The roguelike genre has turned from a relative niche into something much bigger. Roguelike games can be famously tough to crack into; generally, they have a high difficulty that means you’ll bang your head against a wall as you learn how to play the game, puzzle out what strategies work best in the procedurally generated levels, and figure out how to overcome tough enemies or challenges. 2024 showed that the genre wasn’t only a commercial force through hits like Hades II and Balatro, and also that a roguelike could be almost anything: from a poker variant to a flashy multiplayer action game.

Speaking of Balatro, it was undoubtedly one of, if not the, best games of the year. The game is supremely easy to pick up because of its roots in building traditional poker hands, but each round feels wildly different because of the clever and sometimes superpowered joker cards that can give you massive bonuses. The game is a perfect mix of skill, risk, and a little bit of luck, and it feels so good when you find a strategy that completely stacks the chips in your favor. I think I’ll be playing Balatro for years to come, especially with whatever’s cooking for the game’s upcoming major update. And now that the game is out on mobile, I can play wherever I want.

That is, when I’m not dipping my toes back into Hades II. The game, which is still in early access, is shaping up to be a worthy successor to Hades, and it’s arguably more fully fleshed out than many finished titles. I’ve already put more than 30 hours into Hades II, and I feel like I still have so much to unlock and master, but I’ve intentionally held myself back from playing more so that I don’t burn out on the game before it reaches v1.0. I only beat the new boss in the most recent major update a single time before deciding that was enough.

There are a couple other roguelikes that I have loved and want to put more time into but haven’t because of the sheer volume of other games in the genre to check out. Shogun Showdown, which is all about tactics and positioning, makes you feel like a genius by showing you the future. I really enjoyed getting a handle on the game’s weapons and items so that I could pull off well-planned combos against waves of enemies.

Windblown, the new roguelike from Dead Cells creators Motion Twin, takes a lot of what makes Dead Cells great and translates it to 3D. Weapons are varied, satisfying, and can combo well with each other. The game’s biomes are creative and fun to explore, with lots of nooks and crannies. But where Windblown really shines is its multiplayer — until playing the game, I had no idea how good roguelikes could be with friends. Like Hades, Windblown is also in early access, so I’m expecting to play it a lot more next year as Motion Twin makes major updates.

And those are just the new roguelikes I’ve actually been able to put time into this year. There are still a bunch more that I want to play or have barely touched that seem extremely promising. Vampire Survivors got two major crossover DLCs that I want to dig into: one with Contra and one with Castlevania. (I’ve only played a couple rounds of the Castlevania expansion, and I was tickled at just how large the map was.) And while I’m talking about Vampire Survivors: Halls of Torment, which is kind of like Vampire Survivors mixed with an old-school Diablo aesthetic, left early access, and I want to check out what’s changed since I first dabbled in it last year.

The Rogue Prince of Persia, a roguelike take on classic Prince of Persia action and platforming, is an example of how big publishers like Ubisoft are jumping into the genre — and it seems like something that’s right up my alley. Rogue is another early access roguelike on this list, but it’s gotten a bunch of big updates since its May launch, including a significant update in November that revamped the art style and added new biomes, bosses, and more. I should also mention that Rogue also has a Dead Cells connection: it’s made by Evil Empire, the studio that worked on many Dead Cells updates and DLCs, which gives me a lot of faith that they’ll do a great job shepherding the game to its eventual full launch. 

Heck, 2024 has been such a banner year for roguelikes that even the 2014 classic The Binding of Isaac: Rebirth got a significant new DLC update that added online multiplayer.

The sheer amount of great roguelikes just this year shows that the framework of the genre offers a lot of ways to make interesting games. I particularly appreciate how they’re generally more digestible than blockbuster epics. Next year has some promising roguelikes like Slay the Spire 2 and Hyper Light Breaker, but I know I’ll be returning to a lot of 2024’s excellent roguelikes over and over again — well, after just one more round of Balatro.

In 2024, podcasts have gotten closer to becoming a video-first medium. Though video podcasts have been around a relatively long time, shows from The New York Times, NPR, and many other podcast networks that have been audio-only for years have recently started adding a video component in order to gain new listenership. In fact, Spotify, a major player in podcasts, is about to begin paying podcasters to bring videos to the platform. 

And after years of producers trying to get audio shows to go viral on social media, podcasts are now dominating TikTok, Instagram Reels, and YouTube Shorts after video producers realized they can just film the talent talking. Meanwhile, weekly podcasts are looking to attract younger audiences who grew up on YouTube. As a result, video producers are figuring out how to make podcasts, and audio producers are figuring out how to make videos.

I’ve noticed a few developing trends in this video-first podcasting format. This isn’t surprising; when one producer discovers a formula that works, others are going to try it. Let’s take a look at current design and tech trends — and then I’ll talk about what I think may develop over the next year or so.

Many of today’s podcast studios look like living rooms and basements. This isn’t a new phenomenon with talk shows, but a lot of podcasts started out in a living space, and larger media companies have adopted that aesthetic. Lamps. Fireplaces. Fake plants. Bookshelves. This environment gives a more “laid back” style of long-form interviewing, which is typically the vibe of most chat-style podcasts.

Couches and comfy chairs show up a lot on these video shows. The round table has been ditched, and leisure is key — it’s a lot more comfortable of an environment for talking hours at a time. Both hosts and guests are often on a couch together or sitting in comfy chairs separately. 

Another trend I’ve noticed are these wooden slats on the wall in podcast studios — our own Vox Media space has gone with this design as well. These work better for sound absorption while still looking like a living space. This is already looking to be a signifier of mid-2020 video podcasts. 

With wide-shot camera angles showcasing the entire room, there is usually something in the middle of the screen, like a TV or a giant logo of the show, to create a symmetrical studio look. Neon signs and colored lights are very trendy right now because they add a colorful glow to a more muted studio space. Lots of cursive lettering.

Branding is often prioritized in video, and most producers think that means literally looking at the logo for two hours. This is also an easy way to let a TikTok scroller know what show they are watching (though this typically doesn’t crop well for vertical video).

Microphones are often placed on floor stands that extend over the couches (these articulating boom stands have been staples in recording studios for decades). As a result, the stands often appear from out of the camera frame and stick up broadly in front of guests’ faces awkwardly. Poles sticking out at various incongruent angles look even messier when you have multiple guests on separate chairs. 

Though new kinds of mic stands for podcasts have been introduced to the market, many shows are ditching the long, awkward boom poles in favor of having hosts and guests hold their microphones instead. This feels a bit more authentic and intimate onscreen, and many stand-up comedians prefer this method. However, it can get a bit awkward with inexperienced guests who talk with their hands or who don’t know how to hold a microphone with a narrow polar pattern. 

It can get even worse. When podcasts are audio first but with a video component, you often see awkward practices caught on camera, like this instance where each guest is holding their phone up to their face to record their audio while looking directly at the viewer. This is a common practice for radio interviews but isn’t great when video is involved.

The Shure SM7B microphones are still really popular in this medium as well as the budget MV7 model. For the purposes of branding, cubes with the name of the show are often stuck awkwardly on the bottom of the microphone. This is reminiscent of microphone flags on newscaster stick mics, and they are now being retrofitted for these classic radio studio microphones. This is likely because it’s more effective branding on vertically cropped videos than a big logo on the wall in a studio.

Big isolating headphones are common in radio and podcasts and are still used in a lot of video versions. But when guests are remote and are looking directly at their webcam, those large ear cups stick out very awkwardly — more so than if you’re looking at someone’s profile view. 

So that’s what a lot of video podcasts have looked like through 2024. But how about next year?

I believe that, in 2025, podcast producers will eventually stop following these tropes and try to differentiate themselves. Some producers that were hired to help make the transition to video will start questioning the reason for the large headphones and thick microphones covering people’s faces and opt for smaller lavalier mics and in-ear monitors. 

New audiences may start to forget about the word “podcast” and refer to the chat shows they watch as just “shows.” Media executives will try to opt for syndication of the programs on linear platforms like Roku, Pluto, or Tubi. The thin line between podcasts and TV shows will get thinner. 

More consumer-priced tools for production have entered the market, basically turning a simple desk setup and a MacBook into a fully stocked control room. Hosts are already moving out of the studio and into barber shops, tennis courts, and on sidewalks. AI tools like Descript, Hush, and Accentize can turn less-than-optimal microphone recordings into fuller, beefier broadcast-style recordings. Podcasters whose equipment is less capable of handling uncontrolled recording environments will especially benefit from these postproduction tools. 

And who knows? Perhaps the pendulum will swing back again when budgets for these shows become too costly to keep a video show running multiple times a week without a strong following. Maybe they will even scale back down to an audio-only format. And perhaps that is where they will restart a new experiment in the audio medium.