third party assumes stewardship of an existing title when the original creators move on.
French studio Evil Empire, for example, recently began handling post‑launch content for the hit game Brotato, and it is actively seeking other titles to support. Schall sees ample opportunity in helping developers who have achieved success but feel constrained—whether by creative fatigue, demanding fanbases, or financial comfort—to step back, rediscover their passion, and let Secret Mode handle the publishing logistics. He cites the case of "Wobbledogs," created by Tom Astle, which was stuck in Early Access. Secret Mode stepped in, released the game, and gave Astle the freedom to pursue new ideas.
The emphasis now is on the "long tail" rather than a single, explosive launch. Having spent 13 years at Sega, Schall observed many games that didn’t peak on day one but gradually built audiences over months or years. He believes there is untapped potential in titles that are still in Early Access or have launched without meeting initial expectations.
Often, a game’s fortunes can change dramatically after six months, turning a modest release into a highly profitable venture. Nevertheless, finding the right audience remains a challenge, and Schall admits that luck—such as an influencer spotlight—can be decisive. He worries about the dominance of algorithm‑driven discoverability, which tends to funnel users toward the same popular experiences.
"Breaking that cycle is what keeps me up at night," he confessed. The old publishing playbook—preview, massive launch marketing, then move on—no longer fits. Young creators can now publish on platforms like Roblox or itch.io and attract millions without any publisher involvement.
Schall argues that Secret Mode must keep an eye on these disruptive, low‑budget successes, especially as visual fidelity reaches a plateau. Players are increasingly seeking fun and distinctive identity over photorealistic graphics. While high‑budget, visually impressive titles like Star Wars: Galactic Racer will remain part of the mix, Schall envisions a future where a variety of experiences—perhaps a vector‑graphics, 2D madness—can thrive if they deliver enjoyment. In summary, Secret Mode is betting on two very different pillars: big‑IP, high‑budget productions on one side, and small, experimental indie projects on the other.
The company remains open to larger opportunities, but both Schall and Blincoe stress the need for financial stability before over‑extending. As they continue to roll out new announcements over the coming months and gauge the performance of their current slate, the true balance between these two pillars will become clearer, shaping the publisher’s trajectory in the years ahead.