The article opens against a backdrop of widespread financial crisis in the video game industry. After a massive boom in 2021 during the pandemic, investment in the sector dropped dramatically, from over $12 billion that year to just $2.4 billion in 2024. By mid-2025, the situation remained fragile, with no signs of recovery to pre-pandemic levels. It is within this difficult context that the article highlights an encouraging and growing phenomenon: independent studios that, after achieving unexpected success, decide to channel their earnings into supporting other creators who find themselves in the same position they once were. The most emblematic case is that of Innersloth, the creator of *Among Us*. The game was launched quietly in 2018 and only began to explode in 2020, reaching 500 million monthly players globally. From the revenue generated by a game that cost just five dollars on Steam, Innersloth accumulated enough resources to announce Outersloth in 2024, a fund dedicated to supporting indie projects. What sets Outersloth apart is that it does not operate as a traditional publisher: its goal is to bring fantastic projects and teams to the fore, setting them up for future success without imposing creative control. One of the first beneficiaries, Ian MacLarty, creator of *Mars First Logistics*, described the experience as surprisingly autonomous, noting that Innersloth was completely hands-off throughout development and that he sensed from the start a genuine intention to build something sustainable to help other creators. Following a similar path, Kinect Games, the studio behind the hit *Phasmophobia*, launched its own publishing structure in January to support other independent studios. The initiative stems from the same principle: the team believes it got where it is thanks to the help and honesty of others, and that giving that solidarity back to the ecosystem makes every bit of sense. More recent still is the case of Landfall, co-creator of the phenomenon *Peak*. Evil Landfall, its investment and publishing arm led by CEO Kirsten-Lee Naidoo, operated quietly for about three years before being publicly unveiled in April. Based in Stockholm as a separate business entity, Evil Landfall has already invested in titles such as *REPO*, *How To Fish*, and *Voidigo*, and plans to invest up to one million dollars per year into a small number of games. The logic behind the initiative is not necessarily to publish games, but above all to fund teams that want to maintain their editorial independence, offering capital and guidance without imposing a brand or creative direction. The article concludes by underlining that these initiatives represent far more than one-off generosity. At a time when access to external funding is severely restricted, it is the creators who had the luck or talent to break through who are building new bridges for those still trying to make it. This is a virtuous cycle in which money generated within the independent ecosystem flows back into it, reinforcing its vitality without depending on the logic of major publishers or traditional venture capital funds.