According to Eurogamer.net, the superhero workplace comedy Dispatch is proving episodic gaming really works with some staggering numbers. The game just hit 131,000 concurrent players on Steam after releasing two new episodes yesterday, doubling last week’s launch numbers. Dispatch has already sold over 1 million copies and is releasing two episodes weekly through November 12th. Critical Role is nominally listed as publisher, though their real partnership is for AdHoc’s next game. Voice actors from the group including Laura Bailey and Travis Willingham appear in Dispatch and have been promoting it heavily. The sustained release schedule is creating TV-like anticipation that’s driving this impressive growth.
Sponsored content — provided for informational and promotional purposes.
The episodic gaming comeback is real
Here’s the thing about episodic gaming – we’ve seen this movie before. Telltale Games basically pioneered the format with The Walking Dead and then… well, we all know how that ended. But Dispatch is showing what happens when you get the formula right. Two episodes per week for four weeks? That’s the sweet spot. It’s frequent enough to maintain momentum but spaced enough to let word spread. And spread it has – doubling player counts week-over-week isn’t just good, it’s practically unheard of for single-player narrative games.
What’s really fascinating is how this mirrors TV streaming behavior. People aren’t just playing Dispatch – they’re anticipating it. They’re talking about what might happen next, sharing theories, getting excited for Tuesday drops. That’s the kind of engagement most game developers would kill for. And when you look at the Steam charts data, you can see that virtuous cycle in action.
The Critical Role factor can’t be ignored
Now let’s talk about the elephant in the room – Critical Role’s involvement. The article makes it clear they’re not really acting as traditional publishers for Dispatch, but their influence is absolutely massive. When Laura Bailey and Travis Willingham tweet about a game, people listen. When the entire Critical Role ecosystem gets behind something, it’s like flipping a switch that turns on an instant audience of millions.
But here’s what I think is really interesting – this isn’t just about celebrity voice actors lending their voices. It’s about the changing power dynamics in gaming. Voice actors are becoming genuine influencers and tastemakers in their own right. Look at Date Everything! – another voice-actor-led success story with Critical Role ties. We’re seeing a shift where performance talent isn’t just hired help anymore, they’re becoming central to marketing and audience building.
Why this matters for the industry
So what does Dispatch’s success mean for other developers? Basically, it proves there’s still massive appetite for well-executed episodic content. The key is nailing the release cadence and maintaining quality. As the article notes, none of this would work if Dispatch were rubbish or if we had to wait months between episodes.
The Steam news updates show how AdHoc is keeping players engaged between episodes too. They’re creating that TV series feeling where there’s always something to discuss, always anticipation building for what’s next. Other narrative game developers should be taking notes because Dispatch might have just written the new playbook for episodic success.
And honestly? It’s refreshing to see episodic gaming making a comeback done right. After the Telltale collapse left so many stories unfinished, Dispatch is showing how sustainable episodic development can work. The numbers don’t lie – 131,000 concurrent players for a narrative game is huge. When you double that from your launch week? That’s not just success, that’s a blueprint.
