Lifestyle
Asian American Women Are Redefining the ‘Old’ in Grandmother’s Gold
Chokers encrusted with rubies. Strands of bright emeralds. Delicate headpieces framed by opalescent pearls. These are just some of the golden treasures belonging to her mother that Farah Khalid long admired — and knew she would one day inherit.
That day, however, came far too soon. Khalid’s mother unexpectedly became ill and split her collection between Khalid and her older sister, Lubna, before dying in 2013. Then, in 2021, Khalid inherited the rest of her mother’s items when Lubna died at 47.
Khalid wanted to honor her family members by wearing their jewelry, but she typically preferred silver. She decided to take some of the smaller trinkets to Lahore, Pakistan, and remake them into a chain with her mother’s and sister’s names translated into Urdu. The necklace was washed to tone down the yellow hues, so she could wear it more frequently.
“Having their names on me out of something that they used to wear — it just felt really important to be close to them in that way,” said Khalid, 48, a film director who lives in Brooklyn.
Passing down gold is a common practice among many Asian families. The precious metal isn’t just a superfluous adornment; it’s seen as a liquid asset: something that can be traded, act as collateral or melted down and sold. In pop culture, gold has even become something of its own character: Consider the mangalsutra, a traditional Indian necklace representing marriage, in the Netflix hit TV show, “Never Have I Ever,” and the 2025 rom-com “Picture This,” in which Simone Ashley plays a financially struggling photographer who must marry in order to access her family’s heirloom jewelry.
For many Asian American women like Khalid, coming into these accessories from their mothers or grandmothers prompt questions about how to bring the past into the present. Many women simply stow away these delicate heirlooms in safe deposit boxes of their own. Others save the jewelry for special occasions like their weddings. Some have even reshaped them into more contemporary, wearable pieces. Here are four other women and the stories their gold jewelry tell.
‘Tiny Little Piece of History’
Alicia Penn, 42, Charleston, S.C.
Growing up in Baltimore, Alicia Penn and her siblings would make routine stops at a jewelry store with their mother after visiting the temple. Her mother would spend an hour haggling with the owners, family friends who were also Cambodian, to buy gold accessories that she had no intention of keeping. Instead she would wear a piece until a friend showed interest in buying it, then resell it for a profit.
Penn never gave a second thought to what her mother did. “She explained it as a way to invest and enjoy buying stuff,” Penn said. “I thought it was an interesting way to think about investing, as opposed to traditional stocks and bonds.”
What Penn didn’t know then was that the Khmer Rouge, which was responsible for the deaths of at least 1.7 million Cambodians, had abolished Cambodia’s currency, making gold even more valuable. Penn’s parents left the country before the most brutal years, 1975 to 1979, but her maternal grandmother wasn’t as lucky.
She eventually made it to the United States in 1980 and helped raise Penn and her siblings until she died when Penn was still a child. Penn learned the story of how her grandmother escaped in 2022 during a visit to her mother’s bank locker, where she was invited to select a piece of jewelry: a tiny flat piece of gold in the shape of a mermaid.
“I’d never seen anything like it before,” Penn said.
The jewelry was one of two remaining charms of a gold belt that once belonged to her grandmother. She had sold and bartered pieces of the belt, made up of charms linked together, to escape the genocidal killing fields and flee to Thailand on foot.
Penn wears the charm on a heavy gold chain with a malleable hook enclosure. “It’s this tiny little piece of history that you can’t replicate,” Penn said. “Nobody makes things like this anymore.”
‘I Want to Wear It’
Nigar Iqbal Flores, 39, Clovis, Calif.
Marrying a man outside her Pakistani heritage has complicated the issue of who might inherit Nigar Iqbal Flores’s familial gold, compounded even further by the couple having three boys. “One issue that I have to think through is: Are my kids going to marry a Desi girl who would appreciate this jewelry?” Flores said. “Or are they going to marry a Desi girl who does not appreciate it?”
Her children are still young, but the questions do offer an opportunity for a new tradition, already a familiar concept in her family.
When Flores’s parents got married in Karachi, her paternal family insisted that her mother not work. She defied them, becoming a professor of home economics, and spent her first paycheck on an emerald set, including a necklace, earrings, a tikka (headpiece) and a ring.
“When I was a little kid, I remember being like, What a weird set because circles are not a traditional shape,” Flores said. The reason, her mother said, was that she had designed them herself.
Her mother gave Flores the set the day after her own wedding in 2012. Now Flores is on the lookout to wear her mother’s emerald jewelry to as many formal occasions as she can. “I only buy green shalwar kameez now,” she said, referring to the traditional outfit of loose trousers and a long shirt. “Because I want to wear it.”
Something Reimagined
Robin Kasner, 41, Chicago
Robin Kasner remembers her 16th birthday being a bit of an ordeal. She was given a jade bangle that was measured so closely to her wrist that she needed the help of her popo (maternal grandmother), her mother, some oil and a plastic bag to slip it on. “I never took it off for 20 years,” Kasner said. “Until it shattered.”
A spontaneous visit to a batting cage led to it splitting it into four pieces. Kasner called her mother in tears, who didn’t mirror her panic. She said that in Chinese culture, when jade breaks, it’s a form of protection, and she advised Kasner to keep the pieces. But Kasner was determined to find a way to salvage it for posterity.
She came across Spur, a jeweler based in New York that reimagines heirlooms as everyday pieces. The broken bangle was remade into something else entirely: a smooth, curved jade pendant attached to a 22-karat gold chain. “I love that the broken piece was made into a new piece, and that it’s something that I can hopefully pass along to my future daughter,” Kasner said.
An ‘Acceptance of the Relationship’
Lisa Kumar, 51, Franklin, Mich.
As a child, Lisa Kumar didn’t love the yellow gold she associated with Indian jewelry. But as her mother, now 83, began bequeathing more and more pieces to her, she finally came around. For Kumar, the jewelry offers a reminder of having been hard-won.
Kumar’s father came as a student in the 1960s to the United States from Mumbai. He soon met her mother, who is white and American, and they fell in love and got married — a decision that his parents weren’t pleased about. The couple made a trip to India shortly after their nuptials to meet the family, and, when it was time to leave, Kumar’s mother decided to stay behind for almost two months to travel around southern India with her new in-laws. “That was a really pivotal moment in her relationship with them because they didn’t think that she could hack it,” Kumar said. “And she did.”
Over the following years, Kumar’s grandmother gave her daughter-in-law jewelry: heavier pieces but also simple things she could wear, like half a set of gold bangles. “My grandmother giving all of this over to her was a sign of acceptance of the relationship, acceptance of my mother,” Kumar said.
Now Kumar tries to wear the accessories whenever she can and plans to pass them on to her own daughter, who is 20 and mostly wears silver. “I’m hopeful that as she ages,” Kumar said, “she’ll come around to it the way that I have.”
This story is part of a series on how Asian Americans are shaping American popular culture. The series is funded through a grant from The Asian American Foundation. Funders have no control over the selection and focus of stories or the editing process and do not review stories before publication. The Times retains full editorial control of this series.
Krampuses take part in the annual Krampuslauf or “Krampus Run” on the evening of the Feast of St. Nicholas in the Austrian city of Salzburg. The tradition is centuries-old in the eastern parts of the European Alps.
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SALZBURG, Austria — As you approach Salzburg’s Max Aicher Stadium on the eve of the feast of St. Nicholas, you’d be forgiven if you thought that, from a distance, there appeared to be a Chewbacca convention underway. As you got closer, though, you’d realize the few hundred mostly men dressed in furry brown costumes were not from a galaxy, far, far away, but had instead assembled for a far more traditional, Earth-bound reason: to play, en masse, the alpine character of Krampus, the monstrous horned devilish figure who, according to custom in this part of Europe, accompanies St. Nicholas as he visits children and assesses their behavior from the past year. While St. Nick rewards the good boys and girls, his hairy, demonic sidekick punishes the bad children.
“It’s basically a good cop, bad cop arrangement,” says Alexander Hueter, self-proclaimed Überkrampus of Salzburg’s annual Krampus Run, an event when hundreds of Krampuses are let loose throughout the old town of Salzburg, where they terrorize children, adults, and anyone within the range of a swat from their birch branch switches they carry.
Members of Krampus clubs throughout Austria and the German state of Bavaria gather at a local soccer stadium to change into their Krampus costumes.
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When asked to explain why people in this part of Europe take part in this centuries-old tradition, Hueter skips the centuries of Roman, Pagan and early Christian history that, together, morphed into the legend of the Krampus figure and instead cuts straight to the chase: entertainment.
“If St. Nicholas comes to town on his own, it’s nice,” says Hueter with a polite smile, “but there’s no excitement. No tension. I mean, St. Nick is all well and good, but at the end of the day, people want to see something darker. They want to see Krampus.”
And if it’s Krampus they want, it’s Krampus they’ll get, says Roy Huber, who’s come across the border from the German state of Bavaria to take part in this year’s Krampus Run. “The rest of the year, I feel like a civilian,” Huber says with a serious face, “but when the winter comes, you have the feeling under your skin. You are ready to act like a Krampus.”
Huber stands dressed in a coffee-colored yak and goat hair costume holding his mask which has a scar along the left side of its face, two horns sticking out of the scalp, and a beautifully waxed mustache that makes his monstrous avatar look like a Krampus-like version of the 1970s Major League Baseball closer Rollie Fingers.
Roy Huber, from Bavaria, holds his Krampus mask prior to the Krampus Run. “When the winter comes, you get the feeling to be Krampus,” he says.
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Behind Huber stands a Krampus with a red face and several horns that make up a mohawk. Benny Sieger is the man behind this punk version of a Krampus, and he says children are especially scared of his get-up.
“Very scared,” he says, “but if I act like a sensitive Krampus, it can go well. In fact, our hometown Krampus club hosts an event called ‘Cuddle a Krampus’ to ensure that we are not so scary.”
Sieger, though, says he shows no mercy for young adults, especially young men, who he says “are basically asking to be hit” if they come to a Krampus run. He shows off a long switch made up of birch tree branches that smarts like a bee sting when hit with it.
Normally Nicklaus Bliemslieder would be one of those young adults asking for it at the Krampus run — he’s 19 years old — but his mother boasts of how her son gamed the system by playing a Krampus for 14 years straight since he was 5 years old.
“I was never scared of being a Krampus,” he says, “but I was scared of the Krampus. The first time I put the mask on, I wasn’t scared anymore.”
Blieslieder, Siger, Huber and dozens of other Krampuses pile onto a row of city buses that will take them to Salzburg’s old town, singing soccer songs on the way to rile themselves up. In the town center, they put their masks on, the bus doors swing open, and dozens of Krampuses empty into the streets of downtown Salzburg, lunging at shoppers, swatting them with switches, their cowbells a-clanging. At the front of the procession dressed in a white and gold robe is St. Nicholas, holding a staff, handing out candy with a serene smile, and blissfully oblivious of the cacophony of blood-curdling chaos behind him.
After a city bus drops off more than 200 Krampuses at the entrance to the old town of Salzburg, the Krampuses start to put their masks on and get into character.
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Salzburg resident Rene Watziker watches the Krampuses go by, his 4 1/2 year-old son Valentin perched on his shoulders, his head buried into the back of his father’s neck, and his oversized mittens covering his eyes in terror. As Valentin shakes in fear, his father tries to coax him out of it — unsuccessfully.
“He’s too scared of the Krampuses,” says Watziker, laughing. “This is great, though, because this is my childhood memory, too. I want him to have the same good memories of his childhood. He’s going to look at the video I’m shooting and then he’ll be very proud he came.”
Salzburg resident Rene Watziker watches the Krampuses go by, but his four-and-a-half year-old son Valentin perched is too scared to look at them.
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Further down the pedestrian street, Krampuses hit onlookers with handfuls of branches and smear tar on people’s faces. Onlooker Sabeine Gruber, here with her 13-year-old daughter, manages to crack a smile at the spectacle, but she says the Krampus Run has gotten tamer with time. She points to the stickers on the backs of these Krampuses exhibiting numbers in case you want to complain that a particular Krampus hit you too hard.
“When I was a child,” says Gruber, “this was far worse. You were beaten so hard that you woke up the next day with blue welts on your legs. These days the Krampus run is more like a petting zoo.”
Esme Nicholson contributed reporting.
‘Selling the OC’ Tyler Stanaland
Backs Out of Alex Hall’s Podcast …
Out of Respect for New Relationship
Published
Alex Hall from “Selling the OC” extended the olive branch to ex-boyfriend and costar Tyler Stanaland by inviting him on her podcast … but it turned out Tyler canceled last minute out of respect for his blossoming new relationship.
Sources familiar with the situation tell TMZ … Alex tried to hash it out with Tyler one-on-one for all to see … but we’re told he got cold feet at the last minute in light of his new relationship with Hannah Morrissey.
Here’s the sitch … Alex asked Tyler to be on her podcast ‘Pretty Dirty’ before Season 4 of “Selling the OC” aired, and we’re told her pitch to him was to sit down publicly and have a conversation about what their “relationship” entails.
If you’re not familiar with the real estate reality drama … Alex and Tyler’s relationship had a lot of muckiness about what really went on between them during the series — and Alex wanted to break it down once and for all, considering fans online have been wondering where their relationship stands today.
Our sources tell us Tyler loved the idea and was down for the appearance with her at first … adding Tyler even said he was excited and thought it would be fun.
However, things took a turn once the latest season aired — and Tyler rescinded his agreement. Alex followed up to lock in a date, and he responded saying after careful consideration, he opted out … because he wants to focus on his current relationship … adding he wanted to keep his chapter with Alex in the past.
Sources say Alex wasn’t surprised he pulled out of his appearance — this is how he rolls — but she respected his decision to back out, and the two haven’t spoken since.
This news comes after Tyler’s shocking elopement with Hannah. Tyler announced his marriage to her just 6 weeks after the news of their engagement.
We’ve reached out to both Tyler and Alex for comment … so far, no word back.
Performers onstage at The Game Awards 2025 at the Peacock Theater on December 11, 2025 in Los Angeles, California.
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The first minutes of The Game Awards set the mold for the next three hours. Clair Obscur: Expedition 33 won best independent game during the preshow, beating out acclaimed sequels like Hades 2 and Hollow Knight: Silksong. Moments after, the main stage opened with operatic singers and a full orchestra (plus the obligatory electric guitar!) belting out music from the game.
Clair Obscur was already the favorite to win the grand prize — but kicking off the show with the game front-and-center felt like an anointing. It triumphed in nearly every category it competed in, picking up nine awards in total. By the time it won “Game of the Year,” Clair Obscur had surpassed The Last of Us: Part 2 to become the most decorated game in the Awards history.
As predictable as the night became, the game it honored was anything but. Clair Obscur came from an independent French studio composed of developers who had worked for the French gaming behemoth Ubisoft. Instead of chasing trendy genres like battle royales or open-world action games, Clair Obscur drew inspiration from turn-based role-playing games like the classic Final Fantasy titles. It paired an intimate and existential story with a setting that was both whimsical and epic. And it cast motion-capture icon Andy Serkis alongside game actor veterans like Ben Starr and Jennifer English, who delivered the night’s most rousing speech when she accepted the award for best performance.
“I just want to say to every neurodivergent person watching in this room, because I know there’s probably quite a lot of you,” English said. “To all of you that feel like life is stuck on hard mode, this is for you, and thank you so much to the games community and industry for giving us, so many of us, a home.”
Jennifer English, also known for her leading role in 2023 Game of the Year winner Baldur’s Gate 3, accepts her best performance award onstage at the Peacock Theater on December 11, 2025.
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Clair Obscur’s victories fit with two themes of the night: the rise of independent studios and the internationalization of the awards themselves. Half of the “Game of the Year” nominees were indie games, even as the term has stretched to include titles with sizable budgets and publisher partnerships.
This semantic squishiness is a result of The Game Awards’ outsourced voting process, which polls over 150 international media outlets (including NPR) to determine a list of nominees. These outlets decide for themselves how to define categories like an “independent game” or “action adventure game.” After the shortlist is tallied, they’ll pick their favorites in each category, which are weighted against an open online voting system that makes up a 10th of the total score. As the jury has expanded outside of the U.S., which now only represents roughly 15% of outlets, award winners have become both more global and more mainstream.
Still, Clair Obscur’s ubiquity speaks volumes. Even as it swept other deserving indies aside, the game demonstrates the outsized impact a small team can have on the broader market. No longer seen as just a niche, prestige title, Clair Obscur rose to prominence thanks to strong word-of-mouth and its inclusion on the Xbox Game Pass Service, which allowed regular gamers and critics alike to try the game out without committing to a full purchase.
Guillaume Broche, Tom Guillermin, Nicholas Maxon-Framcombe, and François Meurisse accept the Game of the Year award for Clair Obscur: Expedition 33.
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Big companies still took home prizes, however. After being completely shut out last year, Nintendo earned a few awards for Switch 2 exclusives, with Donkey Kong Bananza winning best family and Mario Kart World winning best sports/racing. Grand Theft Auto 6 won most anticipated game for the second year in a row. Wuthering Waves, a Chinese game with a huge mobile audience, won the Players’ Voice award, the only category completely determined by public online votes.
Here are the full nominees and winners for the 2025 Game Awards (winners in bold):
Game of the year
Clair Obscur: Expedition 33 (Sandfall Interactive/Kepler Interactive)
Death Stranding 2: On The Beach (Kojima Productions/Sony Interactive Entertainment)
Donkey Kong Bananza (Nintendo EPD/Nintendo)
Hades II (Supergiant Games)
Hollow Knight: Silksong (Team Cherry)
Kingdom Come: Deliverance II (Warhorse Studios/Deep Silver)
Best game direction
Clair Obscur: Expedition 33 (Sandfall Interactive/Kepler Interactive)
Death Stranding 2: On The Beach (Kojima Productions/Sony Interactive Entertainment)
Ghost of Yōtei (Sucker Punch Productions/Sony Interactive Entertainment)
Hades II (Supergiant Games)
Split Fiction (Hazelight Studios/EA)
Best narrative
Clair Obscur: Expedition 33 (Sandfall Interactive/Kepler Interactive)
Death Stranding 2: On The Beach (Kojima Productions/Sony Interactive Entertainment)
Ghost of Yōtei (Sucker Punch Productions/Sony Interactive Entertainment)
Kingdom Come: Deliverance II (Warhorse Studios/Deep Silver)
Silent Hill f (NeoBards Entertainment/KONAMI)
Best art direction
Clair Obscur: Expedition 33 (Sandfall Interactive/Kepler Interactive)
Death Stranding 2: On The Beach (Kojima Productions/Sony Interactive Entertainment)
Ghost of Yōtei (Sucker Punch Productions/Sony Interactive Entertainment)
Hades II (Supergiant Games)
Hollow Knight: Silksong (Team Cherry)
Best score and music, leveled up by Spotify
Christopher Larkin, Hollow Knight: Silksong
Lorien Testard, Clair Obscur: Expedition 33
Darren Korb, Hades II
Toma Otowa, Ghost of Yōtei
Woodkid and Ludvig Forssell, Death Stranding 2: On The Beach
Best audio design
Battlefield 6 (Battlefield Studios/EA)
Clair Obscur: Expedition 33 (Sandfall Interactive/Kepler Interactive)
Death Stranding 2: On the Beach (Kojima Productions/Sony Interactive Entertainment)
Ghost of Yōtei (Sucker Punch Productions/Sony Interactive Entertainment)
Silent Hill f (NeoBards Entertainment/KONAMI)
Best performance
Ben Starr, Clair Obscur: Expedition 33
Charlie Cox, Clair Obscur: Expedition 33
Erika Ishii, Ghost of Yōtei
Jennifer English, Clair Obscur: Expedition 33
Konatsu Kato, Silent Hill f
Troy Baker, Indiana Jones and the Great Circle
Innovation in accessibility
Assassin’s Creed Shadows (Ubisoft)
Atomfall (Rebellion)
Doom: The Dark Ages (id Software/Bethesda Softworks)
EA Sports FC 26 (EA Canada/EA Romania/EA)
South of Midnight (Compulsion Games/Xbox Game Studios)
Games for impact
Consume Me (Jenny Jiao Hsia/AP Thomson/Hexacutable)
Despelote (Julián Cordero/Sebastián Valbuena/Panic)
Lost Records: Bloom & Rage (Don’t Nod Montreal/Don’t Nod)
South of Midnight (Compulsion Games/Xbox Game Studios)
Wanderstop (Ivy Road/Annapurna Interactive)
Best ongoing
Final Fantasy XIV (Square Enix)
Fortnite (Epic Games)
Helldivers 2 (Arrowhead Game Studios/Sony Interactive Entertainment)
Marvel Rivals (NetEase Games)
No Man’s Sky (Hello Games)
Best community support
Baldur’s Gate 3 (Larian Studios)
Final Fantasy XIV (Square Enix)
Fortnite (Epic Games)
Helldivers 2 (Arrowhead Game Studios/Sony Interactive Entertainment)
No Man’s Sky (Hello Games)
Best independent game
Absolum (Guard Crush Games/Supamonks/Dotemu)
Ball x Pit (Kenny Sun/Devolver Digital)
Blue Prince (Dogubomb/Raw Fury)
Clair Obscur: Expedition 33 (Sandfall Interactive/Kepler Interactive)
Hades II (Supergiant Games)
Hollow Knight: Silksong (Team Cherry)
Best debut indie game
Blue Prince (Dogubomb/Raw Fury)
Clair Obscur: Expedition 33 (Sandfall Interactive/Kepler Interactive)
Despelote (Julián Cordero/Sebastián Valbuena/Panic)
Dispatch (AdHoc Studio)
Megabonk (Vedinad)
Best mobile game
Destiny: Rising (NetEase Games)
Persona 5: The Phantom X (Black Wings Game Studio/Sega)
Sonic Rumble (Rovio Entertainment/Sega)
Umamusume: Pretty Derby (Cygames Inc.)
Wuthering Waves (Kuro Games)
Best VR/AR
Alien: Rogue Incursion (Survios)
Arken Age (VitruviusVR)
Ghost Town (Fireproof Games)
Marvel’s Deadpool VR (Twisted Pixel Games/Oculus Studios)
The Midnight Walk (MoonHood/Fast Travel Games)
Best action
Battlefield 6 (Battlefield Studios/EA)
Doom: The Dark Ages (id Software/Bethesda Softworks)
Hades II (Supergiant Games)
Ninja Gaiden 4 (Platinum Games/Team Ninja/Xbox Game Studios)
Shinobi: Art of Vengeance (Lizardcube/Sega)
Best action/adventure
Death Stranding 2: On the Beach (Kojima Productions/Sony Interactive Entertainment)
Ghost of Yōtei (Sucker Punch Productions/Sony Interactive Entertainment)
Indiana Jones and the Great Circle (MachineGames/Bethesda Softworks)
Hollow Knight: Silksong (Team Cherry)
Split Fiction (Hazelight Studios/EA)
Best RPG
Avowed (Obsidian Entertainment/Xbox Game Studios)
Clair Obscur: Expedition 33 (Sandfall Interactive/Kepler Interactive)
Kingdom Come: Deliverance II (Warhorse Studios/Deep SIlver)
The Outer Worlds 2 (Obsidian Entertainment/Xbox Game Studios)
Monster Hunter Wilds (Capcom)
Best fighting
2XKO (Riot Games)
Capcom Fighting Collection 2 (Capcom)
Fatal Fury: City of the Wolves (SNK Corporation)
Mortal Kombat: Legacy Kollection (Digital Eclipse/Atari)
Virtua Fighter 5 R.E.V.O. World Stage (Ryu Ga Gotoku Studio/Sega)
Best family
Donkey Kong Bananza (Nintendo EPD/Nintendo)
LEGO Party! (SMG Studio/Fictions)
LEGO Voyagers (Light Brick Studios/Annapurna Interactive)
Mario Kart World (Nintendo EPD/Nintendo)
Sonic Racing: CrossWorlds (Sonic Team/Sega)
Split Fiction (Hazelight Studios/EA)
Best Sim/Strategy
The Alters (11 Bit Studios)
FINAL FANTASY TACTICS – The Ivalice Chronicles (Square Enix)
Jurassic World Evolution 3 (Frontier Developments)
Sid Meier’s Civilization VII (Firaxis Games/2K)
Tempest Rising (Slipgate Ironworks/3D Realms)
Two Point Museum (Two Point Studios/Sega)
Best sports/racing
EA Sports FC 26 (EA Canada/EA Romania/EA)
F1 25 (Codemasters/EA)
Mario Kart World (Nintendo EPD/Nintendo)
Rematch (Sloclap/Kepler Interactive)
Sonic Racing: CrossWorlds (Sonic Team/Sega)
Best multiplayer
Arc Raiders (Embark Studios)
Battlefield 6 (Electronic Arts)
Elden Ring Nightreign (FromSoftware/Bandai Namco Entertainment)
Peak (Aggro Crab/Landfall)
Split Fiction (Hazelight/EA)
Best adaptation
A Minecraft Movie (Legendary Pictures/Mojang/Warner Bros)
Devil May Cry (Studio Mir/Capcom/Netflix)
The Last of Us: Season 2 (HBO/PlayStation Productions)
Splinter Cell: Deathwatch (FOST Studio/Ubisoft/Netflix)
Until Dawn (Screen Gems/PlayStation Productions)
Most anticipated game
007 First Light (IO Interactive)
Grand Theft Auto VI (Rockstar Games)
Marvel’s Wolverine (Insomniac Games/Sony Interactive Entertainment)
Resident Evil Requiem (Capcom)
The Witcher IV (CD Projekt Red)
Content creator of the year
Caedrel
Kai Cenat
MoistCr1TiKaL
Sakura Miko
The Burnt Peanut
Best Esports game
Counter-Strike 2 (Valve)
DOTA 2 (Valve)
League of Legends (Riot)
Mobile Legends: Bang Bang (Moonton)
Valorant (Riot)
Best Esports athlete
brawk – Brock Somerhalder (Valorant)
Chovy – Jeong Ji-hoon (League of Legends)
f0rsakeN – Jason Susanto (Valorant)
Kakeru – Kakeru Watanabe (Street Fighter)
MenaRD – Saul Leonardo (Street Fighter)
Zyw0o – Mathieu Herbaut (Counter-Strike 2)
Best Esports team
Gen.G – League of Legends
NRG – Valorant
Team Falcons – DOTA 2
Team Liquid PH – Mobile Legends: Bang Bang
Team Vitality – Counter-Strike 2
Players’ voice
Clair Obscur: Expedition 33 (Sandfall Interactive/Kepler Interactive)
Dispatch (AdHoc Studio)
Genshin Impact (HoYoverse)
Hollow Knight: Silksong (Team Cherry)
Wuthering Waves (Kuro Games)
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