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We are thrilled to announce that our teams have been supporting our partners at Playground Games on the latest instalment in the iconic series of Fable.
Coming to PC, Xbox Series X|S, and PS5 in February 2027, it is time for you to step back into the fairy tale land of Albion and become the hero of your choosing.
Stay tuned for more information about our involvement on Fable.
Until then check out more information about Fable here.
d3t are delighted to announce that Studio Design Director, Dan Hett has been appointed to the TIGA Board of Directors.
Dan is a creative veteran of over 20 years, spanning BAFTA-winning game development for the BBC, to designing and providing directional leadership on some of the biggest AAA videogames in the world here at d3t. He joins an exciting cohort of new additions to the board, who will provide added experience and expertise to ensure that the interests of game studios and publishers are represented and advocated for.
TIGA, whose mission is to make the UK the best place in the world to develop games, is a not-for-profit trade association that represents the UK video games industry, with its members including game developers, digital publishers, universities, and service providers.
Speaking on his appointment, Dan said: “I am absolutely thrilled to join the TIGA Board of Directors alongside such an inspiring group from across the UK games industry.
“I hope that our diverse range of perspectives will allow us to drive meaningful progress and shape strategies that can further elevate the UK sector.
“Having seen first hand at d3t, just how creative, inclusive and vibrant our industry is, I am eager to contribute to its continued success and cannot wait to begin.
You can find out more news about the latest additions to the TIGA board here.
d3t is proud to announce our support for the Manchester Games Network, a business community that advocates for, champions, and connects the video games ecosystem in the Greater Manchester region.
d3t’s Head of Studio, Louise Andrew, has also been appointed as a founding board member of the organisation, where she will use her expertise and experience to help position Manchester as a global game hub where not only new talent is nurtured, but where the best games are developed.
Talking about the launch of the network, Louise said: “As someone who is extremely passionate about Manchester, I am delighted to play a part in promoting the great work that the region does for the UK and Global games industry.
“Manchester has been extremely important in the history of game development and is a hub of cultural and creative endeavours. It is important that the games industry continues to be celebrated and supported in the region.
“It has been amazing to see so many games studios and developers keen to be involved from day one, and it shows the enthusiasm that we all have to celebrate our region, create opportunities for growth, and it has been exciting to already see us all connecting more and supporting each other.
To find out more about the Manchester Games Network, click here.
A missing father. One haunted ship. And thirteen doors to unravel the truth. Can you survive long enough to uncover the mystery in IRE: A prologue?
Launching today on both Steam and the Epic Games Store, journey through Emily’s memories for clues to her father’s whereabouts aboard a ship lost deep in the Bermuda Triangle – all whilst a relentless monster is stalking you.
Working alongside our talented partners at ProbablyMonsters, and in collaboration with fellow Keywords Studio Lakshya Digital, d3t have enjoyed playing a role in bringing this narrative horror title to life.
Our project team has spanned across Art, Design, Production, Engineering, and Quality Assurance, where we have supported on a range of key features, including designing and implementing two of the game play loops, adding environmental art and props to the exterior and interior of the ship, installing lighting throughout the game, and also working on the monster and character animations including various environmental VFX for them.
For more information about IRE: A Prologue, click here, or view the reveal trailer below on YouTube:
We’re proud to announce that we are working on EXODUS with Archetype Entertainment in collaboration with fellow Keywords Studios teams – Climax Studios and Studio Gobo.
EXODUS is a new story-driven action-adventure RPG set in a new sci-fi universe 40,000 years in the future from Archetype Entertainment. Players will fight for humanity’s survival against its own evolution and confront the effects of time dilation caused by interstellar travel.
Having fled a dying Earth, humanity has found a new home in a hostile galaxy. Here, we are the underdogs, fighting our final battle for survival. You are the Traveller, humanity’s last hope.
d3t is thrilled to once again work on the latest instalment in the EA SPORTS FC series, EA SPORTS FC 26. Our involvement follows on from our work on EA SPORTS FC 25, and EA SPORTS FC 24 to help bring the first game in the series powered by the Frostbite engine to players on the Nintendo Switch.
Working alongside our partners at EA Vancouver and EA Romania, our team of Programmers, Artists, Producers, and Quality Assurers have helped to provide a range of developmental support mechanisms on EA SPORTS FC 26, including memory and performance optimisation, haptics, cloth, and outlining.
EA SPORTS FC 26 is available on PlayStation®5, PlayStation 4, Xbox Series X|S, Xbox One, PC, Amazon Luna, Nintendo Switch™ and Nintendo Switch 2™.
For more information about EA SPORTS FC 26, click here, or view the reveal trailer below on YouTube:
d3t is proud to have played a role in bringing the latest instalment in the Mafia franchise to life, and it has been a privilege working alongside the teams on this amazing IP.
Take a look at the official game page, to find out more: https://mafia.2k.com/en-GB/the-old-country/
d3t is pleased to reveal that we have been announced as the winner of the Best Large Studio award at the 2025 Game Republic Awards.
Held at the WX in Wakefield, this year’s awards saw over 500 game developers, studio bosses, publishers, platform-holders, and investors come together to celebrate the significant contributions across the Northern games industry.
Nominations were reviewed by a judging panel, with the final decision going to writer, and games journalist for The Guardian, Keith Stewart.
When discussing d3t, Keith and the judging panel highlighted that when up against some of the big dogs of the UK game development scene, d3t managed to shine through and impress this year with its major co-development projects.
Speaking on the award, Louise Andrew, Head of Studio at d3t, said: “We are extremely proud that d3t has been announced as the winner of Best Large Studio at this year’s Game Republic Awards.
“Over this past year our team has worked on a wide variety of titles including EA SPORTS FC 26, Project Ire: A Prologue, King of Meat, FBC: Firebreak, and Mafia: The Old Country and this award is a true testament to each and every person at d3t. If it wasn’t for their passion, talent, and love for all things games, we would not be the studio that we are today – thank you to all of you!
“It is no secret that the industry is going through a less buoyant time currently, however, as we enter 2026, I am certain that we as a studio will continue to build on the successful foundations that this award has recognised.
“I would also like to thank the team at Game Republic not only for this award, but for the tireless work that they do to support and promote games studios across the North of England.”
Our Senior Concept Artist, Woody Stables recently reached the incredible achievement of being at d3t for ten years! With this landmark milestone in mind, we recently spoke with Woody to talk about how he began his career in the industry, and also how d3t has changed over time.
I was a kid with an art degree working on building sites and doing some freelance illustration, realising I wasn’t tough enough to do either forever! I looked at what I was spending my money on (a gaming PC) and thought, a pay check for doing art? Making the things I love? What do I have to do to make this happen?
I therefore took a two-month hiatus, spending all my savings and learning Maya, ZBrush, modelling and UV/texturing, with the end goal of being able to put together a portfolio. After doing this, I signed on with an agent and got an interview with d3t after a few weeks. I jumped into my ancient rust bucket Peugeot 106 and drove the three hours to Cheshire, shouting loudly when I got lost in the maze of motorway junction roundabouts there. I made it just on time and was interviewed by the small team there. I thankfully got the job (at that time as a 3D Generalist), and now all of a sudden 10 years has passed!
I joined a small team of around 20 employees, in a strange and dated office that looked like a film set from the 70’s. On Thursday’s a siren would screech from a nearby chemical plant at the time to test their systems. I knew about the chemical plant but not about the planned test alarm, so you can imagine my shock to hear an onymous siren blaring and upon looking up, seeing a member of the team comically wearing a gas mask! We were a scrappy bunch who got along and shared knowledge and laughs in large quantities. Over the years we grew in number, outgrew two offices, recruited more specialists and suddenly, we were well over 150 employees!
I’m proud of how hard we’ve worked to keep the excellent culture of d3t in focus whilst growing and adapting to industry changes and acquisitions.
I’ve made life-long friends here, and it has been the making of me. My experience will differ from anyone joining now but I feel very confident in recommending joining us to anyone. You will find kindness, acceptance, tolerance and excellence here.
Our projects are really exciting these days, having made a name for ourselves, you can expect to work on major household names, and we regularly have people say, “I got into the industry to work on this project!”
Having the Art Director of the original Dragon Age games say my art was awesome, it felt like Beyonce telling you that you can sing.
David Attenborough also said hello to me when we did a museum installation in York, my friends are sick of me lording that over them now.
SEGA Mega Drive Classics
The people I work with tend to make the projects; FBC: Firebreak, Exodus and a few still under NDA have had wonderful teams with great people.
The industry is facing some really tough times at the time of writing this – Covid bubble burst, some high-profile losses resulting in investment timidness, growing complexity and the cost of making games without a change in expectation – multiple factors are leading to monumental growing pains. I call them growing pains because I sincerely hope that we will endure them as an industry; it is very small, and you tend to meet people repeatedly, so we are in this together, in a way, as cheesy as that sounds.
But, people aren’t going to stop wanting games, so we all need to work out how to keep making them.
It might be tough for a little while yet, as stated above. My advice would be to pace yourself, maybe maintain a part-time job and educate yourself online with tutorials and courses, reach out to people in the industry and make friendships. Learn from those people; what is important to learn and find out what the industry needs and is looking for.
In terms of concept art, I see it frequently. People get so obsessed with style and execution, making something that will get likes on ArtStation. Art like this typically falls into concept illustration. This is a valid but small part of the concept art pipeline, and you are doing a disservice to yourself trying to learn to do that directly. Your job as a concept artist is to design things. From my experience we’d rather see pages of your sketches where you solve problems, answer questions, mix ideas or genres or time periods etc. We want to see the legwork of you making options and then picking the best to take forward, show us those options not just the final product, that would be my critical advice!