Ray Chase, the voice of Cyclops in X-Men ’97 and Noctis in Final Fantasy 15, just delivered one of the most relatable brags in gaming: more than 1,000 hours poured into Slay the Spire. He also admitted to running a self-styled “smell build” in Kingdom Come: Deliverance 2, wearing perfumes and marching into battle in what he calls his “fancy boy outfit.” It is a funny aside, but it also says something real about how even busy professionals actually play games in 2026.
Why a 1,000-Hour Roguelike Habit Makes Sense
Racking up four figures of playtime in a single deckbuilding roguelike is not an accident. Slay the Spire is the poster child for the “easy to learn, endless to master” design that keeps players coming back for years. Each run is short, self-contained, and different, which makes it the perfect game to squeeze into the gaps of a packed schedule. For a working voice actor bouncing between recording sessions, that pick-up-and-play loop is ideal.
There is a clear business signal here too. Games built around tight, repeatable loops generate staggering engagement per dollar of development. A modestly priced indie can hold a player’s attention longer than a $70 blockbuster, and that retention is exactly what storefronts, subscription services, and advertisers prize most.
The ‘Smell Build’ and the Joy of Personal Play
Chase’s perfume-soaked Kingdom Come: Deliverance 2 run is the kind of self-imposed roleplay that modern immersive sims quietly encourage. When a game simulates enough systems, players invent their own goals, and those personal stories become free marketing. A “fancy boy” who wins fights on charisma and cologne is more shareable than any official trailer, and it costs the developer nothing.
This is the underrated power of deep systems design. Give people a sandbox with real rules, and they will generate endless clips, memes, and word-of-mouth. Studios that build for player expression are effectively hiring an unpaid content team of millions.
What a Celebrity Steam Library Tells Us
It is easy to assume that people who make games and animation for a living chase only the flashiest new releases. The reality Chase describes is refreshingly normal: a comfort roguelike he returns to constantly, and a meaty RPG he plays on his own weird terms. That mirrors how most enthusiasts actually spend their hours, regardless of budget or hype.
For anyone tracking the gaming market, that pattern matters. Sustained playtime is drifting toward smart, replayable design and player freedom rather than sheer production scale. The games that win the long game are the ones people keep loading up years later, cologne optional.
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