Inside Games User Research | Steve Bromley (Games User Research)

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Steve is a games user research consultant, helping teams use player insight to create successful games. He works with publishers, platforms and studios of all sizes to transform their game development process, and build product strategies that combines player data with creativity. He work from ideation to post-launch in order to de-risk game development, and make games players love.

Prior to this he was a senior user researcher for PlayStation and worked on many of their top European titles, including Horizon Zero Dawn, SingStar, the LittleBigPlanet series and the PlayStation VR lineup.

Steve started the Games User Research mentoring scheme, which has linked hundreds of students with industry professionals from top games companies such as Sony, EA, Valve, Ubisoft and Microsoft. He wrote the bestselling book How To Be A Games User Researcher to share the expertise needed to work in the games industry.

He regularly speaks at games industry conferences and on podcasts about games user research + playtesting, and has been recognised as a member of BAFTA. He also wrote the bestselling book Building User Research Teams, and helps teams build impactful research practice in-house.

In our conversation, we discuss:

* The evolution of Steve’s career from early days at PlayStation to running his own games UX consultancy.

* The difference between research in games vs. traditional tech, especially around the lack of discovery work.

* How to measure subjective experiences like “fun,” and why that starts by redefining what “fun” even means.

* The influence of secrecy, creative ownership, and marketing pressure on research methods in the games industry.

* Real-world methods used in games UX, like mass playtesting labs and segment-based multiplayer analysis.

Some takeaways:

* Research in games is heavily evaluative. Unlike traditional UX, which often starts with uncovering user needs, games UX usually kicks in once there’s a playable prototype. Because the “user need” in games is often just “make it fun,” research is focused more on assessing emotional impact and usability than on early-stage exploration.

* Measuring fun is both subjective and contextual. Teams often ask, “Is this fun?”—but that question is too broad to act on. Steve explains that researchers must first help define what kind of fun is intended, whether that’s emotional engagement, replay behavior, or challenge. Only then can appropriate metrics or qualitative signals be applied.

* Creative ownership adds complexity to stakeholder management. Games are seen as artistic work. Designers may be deeply emotionally invested in their ideas, which can make it harder to embrace critical feedback. This makes relationship-building, empathy, and framing feedback constructively especially important in games UX.

* Secrecy shapes everything, from methods to sampling. Due to high financial stakes and aggressive marketing timelines, games researchers often can’t test publicly. This leads to lab-based studies with high participant control. Mass playtesting labs (20–80 people at once) are common for running controlled, large-scale tests without leaking content.

* Toxicity and matchmaking need research too. Games with multiplayer or social components must test how players interact, especially when strangers are thrown together online. Teams look at voice/chat features, segmentation by playstyle, and matchmaking fairness to reduce toxicity and create balanced experiences.

Where to find Steve:

* Website

* LinkedIn

* Twitter/X

* BlueSky

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The views and opinions expressed by the guests on this podcast are their own and do not necessarily reflect the views, positions, or policies of the host, the podcast, or any affiliated organizations or sponsors.