Studio Behind Still Waters the Deep, Dear Esther Regains Independence
Marcus Thompson 
Key Takeaways
Created with AI - we're still experimenting, so apologies if it misses the mark
- The Chinese Room has regained its independence from Sumo Digital and is now fully autonomous in its game development projects.
- The studio is working on two new games, in addition to collaborating with Paradox Interactive on Vampire: The Masquerade – Bloodlines 2.
- Hiro Capital played a significant role in The Chinese Rooms independence by investing in the studio and facilitating the buyout of Sumo Digitals share.
- Spike Laurie, Partner at Hiro Capital, emphasized the importance of supporting domestic talent within the UKs games industry to maintain its global reputation and creative output.
The Chinese Room Regains Independence, Launches New Projects and Collaborates with Paradox Interactive
The UK-based studio The Chinese Room, known for acclaimed titles like Still Wakes the Deep, Dear Esther, and Everybody’s Gone to Rapture, has regained its independence. This follows its separation from former parent company Sumo Digital, a move made possible by a significant investment from Hiro Capital, which enabled The Chinese Room to buy out Sumo Digital’s share in the business. The decision stemmed from a misalignment of goals, as Sumo Digital sought the studio’s support on other projects that did not fit The Chinese Room’s creative vision. Now fully independent, The Chinese Room is developing two brand-new games and collaborating with Paradox Interactive on Vampire: The Masquerade – Bloodlines 2. Ed Daly, the studio’s director, stated, “This deal lets us scratch our creative itch to keep making unique new games while partnering with other studios for projects that fit our vision.”
Hiro Capital Celebrates The Chinese Room’s Resurgence and British Creativity in the Global Games Scene
Spike Laurie, Partner at Hiro Capital, lauded The Chinese Room’s trajectory, calling its success story “massive and rightfully recognized as a unique creative force in the global game scene.” He highlighted the studio’s UK roots, noting, “They hire Brits, create games set in the UK, and have been one of our leading studios. Now, they are back in control of their own destiny while staying British.” Laurie further emphasized the critical need to support domestic talent within the UK’s 5.5 billion games industry. “We risk ignoring these creative gems and letting them be sold to foreign companies,” he warned. “This would not be right for the UK games industry, which has a world-renowned reputation. We need to nurture this talent and support it in tough times, as it’s one of our main creative exports.”
About the Author
Bruno Pferd 
Sophie Laurent 
Ahmed Hassan 
