Whether you’re strategizing your chess moves, exploring high-scoring options in Scrabble, or crafting your investment plan in Monopoly, board games are an excellent avenue for enhancing your cognitive skills. Engaging in these games demands a variety of mental faculties, including problem-solving, critical thinking, decision making, memory retention, and concentration, while also providing a valuable platform for face-to-face social interaction.
Given their cognitive and social advantages, it’s no wonder that playing board games can support brain health as you age.
Board games are essential for brain development – Photo credit: Getty Images
Specific games, such as chess, have been extensively studied for their ability to strengthen mental skills. A 2025 review of neuroimaging studies comparing expert and novice chess players revealed that seasoned players exhibit higher brain activity and connectivity in regions related to visual processing, spatial awareness, and decision-making.
For enthusiasts of tabletop role-playing games like Dungeons & Dragons, there’s encouraging news as well. A 2024 study from University College Cork found that these games offer escapism, creative expression, and social support, significantly enhancing players’ mental health.
The board game industry is flourishing, with countless options available and dedicated cafes and bars emerging where you can enjoy them. If you’re searching for a delightful way to spend a rainy afternoon, immersing yourself in a good game is definitely a worthwhile option.
This article addresses the question, “Are board games good for the brain?” posed via email by Ray Townsend.
I It’s challenging to find a more contemporary form of entertainment than open-world video games. Merging storytelling, social interaction, and the freedom to roam, these expansive technological projects offer a uniquely immersive experience with infinite possibilities. But do they truly embody novel concepts in storytelling?
This week, I had a conversation with Dan Hauser, co-founder of Rockstar and the lead writer for Grand Theft Auto and Red Dead Redemption. He was in London discussing his new venture, Absurd Ventures. He’s working on a range of exciting projects, including a novel and a podcast series titled better paradise (which delves into a vast online game that ends in tragedy), as well as a comedic quest set in an online universe known as absurd verse. He mentioned that he had an epiphany regarding the series 15 years ago while giving press interviews for the Grand Theft Auto IV expansion pack.
“I was conversing with a journalist from Paris Match, a very learned French individual, who stated, ‘The game Grand Theft Auto is akin to Dickens.’ I thought, bless you for saying that! However, in retrospect, they may not reach Dickensian heights, but they’re comparable in that they create worlds. When you examine Dickens, Zola, Tolstoy—any of those authors—you sense that the entire world they describe is magnificent. This is an open world. That’s the experience you seek from the game. It’s a bizarre prism through which to view a society that somehow becomes fascinating.”
A whole new world…an absurd world. Photo: Absurd Ventures/X
I found it incredibly engaging to discuss this concept with Hauser, as I concur that there are notable parallels between Victorian literature and contemporary narrative-driven video games. The extensive descriptive passages in these works served as a form of virtual reality, evoking vivid imagery in readers’ minds well before the advent of cinema. It’s wholly immersive. When I first read Jane Eyre a decade ago, I was struck by the richness of the inner thoughts presented, inviting readers to explore the main character’s psyche.
Hauser also noted structural resemblances to Grand Theft Auto. “There’s a sense of an expanded storytelling akin to the remarkable 19th-century novels from Thackeray onward,” he explained. “These stories can be viewed as shaggy dog tales that culminate at a single moment. They are deeply realistic; they contain a grounded progression rather than jumping around in time. The games are similarly grounded in that sense.”
For Hauser, this synthesis of Victorian literature and game design came to fruition with the creation of Red Dead Redemption 2, Rockstar’s magnum opus and a poignant narrative of vengeance set in late 19th century America. “I consumed Victorian novels,” he shared. “I listened to the Middlemarch audiobook daily during my commute, and I loved every moment.” He faced challenges in striking the right tone for the dialogue, ultimately finding inspiration in blending Middlemarch, Sherlock Holmes, and Cowboy Pulp Fiction.
“I listened to the Middlemarch audiobook every day on my way to and from the office,” Dan Hauser said. Photo: Chelsea Guglielmino/Getty Images
“From a writing perspective, I wanted it to feel more like a novel,” he remarked. “We believed this approach could yield something innovative story-wise. Given how visually stunning the game is and its strong art design, we aimed to anchor the narrative in a solid context. Our goal was to encapsulate the three-dimensionality of the characters’ lives while also portraying a sense of life and death in the 19th century, which is fundamentally different from our own experience.”
It’s fascinating to see how Victorian literature significantly influenced Rockstar’s acclaimed adventures. The gaming industry often feels inward-looking, with new titles being slightly modified iterations of successful older games, recycling the same fantasy and science fiction narratives. Drawing on Tolkien, Akira, or Blade Runner isn’t inherently problematic, but broadening one’s literary horizons is always beneficial. I eagerly anticipate how Hauser’s new endeavor will transform the notion of open-world gaming in the 21st century, yet part of me wishes he would fully embrace the adventure of a grand Victorian novel.
Forget Pride and Prejudice and Zombies; perhaps it’s time for Middlemarch and Machine Guns.
what to play
Gorgeous atmosphere… “Metroid Prime 4 Beyond”. Photo: Nintendo
Eighteen years have elapsed since the last installment of “Metroid Prime.” In that time, people have been born, attended school, completed exams, and faced their first hangovers since I last explored a mysterious planet through Samus Aran’s visor. I’ve played quite a bit of Metroid Prime 4: Beyond for fans of Nintendo’s fierce (but often overlooked) heroes. I reviewed it this week and I’m pleased to report it wasn’t a disaster. While it’s somewhat uneven and carries an old-fashioned feel, it boasts a stunning atmosphere that is visually and audibly captivating and is genuinely fun. The gameplay resonates with me because it adheres to unconventional modern game design principles. keza mcdonald
Available: Nintendo Switch/Switch 2 Estimated play time: 15-20 hours
Could Shadow be highlighted in Paramount’s upcoming Sonic the Hedgehog spin-off? Photo: Paramount Pictures and Sega of America, Inc.
Sega enthusiasts rejoice: Paramount Pictures has announced a Sonic the Hedgehog movie spin-off (or should it be a spin-off Dash?) As reported by Variety, this project, currently dubbed “Sonic Universe Event Film,” is set to release on December 22, 2028, shortly after Sonic the Hedgehog 4, slated for March 2027. Perhaps there will be a new journey for Sonic’s rival, Shadow the Hedgehog? I might be alone in this, but I’m excited about Big the Cat’s fishing adventure.
The Information Commissioner’s Office, the UK’s independent data protection and information rights regulator, is currently investigating10 Most Popular Mobile Games to focus on children’s privacy. According to the organization’s blog, “84% of parents are worried about their children being exposed to strangers and harmful content via mobile games.” This scrutiny follows recent controversies surrounding Roblox.
As someone inundated with around 200 press releases weekly about this genre, I found this piece relatable. Rock, Paper, Shotgun elaborates on the seemingly unstoppable emergence of roguelike games. Edwin Evans-Thirlwell interviews developers to uncover the reasons behind the popularity of games featuring the three Ps: procedural generation, (character) progression, and permadeath.
What to click
question block
Using power…Dishonored 2. Photo: Steam Powered
Keza answers this week’s reader inquiries from Tom:
“I was reflecting on a recent question block about non-violent games and thought, are there games that maintain violent elements but still provide alternative paths to completion? I adored Red Dead Redemption 2, yet was frustrated that firearms were often the only means to resolve conflicts. I’ve seen countless amusing videos of players attempting to finish inherently violent games without bloodshed, highlighting a desire for pacifism.”
I distinctly remember playing the original Splinter Cell on Xbox, where the protagonist opts for a non-lethal approach by incapacitating foes rather than killing them. While it took me a long time to navigate, it was indeed a viable path offered by the game. The steampunk classic Dishonored and its sequel are known for allowing players to wrap up their quests without resorting to lethal force, utilizing supernatural abilities to manipulate their surroundings. However, if memory serves, choosing the pacifist route does make the game considerably harder.
In fact, most stealth games permit a non-violent approach, though few specifically reward players for sparing lives. One notable exception is the beloved comic-inspired adventure Undertale, where players can ultimately engage monsters in dialogue instead of combat. I also believe it’s feasible to play through both original Fallout titles (possibly even Fallout: New Vegas) without killing anyone, should players possess enough charisma to navigate tough scenarios through dialogue.
We’re still accepting nominations for Game of the Year for our year-end special – let us know by. Email us at pushbuttons@theguardian.com.
Initially a mini-game in Project Gotham, this fast-paced twin-stick shooter, inspired by the 80s, was transformed into an exclusive digital title that gained a massive following. With its stylish vector graphics and rapid gameplay, it was the first to showcase the potential of Xbox Live Arcade.
Fast, frenetic, and incredibly stylish…Geometry Wars: Retro Evolved. Photo: Microsoft A time sink on an epic scale… The Elder Scrolls IV: Oblivion (Screenshot of the 2025 remake) Photo: Bethesda Softworks
Countless hours were devoted to this groundbreaking open-world RPG. As one of the pioneers in true exploration, it allowed players to traverse anywhere and engage in countless activities. Journeys through Cyrodiil became adventures filled with unexpected mischief, often overshadowing the main quest of combating the gates of hell.
Uno (2006)
The most addictive rendition of the classic card game… Uno on Xbox 360 Photo: Carbonated Games/Microsoft
There’s no denying it – Uno was one of the pivotal Xbox 360 titles. A staple for many of us, it was thrilling to play with a webcam that allowed us to witness our rivals’ expressions during intense Wild Draw 4 moments. As one of the earliest accessible multiplayer game options for consoles, it often diverted players from more complex titles such as Halo or Mass Effect into late-night Uno sessions, leaving echoes of its calming sound effects lingering in our dreams.
Viva Pinata (2006)
Darwinian brutality? …Viva Piñata. Photo: Microsoft
Cultivate a stunning garden, attract vibrant piñata creatures, and watch chaotic predation unfold. While there’s an unexpected level of Darwinian cruelty lurking beneath this seemingly family-friendly game, many weekends in the 2000s were spent nurturing dangerous additions to our paradise. Orstachio lives on forever.
Bioshock (2007)
This half-dystopian adventure and critique of Ayn Rand’s Objectivism allows players to delve into a submerged metropolis fashioned by a megalomaniacal tycoon driven by radical social experiments. Can you draw parallels to today’s technological corporate elite?
Modern parallels… Bioshock. Photo: absurdity
Halo 3 (2007)
An endlessly enjoyable shooting game…Halo 3 Photo: Xbox Game Studios
While Halo may never replicate the charm of its original trilogy, it remains an expansive shooter of its era, concluding the grand space saga of the franchise. Unlike the linear shooter experiences of today, Halo promotes strategic engagement with clever adversaries and an infinite playground for chaos. Yet, the multiplayer experience is what truly resonates in memory—massive encounters powered by vehicles, customizable settings, and the ingenious Forge map editor offered unending fun.
Mass Effect (2007)
Is it better than Star Wars?…Mass Effect Photo: Electronic Arts
BioWare’s expansive sci-fi trilogy may have stumbled to an imperfect conclusion, yet its blend of interstellar battles and romantic encounters retained fans’ fascination for years. Merging RPG elements, strategic squad combat, and a compelling existential dilemma (an evil race of sentient ships), Mass Effect unfolds an unforgettable space opera featuring characters with deep emotional connections.
Fable II (2008)
Easy to enjoy…Fable II. Photo: Microsoft
Lionhead’s distinctly British fantasy title feels lively, engaging, and accessible. Although it may be completed faster than expected, its charm and character resonate more than many other RPGs on Xbox. Bursting with imaginative elements, it fosters the thrill of adventure, and let’s not forget the lovable canine sidekick, despite our enduring grief from his fate in the game.
Gears of War 2 (2008)
The ultimate testosterone-filled cover shooter…Gears of War 2. Photo: Epic Games
Gears 2 enhances its predecessor’s robust mechanics, delivering a premier cover shooter experience that features burly soldiers confronting an alien Horde in a frenzy of obliteration and chainsaw mayhem. Moreover, the introduction of the adrenaline-fueled horde mode initiated the wave-based survival challenge craze.
Lost Odyssey (2008)
Like a forgotten Final Fantasy…Lost Odyssey Photo: Mist Walker
For a brief period, Microsoft endeavored to solidify the Xbox’s presence in Japan, inviting renowned Japanese developers to create exclusive titles. While many of these titles failed, Lost Odyssey stands out, exploring humanity’s journey amidst rapid technological change. Directed by Final Fantasy veteran Hironobu Sakaguchi, it captures the essence of a missing entry from the beloved series.
Ninja Gaiden II (2008)
Choreographed violence…Ninja Gaiden II Photo: Team NINJA
Before Dark Souls, Tecmo’s notorious action series left players either infuriated or exhilarated, with beautifully orchestrated combat letting players sever limbs and unleash stylish attacks. The game brilliantly channels the spirit of classic 80s ninja films, filled with captivating locales and an arsenal of sharp weaponry.
Rock Band 2 (2008)
Rock out forever…Rock Band 2 Photo: Harmonix Music Systems
The ultimate party game, a timeless classic. After pioneering Guitar Hero, Harmonix transitioned into creating Rock Band, a collaborative music experience that invites players to sing, play, and drum using fun plastic instruments. With an exceptional setlist featuring beloved pop-punk and classic rock tunes, Rock Band 2 also offers one of the smoothest gameplay experiences available, whether playing online or with friends in person.
Limbo (2010)
It makes me feel anxious…Limbo. Photo: Triple Point
This artful title, which helped establish Xbox Live Arcade as a platform for experimental gaming, is a haunting puzzle-platformer about a boy’s journey through a hellish, monochromatic world in search of his missing sister. Selling a million copies in its first year, it proved there remains a demand for unique and avant-garde gaming experiences.
Forza Horizon (2012)
Fresh…Forza Horizon. Photo: Microsoft
Project Gotham and Forza Motorsport laid the groundwork, yet Horizon breathed new life into the franchise. It’s an exhilarating driving festival featuring a plethora of activities, from circuit races to stunning stunts, all set in a breathtaking Colorado backdrop dotted with charming roads and vintage automobiles. A perfect blend of gaming and virtual tourism.
Trials Evolution (2012)
Very difficult…Trials Evolution Photo: Ubisoft
Upon its release, Trials Evolution captivated a vast section of the Xbox Live Arcade audience, igniting an obsession with challenging physics-based motorcycle trials. Featuring tight controls and requiring unwavering concentration, this game delivers a rewarding experience, complete with four-player multiplayer and an impressive level editor.
TIf you’re just entering the gaming realm, you may not be aware of Pax Australia. This large-scale gaming conference and exhibition occurs annually at the Melbourne Convention and Exhibition Center every October. My favorite area has always been Pax Rising, which showcases indie video games and tabletop games, predominantly from Australia. This year, however, notable changes have emerged, with many outstanding titles coming from New Zealand across the Tasman.
At a booth hosted by Code – the New Zealand Government-supported Center for Digital Excellence – 18 developers from New Zealand showcased their upcoming games, drawing in a busy crowd excited about the local gaming scene. In terms of humor, head lice allowed me to control a parasitic headcrab monster that could seize control of people’s brains and manipulate them like puppets. how was your day is a charming time-loop game set in New Zealand, revolving around a young girl on a quest to find her lost dog. Meanwhile, kill something with friends is a cooperative multiplayer action game featuring bizarre medical trials, where I ripped off my own arm to battle hordes of enemies.
Crowds gather to experience Middle Management, a satirical game focused on office culture developed in New Zealand. Photo: Carl Smith
Two years after the massive success of Dredge, New Zealand’s independent gaming industry continues to flourish. According to an investigation by the New Zealand Game Developers Association (NZGDA), local game developer studio revenues have increased steadily each year since 2018, seeing a 38% rise to NZ$759 million (A$657 million) from 2024 to 2025. This amount is nearly double the A$339.1 million generated in Australia in 2024.
This surge in revenue is backed by remarkable successes such as Grinding Gear Games’ acclaimed Path of Exile series, which reported revenue of NZ$105 million between October 2024 and September 2025. PikPok, the studio behind the acclaimed Into the Dead series and the mobile hit Clusterduck, has recorded over 500 million downloads worldwide across all titles. Additionally, projects such as Flintlock: Dawn Siege, Crypto Master, and Dungeons and the Decadent Gambler have seen impressive figures as well. Some of these projects benefit from a 20% rebate provided by NZ On Air, which has paid out $22.4 million by 2024/25 to around 40 companies. For smaller studios lacking new investment, Code has become a vital vehicle for growth.
Founded in Dunedin in late 2019 by the New Zealand Government to support South Island studios, Code received a boost from government investments in 2022 to expand its national program, which not only funds developers but also provides them with industry-best practices. Recent funding rounds yielded nearly NZ$960,000 in prizes across 13 studios, with New Zealand National Party Minister Shane Letty promising double the funding in September, providing an additional NZ$2.75 million per year.
Multiple countries offer federal funding for game development, but what sets Code apart is its emphasis on training developers to compete on a global scale. Its programs encompass not only grants but also mentorship and professional skills workshops (covering areas such as media communication and budgeting). It also provides multiple funding streams, ranging from travel assistance to substantial grants (up to $250,000) for teams poised to grow. The initiative aims to empower developers to become independent. “In today’s environment, publishers and investors want to engage only with those who already have some validation,” states Vee Pendergrast, Code Development Manager. “We built that into our model.”
Mr. Pendergrast emphasizes that industry leaders invited to mentor will offer “cost-effective solutions to expensive challenges.” “Even if they’re receiving a consulting fee, their skills return to the ecosystem.”
According to Code’s estimates, every NZ$1 they invest yields NZ$2.67 in returns, and this is evident in the upcoming console release of Abiotic Factor, a Code-supported title by Deep Field Games, which has sold over 1.4 million copies solely on PC.
“Their games looked fantastic, the demos were engaging, and the developers were skilled at interacting with the media.” – Pax Australia floor. Photo: Carl Smith
At the Code booth during Pax, developers shared similar traits: their games looked fantastic, the demos were engaging, and they had strong media communication skills. One standout for me was Canvas City, a turn-based tactical combat game involving rollerblading. The studio, Disc 2 Games, spun off from Black Salt Games, the creators of the Code-backed hit Dredge. The success of Dredge provides separate funding for Disc 2, enabling them to innovate without growing the original company.
“Code offers excellent support for first-time developers,” says Nadia Thorne, CEO and producer at Black Salt. Since Dredge launched, she has become a mentor for Code. “Many indie studios lack the luxury of [coming to Pax for] this kind of exposure. Pooling our resources allows us to attend numerous shows that we otherwise couldn’t access.”
Kate Stewart and Will Adamson in “Apothecurse.” Photo: Carl Smith
Jevon Wright is developing his first game, Adaptory, after four years. This 2D survival game features players managing a crew that crash-lands in space and must build a base to survive. They discovered Code halfway through its development, allowing them to become part of the broader New Zealand scene. “We all know each other,” they express. “And we’re all here to support one another.”
Will Adamson demonstrating the game Apothecurse also praised the cooperative nature of this scene, stating, “We not only share ideas, experiences, and contacts, but also developers… There’s a true sense of community here.”
Steam lists 61 upcoming games from New Zealand for PC. This figure is impressive for a small nation, yet it’s just a fraction of the 19,000 games released on Steam in 2024 alone. To carve a niche in a saturated market, the games highlighted at Pax all presented something distinct. “We have a multitude of inventive, quirky, Kiwi-oriented products. That’s part of our overall brand,” explains Pendergrast. Consider Middle Management, for instance, an irreverent satire addressing office culture featuring a mind-draining octopus creature, or Dream Team Supreme, where two players control a two-headed robot using two decks of cards to battle monsters.
Not all projects backed by Code have emerged as commercial successes, but some stand out. “We’re happy to share our triumphs and setbacks and the experiences leading up to them,” notes Thorne. “We’re simply striving to make it easier for the next wave of developers.”
This narrative follows a man who journeyed far and wide solely for the purpose of playing games. Known as “Gurgeh,” his story begins with a conflict that isn’t truly a battle and culminates in a game that transcends a mere game.
As for myself? I’ll share more about my story later. Let’s delve into the beginning.
Dust kicked up with every step he took. He limped across the desert, trailing the figure ahead, clad in a suit. His gun remained silent in his grasp. They would arrive soon. The sound of distant waves resonated through his helmet. Approaching a tall dune, he would soon catch a glimpse of the coast. Somehow, he had survived, which was unexpected.
Outside, it was bright, hot, and dry, but within the suit, he found solace from the sun and the searing air. It was a comfortable respite. One edge of the helmet’s visor was charred from impact; his right leg was awkwardly bent, injured and limp. Yet, other than that, he considered himself fortunate. The last attack had come up short, just a kilometer away, and now was nearly out of range.
The missile soared in a shimmering arc over the nearest ridge. His broken visor delayed his discovery of them; he mistakenly thought the missile had already launched, when it was merely sunlight reflecting off its sleek surface. The aircraft dove like a flock of birds and trembled simultaneously.
When firing commenced, it was marked by a pulsing red light. He lifted his weapon in defense. Others in the group clad in suits had already begun firing; some dove to the sandy ground, while others dropped to one knee. He remained the only one standing.
The missiles altered course yet again, veering off and splitting into different paths. Dust swirled around his feet as projectiles closed in. He attempted to target one of the small machines, but they darted surprisingly quickly, and the gun felt cumbersome in his grip. Echoes of gunfire and the cries of others surrounded him. A light blinked within his helmet, indicating damage. His suit trembled violently, and soon his right leg was numb.
“Wake up, Gurgeh!” Yay laughed beside him. As two small missiles suddenly veered towards their section, she knelt, anticipating it as a vulnerability. Gurgeh noticed the approaching machine, but the gun seemed to thud in his hand, struggling to aim where the missile had been launched. Two machines rushed between him and Yay. One missile exploded with a flash, drawing Yay’s joyful exclamation. The second missile swung dangerously close. She tried to kick out but Gurgeh awkwardly turned to shoot, inadvertently spraying fire onto Yay’s suit. He heard her yell and swear, and as she stumbled back, she raised her gun. Just as the second missile circled again, dust erupted around it, its red pulse reflecting on his suit and drowning his visor in darkness. He felt paralyzed from the neck down and crouched on the ground, plunging into darkness and eerie silence.
“You are dead,” a crisp, small voice informed him.
Lying concealed on the desert floor, he picked up muffled sounds in the distance, along with vibrations from the ground. His heartbeat thudded in his ears as he struggled to control his breath.
His nose itched, yet it was unreachable. What am I doing here? he mused.
Gradually, his senses returned. Voices flickered around him, and he gazed through his visor at the flattened desert beneath him. Before he could react, someone yanked him up by an arm.
He unclipped his helmet. Melistinu stood nearby, her head bare, observing him while shaking her head. Hands on her hips, she swung her gun from one wrist. “You were terrible,” she remarked, yet not unkindly. Despite her youthful beauty, her deep, deliberate voice carried an understanding far beyond her years.
Others sat among the rocks and dust, chatting as some players returned to the clubhouse. Yei retrieved Gurgeh’s weapon and offered it to him. He scratched his nose then shook his head, declining to reclaim his gun.
“Well, this is meant for children,” he stated.
She paused, slinging her gun over one shoulder, its muzzle shimmering in the sunlight as it caught his attention. Dazed, he witnessed the line of missiles heading their way again.
“So?” she questioned. “It’s not dull. You called it tedious, but I thought you might find filming enjoyable.”
He brushed off the dust, making his way back towards the clubhouse. Yay ambled beside him, a recovery drone whirling past to collect debris from the destroyed machine.
“This is childish, Yay. Why waste your time on such nonsense?”
They paused atop the dune. The low clubhouse lay a hundred meters ahead, nestled between them and the golden sand and white waves. Under the blazing sun, the sea sparkled brightly.
“Don’t be so bossy,” she replied, her short brown hair dancing in the same breeze that curled the surf’s crest and sent sprays back into the ocean. She bent to scoop up fragments of a shattered missile, brushing sand from its glossy surface and examining the pieces in her hands. “I’m having fun,” she stated. “I enjoy games like you do, but…I also enjoy this.” Puzzled, she added, “This is a game. Don’t you understand? Are you not enjoying this?“
“No. Eventually, you won’t either.”
She shrugged casually. “Until then,” she handed him the broken fragment of machinery. He observed a group of young men en route to the shooting range as they passed.
“Mr. Gurgeh?” One of the young men halted, eyes questioning. The flicker of annoyance crossed Gurgeh’s old visage but was swiftly replaced by a tolerant grin familiar to Yay. “Gernow, morat Gurgeh?” inquired the young man, still failing to grasp the name.
“Guilty,” Gurgeh replied with a graceful smile, straightening up slightly. The young man’s face lit up as he executed a hasty, formal bow. Gurgeh exchanged a glance with Yay.
“Anne honor ‘Nice to meet you, Mr. Gurgeh,’ the young man beamed. “… I follow all of your matches. I’ve collected a complete set of your theoretical studies.”
Gurgeh nodded. “What an inclusive individual you are!”
“Whenever you are here, I’d be thrilled if you would play against me… Deploy is perhaps my forte. I play three points, but—”
“Sadly, my limitation is time,” Gurgeh interrupted. “But absolutely, should the chance arise, I would be delighted to compete against you.” He offered a nod. “Pleasure to meet you.”
The young man flushed and took a step back with a beaming smile. “The pleasure is all mine, Mr. Gurgeh. … Farewell… Farewell.” Awkwardly smiling, he turned to rejoin his friends.
Gurgeh observed him depart. “You truly enjoy all that, don’t you, Gurgeh?” she smiled.
“Not at all,” he replied curtly. “It’s bothersome.”
Yay continued watching the young man until he disappeared, footsteps crunching in the sand. With a sigh, she turned to Gurgeh. “And what about you? Are you enjoying…this destruction?”
“It hardly counts as destruction,” Yay replied. “Instead of being obliterated, the missiles are disassembled explosively. One can be reassembled in under thirty minutes.”
“So that’s a lie.”
“What isn’t?”
“Intellectual achievement. Skill application. Human emotion.”
Yay rolled her eyes. “It appears we have quite a distance before mutual understanding, Gurgeh.”
“Then allow me to assist you.”
“Will I become your pupil?”
“Yes.”
Yay gazed away toward where the roller had landed on the beach, then back to him. As the wind rustled and waves crashed, she slowly pulled the helmet back over her head and clicked it into place. He remained transfixed, observing her reflection in the visor as she brushed a strand of black hair away.
With her visor raised, she said, “See you again, Gurgeh. Chumris and I will visit you the day after tomorrow, thought?”
“If you’d like.”
“I want to.” She winked at him and began down the sandy incline. She relinquished her weapon just as a recovery drone flew by, laden with metallic shards.
Gurgeh stood there momentarily, holding the remnants of the destroyed machine before letting them fall onto the barren sand.
This excerpt is from a book by Iain M. Banks. Culture novel Game Player(Orbit), New Scientist Book Club’s December 2025 reading. Join us here to read together..
MMany avid gamers have a knack for becoming deeply engaged. Countless weeks lost in titles like Civilization, World of Warcraft, or Football Manager is a shared experience among many. For some, the thrill comes from dopamine hits as their statistics rise. Engaging in games like Diablo or Destiny, where you enhance your character while snagging impressive loot, can turn into an obsession. Conversely, the repetitive charm of Animal Crossing and Stardew Valley captivates players through its peaceful challenges.
Yet, it is the challenge that truly ignites my obsession. Being told you can’t achieve something in a game often triggers an urge to prove otherwise, sometimes to my detriment. While the grind may feel mundane, the challenge ignites a fire in my brain.
My first real gaming addiction started as a teenager with a music game: “Amplitude.” In it, you become a cosmic DJ, mixing sounds from a spaceship. I also enjoyed Gitaroo Man, a whimsical narrative about a guitar hero, and of course, Guitar Hero, where I was determined to master every song on Expert difficulty. Although Guitar Hero is often seen as a social game, I spent many hours practicing alone in a cupboard under the stairs of a less-than-ideal house in Bournemouth, perfecting “More Than a Feeling” after 30 attempts.
Years later, while living in Japan, I stumbled upon From Software’s Demon’s Souls. The game’s brutal difficulty seemed designed to make players quit. A mere three steps in any level could lead to instant death at the hands of a skeleton or a venomous swamp creature. Yet, I sensed something captivating beneath all this hardship. Indeed, Demon’s Souls and its successor Dark Souls gained immense popularity, birthing a notoriously challenging genre. The charm of these games lies in the need for a commitment to mastering them. Your skills matter little unless you’re willing to share insights and cooperate with others.
My persistence has largely benefited me throughout my life. This tenacity translates to life and career challenges, providing the drive not to give up. I once made a ridiculous commitment to learn complex fingerpicking patterns for specific guitar songs. write a book. However, gaming often captivates me when I should be focusing on other responsibilities.
Relentlessly difficult and painfully funny…baby steps. Photo: Devolver Digital
A recent example for me was Baby Steps, an incredibly challenging and amusing game where you guide the world’s biggest loser up a mountain. In this game, one wrong move can result in losing hours of hard-earned progress. One night, I found myself stuck in a sandcastle for four hours, slipping down the same sandy slope repeatedly while my kids expressed their annoyance at being asked to come in and witness my plight. After what felt like an eternity, I finally emerged from the sand trap at 1 a.m., adrenaline surging, making sleep impossible for another hour.
The wise choice would have been to set the controller down. Baby Steps has a way of teasing players into pressing on. The brave thing to do is to give up. One of the most notorious challenges is a winding ascent up a steep rock face called Manbreaker, complete with a swirling staircase nearby.
Another game I’ve spent considerable time with this year is Hollow Knight: Silksong. This beautifully crafted exploration action game straddles the line between playful and brutally challenging. It features notoriously tough bosses that can’t be avoided, each likely requiring hours of practice. One such boss, the Last Judge, swings a flaming censer that releases plumes of lethal fire. To make matters worse, the route back to that room is rife with threats: flying drill-headed bugs, perilous drops, and relentless guards. By the time you face the Last Judge, your nerves are frayed. Nonetheless, this only fueled my determination to conquer it.
Developers face a delicate balancing act. Logically, the aim should be to engage players, not dishearten them. For a time, the trend shifted towards creating easy-to-navigate open-world games that never impede progress. However, Dark Souls demonstrated the enduring market for players like me who appreciate a good challenge. I am irresistibly drawn to mastering pursuits that are inherently trivial.
Perhaps mastery is the crux of the matter. While mastery in life is capricious, and uncertainties can strike at any moment, video games allow for the anticipation of challenges. Here, with perseverance, you can always triumph.
What to play
A game focused on combat… Hyrule Warriors: Age of Imprisonment. Photo: Nintendo/Koei Tecmo
I’m quite enjoying Hyrule Warriors: Age of Imprisonment, a spinoff from the Zelda series. It explores what Princess Zelda was up to while time-traveling through Hyrule’s history, and it turns out, she was engaging with numerous suitors. This game centers on combat, whisking players through the battlefields of ancient Hyrule, filled with various monsters, unleashing spectacular attacks that light up the screen, from Zelda’s light magic to Minel’s mechanical creations. The aesthetic feels distinct from Zelda, leaning more towards a cinematic action experience while filling in the historical gaps concerning Hyrule, granting the princess a leading role.
Available: Nintendo Switch 2 Estimated play time: 15 hours
I’m late again… Grand Theft Auto VI. Photo: Chris Delmas/AFP/Getty Images
Grand Theft Auto VI has seen another delay, shifting from May to November next year. The last such adjustment caused quite a stir in the industry, hinting at potential game shortages by year’s end, along with possible rescheduling of other titles.
During a staff presentation (via) Game File, Ubisoft’s CEO, Yves Guillemot, discussed Assassin’s Creed Shadows. Despite cultural controversies surrounding a black samurai and female ninja, he argued, “We needed to stop catering to our adversaries and shift focus toward our supporters.”
The Game Awards, orchestrated annually by the prominent gaming figure Jeff Keighley, has wrapped up its Future Class program that annually curates a list of developers signifying the “bright, bold, and inclusive future” of the gaming landscape. Former honorees have recently expressed their grievances about how they feel the initiative has failed them. “Don’t assemble the industry’s best activists, treat us terribly, and expect us to remain passive.”
What to click
Share your favorite games of 2025
It’s that time of year again, as I reflect on the most enjoyable and enlightening games of 2025 while squeezing in time for those I may have missed. This December, we’ll host our annual gaming feature for Pushing Buttons readers. Please send a few lines about your Favorite games of 2025 by replying to this email. We aim to gather responses until early December.
As always, if you have any video game-related queries or feedback about our newsletter, feel free to reach out to us at pushbuttons@theguardian.com.
Video Games have faced ongoing challenges with diversity and inclusion, making it unsurprising when Game Awards host and producer Geoff Keighley unveiled the Future Class program in 2020. The initiative aimed to spotlight individuals in gaming as part of a “bright, bold, and inclusive future” for the industry.
Considering the vast audience of the annual Keighley-led show, which garnered around 154 million livestream views last year, Future Class appeared to be a sincere attempt at fostering change. Hall of Fame inductees were invited to the prestigious December ceremony, often referred to as the “Oscars of Gaming,” and featured prominently on the official Game Awards website, with promises of networking and career development. However, reports indicate that the program faced difficulties from the outset, with support waning in recent years. It now appears that the Game Awards Future Class may have been entirely abandoned.
This marks the second consecutive year without any new Future Class members being announced. Typically, the program sees 50 inductees from various sectors of the gaming world, including writing, development, journalism, and community management. According to a report by a game developer, organizer Emily Weir stated, “We’re not planning a new Future Class.” [2025] There are currently no active plans for Future Classes.
Former Future Class inductees express that this outcome follows years of advocacy to enhance the program. As the video game industry navigates a cultural clash surrounding Diversity, Equity, and Inclusion Initiatives (DEI), some Future Class members feel they were leveraged for positive portrayals and then abandoned when DEI initiatives lost momentum.
The 2024 Game Awards Ceremony. Photo: Frank Micelotta/Picturegroup/Shutterstock
“We were essentially props,” game producer Deanna Lora, who joined the inaugural Future Class in 2020, recounted during a video call. “At the Game Awards, most people had come from far away due to the costs, and I felt sidelined. I later learned that Casely was hosting a party in another room with influencers and industry leaders. Do you know where the Future Class gathered that day? At Starbucks.”
“No one from the official leadership attended until the meet and greet was nearly over,” said Future Class member and Retcon Games creative director Jess Negron, reflecting on the Starbucks gathering. “We felt quite let down.”
At the 2021 ceremony, Lora, community manager Natalie Czech, podcast host Kalief Adams, and other Future Class members found themselves seated behind a camera riser, effectively blocking their view of the event.
Future Class inductees receive program benefits for a year, including tickets to the Game Awards (alumni were offered discounts on ticket purchases) and access to career advancement opportunities. Many noted that the early-career-focused event primarily featured discussions with notable industry figures like former Nintendo president Reggie Fils-Aimé and Xbox head Phil Spencer, rather than a comprehensive mentorship program.
“It felt like Keighley gathered some friends for a Zoom call,” Lora remarked. “While those conversations were thrilling, that was pretty much the extent of it.”
Lora was among several Future Class members who urged Keighley and Weir to enhance the program.
Writer Emma Kidwell at the 2022 Game Awards. Photo: Scott Kirkland/PictureGroup for The Game Awards/Shutterstock
“They had everything the 2023 class received: a Future Class mixer;” commented Emma Kidwell, a writer who joined in 2023, about past inductees. “All the benefits we’ve gained are due to our previous classmates. They arranged for hotel stays and covered our flights… Everything we’ve received is thanks to our former peers.”
However, 2023 also saw a significant conflict between Future Class and Casely, which members believe may have hastened the program’s decline. In November, over 70 Future Class members signed an open letter advocating for a statement supporting Palestinians and calling for a ceasefire, given the heightened media focus on the humanitarian crisis in Gaza. The letter requested this statement be read at a December ceremony. Despite receiving media attention, the letter shared on the Future Class Discord, which both Keighley and Weir are part of, was ignored.
Shortly after, several Future Class members presented a virtual address to Keighley and Weir, acknowledging the program’s significance but voicing concerns about its “goals, structure, and sustainability.” They provided suggestions for enhancing both the program and the awards ceremony, such as incorporating more female presenters, improving accessibility, and recognizing recent mass layoffs in the industry. Younes Rabi, a Hall of Fame inductee from 2022, reported that Keighley appeared visibly frustrated during the discussion, while another member described him as “furious.”
Keighley and Weir did not respond to requests for comments.
All interviewed Future Class members expressed various levels of dissatisfaction with the program’s abrupt conclusion. Accessibility consultant Steve Thaler lamented, “It’s unfortunate that it was part of something meaningful with great individuals and was left in limbo.” He continued, “I’m not angry; I’m just disappointed.” Many speculated that the program’s disbandment was a result of inductees advocating for a superior Future Class. “You have influence, you can drive changes,” Lora highlighted. “However, since we challenged the status quo, it seems the sentiment became, ‘This is too challenging; it would be better to keep the peace.’” Czech added, “Due to our advocacy for ourselves—given that we were inducted—we faced repercussions for pushing for the same changes the organization publicly commended us for.”
Geoff Keighley is also the host of the annual Summer Game Fest showcase. Photo: Frank Micelotta/PictureGroup/Shutterstock
Several members pondered whether sponsorships linked to the program (a video introducing the 2023 Hall of Fame inductees was sponsored by Old Spice) meant they were effectively being “tokenized” to boost revenue. (The cost of a one-minute trailer for Keighley’s 2024 Summer Games Showcase was reportedly $250,000, with sources estimating the Game Awards will incur even higher costs.) “They didn’t acknowledge us at the 2022 Game Awards, and while we’re not well-known, we certainly didn’t receive financial support, other than the sponsorship they supposedly secured under the Future Class name,” Negron said.
At one point, the Future Class page disappeared from the Game Awards site. This action eliminated any official record of members. “Not only did they cancel the program, but they also erased our means to claim the honor we were previously awarded,” Czech said.
“Marginalized voices need recognition because it brings them at least to the same starting point as others,” Kidwell pointed out. “Now, you can’t even list that on your resume,” Negron noted, questioning the rationale behind such decisions. “Don’t assemble the leading advocates in the industry, treat us poorly, and then expect us to remain silent.”
The decline of the Future Class serves as a poignant reminder that alliances lacking genuine support are often mere performative gestures. Yet, for some, not all hope is lost. Midnight Hour founder Elaine Gómez emphasized that the most valuable aspect was “the camaraderie and community fostered by uniting nearly 200 developers and creators from underrepresented backgrounds.” Meanwhile, the official Future Class Discord remains operational and even more vibrant than in the past year.
IIt’s been two decades since the launch of Guitar Hero in North America, empowering everyday gamers to step into the shoes of rock stars. Not in a literal sense, of course, but good luck convincing the individual who rocked out to Free Bird’s four-minute guitar solo in front of a packed living room crowd.
Created by Harmonix and published by RedOctane, Guitar Hero drew inspiration from Konami’s GuitarFreaks and introduced a guitar-shaped controller that allowed players to hit colored notes scrolling down the screen in sync with popular tracks. Each riff or sequence aligned with a specific note, delivering the sensation of an authentic live performance.
Before collaborating with RedOctane, Harmonix had already explored rhythm gaming with the PlayStation 2 titles Frequency and Amplitude. The partnership, which later saw RedOctane acquired by Activision in 2006, paved the way for an unexpected multibillion-dollar franchise that introduced classic bands like Cheap Trick, Kansas, and Lynyrd Skynyrd to millions of younger players and left a significant mark on many featured artists.
The new strumming… a line of players wielding plastic guitars. Photo: Johannes Eisel/AFP/Getty Images
Michael Dornbrook, former COO of Harmonix, reminisces about the early financial hurdles related to licensing the songs, even though the initial titles mainly featured cover versions. He shared how his negotiating strength evolved as the game skyrocketed in popularity.
“The revenue was so substantial that we eventually rerecorded all the music,” he notes. “Even securing just publishing rights proved nearly impossible. You couldn’t approach a band like The Who. RedOctane was practically broke and uncertain of success. However, once Guitar Hero exploded, causing record sales and radio play to soar, everyone wanted in.”
“What’s remarkable is the number of parents who’ve reached out to thank us for introducing their kids to the music they cherish. It has truly become generational.”
Northern Irish blues rock band Answer made their debut in the 2008 Game Guitar Hero World Tour with “Never Too Late.” Guitarist Paul Mahon observes how the series revived classic rock. “‘Guitar Hero’ drew a younger crowd. What was once dismissed as ‘old-fashioned music’ became cool again as teens discovered it through the game. It restored legitimacy to the genre, shedding the ‘dad rock’ label. It revived interest in our music.”
At the time of their North American tour supporting AC/DC in 2008, The Answer had yet to release their debut album in the U.S. Therefore, it served as a crucial platform for the band. “Their crew was playing ‘Never Too Late’ on the tour bus, and some recognized us from ‘Guitar Hero,'” shares Mahon.
Major rock legends quickly seized upon the series’ success, with Aerosmith, Metallica, and Van Halen featured in dedicated spin-offs that spotlighted their catalogs and rock ‘n’ roll legacies. Guitar Hero: Aerosmith reportedly earned the band more revenue than any of their traditional studio albums, with over 500,000 copies sold in its first week, leading to a 40% boost in sales of Aerosmith’s music during an already turbulent time in the music industry.
The series still generates enthusiasm among its fans. Earlier this year, the streamer CarnyJared achieved an impressive milestone by playing DragonForce’s Through the Fire and Flames (a notorious power metal track popularized by Guitar Hero) in Clone Hero, a free game mimicking its gameplay with extensive customization. This track poses significant challenges even at Expert mode, let alone playing at double speed without faltering on nearly 4,000 notes. Carney Jared claims it took him nine months of practice.
Infamously challenging…DragonForce guitarist Herman Lee. Photo: Gary Miller/Filmmagic
It’s no small task, but when do you transition to playing a real guitar? “It doesn’t really matter; you can’t play that song within nine months!” DragonForce guitarist Herman Lee contends that the gaming world and reality are entirely distinct. “There’s zero possibility. Guitar Hero is an entertaining fantasy.” Just because you play Call of Duty doesn’t mean you need to pick up a real firearm and join the military.”
DragonForce had already enjoyed a successful tour before “Through the Fire and Flames” featured in “Guitar Hero III: Legends of Rock,” which Lee believes propelled the band into the limelight. “I recall getting a call from our record label saying the album was flying off the shelves,” he shares. “The next time we hit the road, it was a whole new level. We played the Mayhem Festival right before headliners Slipknot and Disturbed.”
In fact, the exposure from Guitar Hero was so significant that it nearly overshadowed the rest of the band’s work. Last year, the song appeared in the trailer for Despicable Me 4. “I used to think differently, but I’ve come to terms with it,” Lee reflects. “Even if just one person hears a DragonForce song, it’s fantastic. Everyone has their own musical journey, and we’re thrilled to be part of theirs.”
Whether relating to cars, fashion, or gaming, top-tier marketing goes beyond making a sale; it ignites desire. Did Guitar Hero successfully tap into that? “Precisely what we aimed for,” Dornbrook states. “The excitement of being a rock star performing on stage. From day one, Alex [Rigopulos] and Eran [Egozy], co-founders of Harmonix, believed in the intrinsic human longing to create music and sought to leverage technology to facilitate it.”
Most Guitar Hero titles were launched in just five years, from 2005 to 2010. This brief period also saw the release of DJ Hero, a spin-off featuring a turntable controller, and Band Hero, which hit the market just one week apart in 2009. Dornbrook noted, “Activision is notorious for exhausting franchises and tends to oversaturate.” Since then, apart from a brief revival with Guitar Hero Live in 2015, interest from publishers in plastic instruments has diminished.
Games like Clone Hero and Fortnite Festival keep the energy alive, with new developments from the original publisher on the horizon. A new studio named RedOctane Games has “entered production on its first rhythm-based title,” with original co-founders Kai and Charles Huang serving as special advisors. Is the world prepared for another title infused with the spirit of Guitar Hero?
“We envisioned these games evolving like Madden, with annual updates,” Dornbrook continues. “I remain optimistic because there’s an incredible wealth of new music that could sustain it indefinitely. There’s no reason it couldn’t thrive for future generations.”
Rockstar Games, the developer of Grand Theft Auto, faces allegations of “blatant and callous union sabotage” after reportedly terminating over 30 employees whom it claimed were attempting to unionize.
The Independent Workers’ Union of Great Britain (IWGB), representing workers in the gaming sector, stated that a UK-based employee was dismissed last week for being part of the IWGB’s games union Discord channel. The workers believe they were targeted for this reason, and the union asserts that this dismissal was illegal and retaliatory.
The Guardian has reached out to Rockstar Games for a response. In a statement to Bloomberg, the company accused the dismissed employees of distributing confidential information in a “public forum,” arguing that “this does not affect anyone’s right to join a union or partake in union activities.”
The IWGB countered this claim, stating that the workers communicated solely through private and legally protected trade union channels, with no information being leaked publicly.
These layoffs occurred just before the launch of Grand Theft Auto VI. Analysts predict this launch will be the most significant in gaming history, expected to generate billions in revenue. Since its release in 2013, Grand Theft Auto V has generated $8.6 billion, according to the latest financial data from game publisher Take-Two.
On Thursday, the union staged protests outside the British headquarters of Rockstar Games’ parent company Take-Two Interactive in London and the developer’s Edinburgh office, Rockstar North. One protester held a sign that read “Grand Theft Hiring,” while another carried a placard saying “Is the Union Broken?” This refers to the “crushed” screen displayed when players are arrested in Grand Theft Auto.
The launch of Grand Theft Auto VI has been delayed once again and is now set for November 2026. Photo: Chris Delmas/AFP/Getty Images
IWGB organizer Fred Carter participated in the picket in Edinburgh. He shared with the BBC that he was there to support employees who had been dismissed “without warning” and “without reason.”
“We believe these dismissals were due to their trade union membership, which is a protected right in the UK,” he stated. “We urge people to support our cause, demand our jobs back, and hold Rockstar accountable.”
In a statement shared by the IWGB, Peter (a pseudonym) one of the terminated employees, remarked: “It’s uplifting to see so many colleagues rallying behind us and holding management accountable. Clearly, this is an instance of egregious union-busting. Rockstar employs numerous talented developers, all vital in creating the games we produce.”
IWGB Chairman Alex Marshall emphasized that Rockstar Games’ actions have led to a workplace where “hardworking staff are afraid to speak privately about their rights for a fairer workplace and collective voice.”
“Management has shown they are more concerned with union suppression than with the delays of GTA VI, by targeting those who contribute to the game’s creation. Recently, Rockstar has benefited from: [tens of millions] due to tax relief…” he added, noting that “only non-rock star employees participating in the union’s Discord channel were union organizers.”
In recent years, the video game industry has experienced a rise in unionization efforts to combat longstanding practices like “crunching” (extensive unpaid overtime). In 2018, Rockstar co-founder Dan Houser revealed that employees were “working 100 hours a week” in preparation for Red Dead Redemption 2, bringing scrutiny to the company’s employee treatment. At that time, Rockstar North’s Rob Nelson candidly stated: “We always strive to improve our working conditions and the balance of our output, and we will not cease our efforts toward improvement.”
On Thursday, the developer announced that Grand Theft Auto VI, initially set for release on May 26, has been rescheduled for late 2026. Development of the game, which has faced multiple postponements, continues with the support of the Edinburgh team.
Rockstar Games’ Grand Theft Auto VI was initially set to launch on May 26th next year, but it has now been delayed once more, this time until the end of 2026. It’s been almost two years since the game’s announcement and over 12 years since the release of Grand Theft Auto V.
“Grand Theft Auto VI will launch on Thursday, November 19, 2026,” reads Rockstar Games’ statement on X. “We apologize for extending the wait that has already been extensive, but these extra months will enable us to complete the game to the standard of quality you expect and deserve.”
The highly anticipated game centers around a duo of romantically involved criminals, Jason and Lucia, set against Rockstar’s vibrant depictions of Miami, Vice City, and Leonida, a vast Florida-like state. Development has been ongoing at Rockstar North in Edinburgh since 2018, with contributions from the company’s other studios in New York and globally. The original target date was late 2025.
“GTA VI” is anticipated to rejuvenate the gaming industry, which has been experiencing a downturn following a surge during the coronavirus pandemic. Its predecessor, Grand Theft Auto V, has amassed $8.6 billion in revenue since its 2013 release, as per the latest financial report from game publisher Take-Two. Rockstar’s last game, the critically acclaimed Red Dead Redemption 2, launched in 2018 and earned $725 million in its opening weekend.
Meanwhile, fans have been eagerly looking forward to Rockstar’s latest title for quite some time. Even by gaming industry standards, where blockbuster titles often take six years to develop, the wait of over 12 years for Grand Theft Auto VI is considered lengthy.
After years of partnering with Disney on Marvel and Star Wars, it’s finally come to fruition: The Simpsons have made their way into Fortnite. Unlike most crossovers which typically feature themed skins and emotes, this one is an all-encompassing takeover featuring a stylized map designed for players to explore Springfield. It’s a clever method to introduce younger audiences to America’s longest-running sitcom, especially with the announcement of a second movie in the works. For millennials, it serves as the peak of a year-long effort to capture our interest, particularly in light of past collaborations with Power Rangers, Scream, and Mortal Kombat.
While this might seem like an easy tactic for someone who grew up reliving episodes on repeat after school, it’s not a half-hearted cash grab. Expect to see recognizable Springfield sites: the Simpsons’ residence on Evergreen Terrace, the well-known sloping lawns of Burns Manor, and the town square featuring Moe’s Tavern and the Jebediah Springfield statue complete with its removable head. On the outskirts of the map lies a nuclear power plant, emitting cartoonish steam into the sky; players can avoid a meltdown by interacting with the control console accompanied by the tune of “Eeny, meeny, minnie, moo.” Cletus’ Farm and Slurp Factory (Duff’s take on the game—no draft beer here) sit in one corner of the island, and every match kicks off with a delightful reimagining of the show’s intro, complete with the sky parting, the title card, and the iconic theme music, before you thank Otto and jump from the battle bus onto the map.
Awesome…Burns Manor from the Simpsons season of Fortnite. Photo: Epic Games
Though there have been virtual adaptations of Springfield in the past (the most recent being 2012’s Tapped Out and 2015’s LEGO Dimensions), this iteration is rendered with unprecedented detail. Playing here feels like stepping directly into the animation. Springfield is smaller compared to Fortnite’s overall map, but it has some quirky elements. The Springfield Valley, where the Hollywood-style Springfield sign proudly sits in the center, is a nod to the unforgettable episode “Bart the Daredevil,” probably just a short distance from the residential area housing Homer, Marge, and Ned Flanders.
Regardless, Springfield’s layout has always been an enigma, and what truly matters is that this intricate recreation is a delight to explore. A longstanding strength of Fortnite’s map design is its ability to effectively use the spaces between prominent landmarks, and here it’s an excellent chance to embed references for dedicated Simpsons fans—whether you discover the 33-cent store or not. Expect to find a tire yard that inexplicably burns forever. Your exploration can be enhanced with optional quests featuring fun guest appearances, where you can follow Homer’s orders to use a set of car keys or pick up a ringing payphone to receive a prank call at Moe’s. You’ll even spot Nelson popping up to say, “Ha ha!” when you defeat boss characters like Krusty.
The game is stuffed with content. Even after numerous iterations, there are still new findings to uncover. If there is a downside, it’s that the map must be navigated in a competitive setting, with storm rings threatening to push you along. I wish there was a way to leisurely explore without the necessity of diving into battle royale. Fortnite’s engaging pop culture collaborations are often best enjoyed as a fun playground rather than a virtual museum. However, I’d love for an exception here, particularly for new or returning players enticed by this update. If that’s you, here are some tips to help you last long enough to enjoy the experience: try the less chaotic “Zero Build” mode. If you activate “Sound Effect Visualization” in the settings, your position will be highlighted on the screen. Remember, there’s no shame in landing in a quieter part of the map and picking off opponents before they can make a move. After all, some of the greatest references are tucked away off the main paths.
The Simpsons collaboration is set to conclude on November 29th, marking a month-long break before the subsequent seasons. It would be a shame to see such an impressive tribute vanish, and while older maps have been reintroduced before (for instance, Fortnite’s first chapter returned in 2023, breaking concurrent player records), many have disappeared for good. Yet, if any series holds enduring appeal, it’s definitely The Simpsons. I’m holding out hope for a revival reminiscent of a blockbuster movie.
YYou can picture the home fans belting out their chants at the Stadium of Light. “Top of the league, you’re smiling!” Until this afternoon, your Liverpool squad boasted a five-point advantage at the summit, but in the 82nd minute, they’re trailing by two. You might question where Mo Salah misplaced his finishing skills or why Virgil van Dijk has seemingly forgotten how to tackle. However, this is not on the players; the responsibility lies with you. You fix your gaze on the tactical screen, pondering which of the numerous adjustments could potentially alter the course of this disheartening match.
Football Manager has consistently served as a data-centric alternative to the visually stunning FIFA series (now EA Sports FC), yet the latest versions are beginning to close the visual gap. The 3D rendered match highlights have been revamped using the new Unity engine, and the results are remarkable. Premier League derbies, Champions League finals, and even away clashes in the North East now carry visual significance, despite replays and key moments occasionally dragging on. While you won’t hear fully orchestrated FIFA-style chants ringing throughout the stadium, the atmosphere is tangible, with your imagination filling in the empty spaces.
Specific influences on tactics …Football Manager 26. Photo: Sega
This new engine and enhanced match experience are the most significant indicators of Football Manager’s future direction. Nevertheless, visual improvements go beyond mere aesthetics; they have a substantial effect on tactical decisions. As you observe the match, you can analyze player movements on the field and make real-time adjustments. Yet, data-driven metrics remain crucial when you’re desperately aiming to turn the tide in front of a raucous crowd of 45,000 Mackems. You can also modify your build-up tactics to counter the press or overload one side with overlapping runs. The possibilities are endless, and you’ll be eager to experiment with them all.
The most significant change lies in the differentiation of tactical strategies when in possession versus when not in possession. This marks the most substantial overhaul in a decade and appropriately reflects the intricacies of modern gaming. You can now completely alter formations, rearrange player positions, and issue detailed instructions that vary based on which team controls the ball. Want to switch your full-backs as you enter the final third? Not only can you do this, but they’ll promptly revert to their original positions when Alexander Isak is taken down on the edge of the box.
However, there is a notable teeth problem. Following a year off to transition to a new engine, Football Manager 26 still feels somewhat unrefined. A series of hotfixes have been rolled out to address some of the more glaring bugs, yet several persist, such as duplicated UI elements, secondary players entering the pitch in jerseys, and menu glitches that hinder progress.
Between matches, adapting to the new UI will take some time. Notably, key screens that were once easy to access are now a few clicks away. All the same information is available, just in slightly altered positions (especially with the introduction of a women’s league). Re-learning years of muscle memory can be frustrating, and additional customization options would be beneficial, but this is a minor grievance that will be resolved over time.
Despite these challenges, this is still Football Manager, complete with intricate tactics that will keep you engaged. Thanks to an updated tactic and match engine, it has never been simpler to make the perfect tactical adjustments to stage a dramatic comeback and silence overconfident home fans. Football Manager 26 offers immediate feedback on split-second choices and allows you to envision enduring rivalries that can stretch across several seasons. And the exhilaration of scoring three goals in the final five minutes to triumph over Sunderland is unparalleled.
TThe Outer Worlds 2 was first revealed in June for £70/$80, becoming the priciest game on Xbox at that point. However, this status was short-lived, as Microsoft quickly reverted to the typical £60/$70 price point after just a month. Although The Outer Worlds 2 is larger than its 2019 predecessor, the decision was indeed prudent. This game does not warrant a £70 price tag.
Nonetheless, it offers a delightful experience that can easily consume your time, enhancing the original game significantly. With improved combat and more intricate role-playing elements, The Outer Worlds 2 smartly expands its scope without overextending its narrative, even if the storyline doesn’t quite deliver the same level of satisfaction.
You don’t need to have played the first game to grasp the sequel’s premise. You take on the role of an agent for the slow-moving, “benevolent” space police known as the Earth Directorate, with a mission to impose order on the galaxy known as Arcadia. Much like Halcyon in the original, Arcadia is in disarray due to the rampant spread of capitalism. Players wield significant power to form new alliances and mend old ones amidst various groups of conflicting ideologies.
Frequent conflict between factions is a given, but there are more pressing issues than the divide among them. You soon discover that a rift in the universe poses a serious threat. This concept is introduced early in the game, where you investigate these rifts caused by the Protectorate, an authoritarian group that is altering the universe’s fabric. Upon your arrival, betrayal from trusted allies leads to a decade spent in suspended animation.
Colorful vendors…The Outer Worlds 2. Photo courtesy of Obsidian Entertainment
Upon waking ten years later, you’ll find that Arcadia has undergone significant changes, with the rift expanding uncontrollably. To save the galaxy, you’ll need to assemble a new crew.
Unfortunately, the narrative peak experienced at the beginning of The Outer Worlds 2 is not echoed throughout the game. A lingering sense of disappointment follows me as I spend about 30 hours journeying through the plot. I hoped for unexpected character developments or story twists, but instead found myself predictably nodding through most scenes. There are intriguing characters present, such as psychopathic cultists and spies, yet I struggled to bond with this team, similar to my experience in the first installment.
Despite the presence of three major factions vying for attention and favor, The Outer Worlds 2 offers limited impactful choices. Awkward dialogues with narrow-minded capitalists compel you to reflect on your involvement in the actual economic system, but the simplistic portrayals of characters provide more insight than substantial moments.
If your “speech” skills are sufficiently high, you can often navigate most situations with ease. This can feel jarring, especially when a blind follower of the Protectorate changes her stance drastically after a specific dialogue choice, yet is content to monologue as you exit a boss fight. In almost every significant conflict, it feels as though your actions carried minimal weight—at least, that’s how it seems.
Attribute firepower…Outer World 2. Photo courtesy of Obsidian Entertainment
This aspect made it difficult for me to engage fully with the storyline. While the characters around me may have strong opinions, they rarely seem to exhibit genuine anger, even when I disregard their beliefs. The Outer Worlds 2 lacks a certain persuasiveness, which is disappointing because its clever humor often brings joy but seldom serves to deliver a biting ideological critique.
The game features impressive depth in its combat and role-playing systems, significantly refining what was introduced previously. While gunfights can sometimes drag and frustrate, the diverse range of weaponry and their varying effects add excitement to each encounter. Elemental damage influences enemies in different ways, each requiring distinct ammunition. Running low on energy during a tough skirmish forces creativity, and I’ve often found myself trying weapons I hadn’t used before out of sheer necessity, which turned out to be quite enjoyable.
Character development is more intricate than in the original game, featuring a “flaws” system that tracks your actions and may even prompt you to adopt traits that bear both negative and positive consequences. For instance, depending on item crafting can lead to acquiring the “Hermit” flaw, which doubles vendor prices, while dismantling junk can yield opportunities for additional items. This became particularly helpful during crafty moments but posed challenges when I had limited resources and needed vendors. This filled my experience with fun dilemmas, prompting me to rethink my approach.
Developer Obsidian has had a stellar year, launching the fantasy adventure Avowed alongside the insect-filled survival game Grounded 2. All three titles showcase the studio’s remarkable ability to craft diverse worlds that adapt to player choices.
While The Outer Worlds 2 may not consistently amaze, it does offer significant value as an engaging role-playing experience that can keep you entertained for hours. The focus isn’t necessarily on reinventing the wheel but rather on enhancing its framework. In essence, it’s a gratifying, reliable experience—satisfying yet rarely surprising—capable of delivering joy quite regularly.
The haunting sound emerged first. Inside the Bart Railroad tunnel in San Francisco, Don Veca recorded the piercing metallic screech of a train. “It was both beautiful and disturbing, like a demon in torment,” he reflects. This haunting audio became one of the most iconic elements of 2008’s Dead Space.
“We unleashed that industrial shriek at full volume right after a vacuum of silence, creating one of the most impactful sonic contrasts in gaming,” Veca recalls, having made a name for himself as the audio director for the Dead Space series. “Our game designers were not fans, but our higher-ups embraced it. Eventually, it became legendary.”
Nearly twenty years since Dead Space first had players gripping their controllers in fear, horror game designers worldwide continue to pursue that same thrill. So, how do they discover new methods to terrify gamers, and what drives our relentless attraction to horror?
sounds of fear
Ask anyone involved in developing classic horror games, and they will likely agree: authentic fear begins with sound.
Veca highlights that it starts at a psychological level. “It stems from the mind: not the fear of what is, but of what might come,” he explains. “The genuine fear isn’t from a thief with a weapon. It’s the shadow lurking behind the door, the unnerving silence, the certainty that something approaches… yet the timing and nature of it remain unknown.”
This element of unpredictability became a cornerstone of Dead Space’s audio design. “We created suspense like a rising tide,” Veca describes. “Something might happen… Something might happen… and then nothing occurs, just the household kitten. You laugh, the adrenaline fades, and moments later, there’s a burst of claws, blood, and screams!”
Infection…Dead Space. Photo: EA
Jason Graves, the BAFTA-winning composer behind Dead Space and 2015’s Until Dawn, concurs. “Sound and music set the stage for fear. It’s about the build-up, the tension, and the moment of release when something appears.”
Graves even regarded the score as a form of infectious entity. “In Dead Space, something corrupts the crew and transforms them into monsters, so I ‘infected’ the orchestra,” he explains. “No peculiar techniques, no instrument tapping, no chords, just clusters and tension.” When a player thinks it’s silent, it could be each of the 60 strings playing a note softly. This creates a dynamic, constantly evolving soundscape.
If there are any doubts regarding the significance of sound, Graves offers a challenge. “My daughter played ‘Until Dawn’ and was frightened throughout. I suggested muting it, but she completed it anyway. This illustrates how our brains function; we can perceive an atmosphere even without visuals. Monsters lurking under the bed, shadows in the water—our imaginations amplify the dread. It’s ten times more terrifying than anything we show them.”
human element
For cult game developer Swery (real name Hidetaka Suehiro), horror transcends cheap thrills; it delves into the essence of humanity. He began pondering what truly frightens players when his mentor, Resident Evil creator Tokuro Fujiwara, posed the question, “What constitutes fear in games?”
Hidetaka Suehiro, known as Swery, is a game developer. Photo: White Owls Co., Ltd.
“I was in my twenties and simply said, ‘Game over,’” Swery recalls. “He responded: ‘So, isn’t a game without a “game over” scary? What about a haunted house that doesn’t inflict damage?’ I was stumped. I’ve been searching for the answer ever since.”
This curiosity laid the foundation for 2010’s Deadly Premonition, a surreal horror experience set in a small town that combines absurd humor with existential dread. “Before we created the horror aspect, we established a clear vision: to construct a town and its inhabitants. We developed the story post-creation of the town,” he recounts.
“At the core of fear lies humanity,” Swery added. “Human beings possess inner complexity and suffering, are fragile, and can succumb to evil… that’s the essence.”
While monsters may symbolize our fears, for Thomas Grip, game director of the critically acclaimed 2015 deep-sea horror game Soma, horror is also about exploring the human experience rather than merely the malevolent.
“I believe it embodies a different type of fear,” he says. “There are no grand plot twists or constant frights. The focus is on compelling players to confront uncomfortable inquiries: What does it mean to be human? What does it mean to be conscious? What renders life worthwhile?”
Dismissing gore and dark surprises, at Soma, silence and philosophical inquiry become central to the experience. “The key to horror narratives across mediums is allowing the audience to draw their own conclusions,” Grip emphasizes. “If the narrative merely declares, ‘There’s something eerie, please be scared,’ it lacks depth. The most effective horror provokes deeper contemplation.”
Terror of the deep sea…Soma. Photo: Friction game
The unknown and a twist on the familiar
Another element of delight is the fear of the unknown, with anxiety often stemming from what remains unseen. “You shouldn’t reveal everything,” Grip states. “Players are granted only a glimpse, allowing their imaginations—filled with personal fears and anxieties—to fill the void. That’s where genuine horror resides.” The creatures in Soma embody that notion. “The key lies in familiarity,” he explains. “The best monsters evoke the thought, ‘Something is off…’ and the more they are seen, the more chilling they become. People respond strongly to things that appear infectious and unhealthy, triggering a primal fear.”
In the 2021 indie horror sensation Poppy Playtime, horror takes on a playful twist within a charming yet deadly toy factory. “Nostalgia is inherently vulnerable. When we reflect on our childhoods, we often associate them with safety, but when those memories are distorted, we experience a visceral reaction,” comments Zach Belanger, CEO of Poppy Playtime Studios, Mob Entertainment.
“The effectiveness of Huggy Wuggy lies in our inquiry, ‘How can something feel both delightful and unsettling simultaneously?’” he declares regarding the game’s fluffy antagonist.
Pixels are scary…loop // error. Illustration: Coropixel Studio
Psychological horror in 2025’s loop // error invokes dread through suggestion, leveraging a blocky black-and-white pixel art style that leaves details to the imagination. “Utilizing pixelated visuals and a conscious absence of color creates an unusual atmosphere; your mind visualizes something that isn’t actually present,” says Koro, an independent developer. “It’s reminiscent of recalling a nightmare: hazy and incomplete yet emotionally potent.”
“The horror in Loop//Error is not reliant on clichés,” Koro adds. “It springs from deep within the human psyche, observing your mental collapse and realizing that the most terrifying place you can be trapped is within yourself.”
interactive elements
Lastly, another significant component that heavily influences horror in video games is interactivity.
“In games, you’re not just passive observers; you’re immersed in the experience, which heightens your emotions. Your heart races, yet you retain control,” explains psychologist Kieron Auckland, a cyberpsychology expert at Arden University.
Daniel Knight, creator of the 2020 ghost-hunting multiplayer game Phasmophobia, concurs. “The game fully engulfs you in fear,” he describes of the title that captivated Twitch audiences upon its release. “When you open a door or step into a dark space, you’re the one who feels the terror. You bear the consequences of what unfolds.”
Grip also believes this aspect contributes to the genre’s sustainability. “In video games, you make choices that lead you toward peril,” he states. “It’s personal. The fear arises from you being the one stepping into a dimly lit passage.”
Ultimately, horror films revolve around actions taken in darkness, whereas video games afford players a chance for exploration.
TOver the weekend, I, along with around 70 others, spent more than eight hours in a theater playing a video game focused on donkeys, reincarnation, and organized labor. Political, unpredictable, and brimming with donkey puns, Asses.Masses is a rather basic video game crafted by Canadian artists Patrick Blenkarn and Milton Lim alongside a small group of collaborators. However, the theater environment, surrounded by fellow players shouting suggestions and opinions, transforms it into a collective performance art piece.
Here’s the setup: a controller rests on a pedestal in front of a massive projected screen. Inside the seats: the audience. Anyone who wishes can stand up and take charge, embodying the crowd. The game kicks off with a series of questions, mainly concerning donkeys, some in various languages. It becomes evident that collaboration is essential for answering the questions accurately. Our group included some Spanish speakers and another who had insight into engineering. I surprisingly knew that female donkeys were referred to as genets.
This aspect makes games a collective endeavor. Typically, just one person holds the controller, but everyone contributes as they guide a team of donkeys on a long, surprising, and increasingly surreal journey to reclaim jobs taken by obsolete farm machinery.
Everyone participates as you guide a group of donkeys on a long and surreal mission… Asses.Masses. Photo: Patrick Blenkarn + Milton Lim
Within the span of 10 chapters (thankfully interspersed with meals and frequent breaks), we controlled a variety of humorously named donkeys, contemplated collective action, industrialization, and labor politics, debated actions and dialogue, and laughed a lot on the cheekier side. Without revealing too much, the show’s content warning gives a good glimpse of what to expect: it includes violence, strong language, simulated sexual situations (both donkey and human), police brutality, and even references to drug use and suicide. I was amused to learn that this Glasgow performance ignited a minor moral uproar from a group named ‘Parents Watch Education’, featuring coverage from the Daily Record under the title ‘Parents slam teen show featuring simulated donkey sex, murder and drugs‘ (The show is recommended for ages 14 and up and notably prioritizes humor over realism.)
Asses.Masses is a thought-provoking game with multiple innovative ways to engage. I must admit it was quite an endurance test. I had to bend down for a bit halfway through to rest. It’s been years since I sat down and played a video game for eight hours straight. Thankfully, I had a more physically fit friend with me who compensated for my breaks by taking over the controller for the final chapter. At one point, feeling overwhelmed by the audience’s varying opinions, I put down the controller, placed my hands on my head, and quietly empathized with all the union and labor organizers who have had to herd and prioritize the voices of their own passionate members.
This game could have utilized the concept of group dynamics more effectively. I suspect very few of our collective decisions truly made sense. In reality, we mostly observed someone else play rather than actively participating, akin to a Twitch live stream. Theater enthusiasts tend to get really excited about incorporating video game elements into performances, leaving me to ponder if they’re less familiar with the mass participation and engagement that video games offer during multiplayer, streaming, or interactive online conversations.
An intriguing game and a true test of endurance… Asses.Masses crowd. Photo: Undefined/Patrick Blenkarn + Milton Lim
I found myself wanting to invite friends over to use the controller all day, reminiscent of my early 20s. A friend recalled a video game book club he used to host. There, we’d gather as a group of six playing games like “What Happened at the Finch House” (which prompted plenty of laughter). While Asses.Masses is explicitly designed for group engagement, there are numerous other short, thought-provoking games that could also be adapted to this format, possibly evoking interesting reactions from audiences. Given the number of players joining Twitch, I suspect there’s a considerable appetite for such experiences.
As I stumbled out of the theater into the rainy Glasgow night, I felt a real sense of camaraderie with the few audience members I was with. Typically, when I finish a game, I’m alone in my living room in the middle of the night while my family sleeps, without anyone to discuss it with. This time, we debriefed as a collective, reminding ourselves of the necessity of human interaction in creating engaging dynamics in our games.
Spooky but not overly frightening… Ghost Town Pumpkin Festival. Photo: Adam Robinson Yu
Here are two spooky (but not overly scary, since I’m a bit of a wuss) selections for Halloween week. First up: The Séance of Blake Manor. This is a folk horror detective game that Keith enjoyed. It features a collection of quirky characters gathering at a Gothic hotel for a séance on All Hallows’ Eve. The second choice is the Ghost Town Pumpkin Festival, an annual, limited-time virtual Halloween celebration initially created as a lockdown alternative to in-person gatherings. You can create your own sheet ghost with a face, carve virtual pumpkins, step into a spooky microworld, and showcase it to other players. There’s plenty to explore from hayrides to spooky cinemas to haunted house escape rooms. It will be available for about a week following Halloween, and you can check it out the next day at itch.io on a pay-what-you-want basis.
Available: computer Estimated play time: 15-20 hours (Blake Manor seance); 2 hours (Ghost Town Pumpkin Festival)
A remake of Halo: Combat Evolved will launch on PlayStation next year. Photo: Microsoft
Last week’s biggest news was that Microsoft is bringing Halo to PlayStation, a notion unimaginable a few years back. Specifically, it’s a remake of the classic (and it’s awesome, don’t challenge me on this) Halo: Combat Evolved, set to release across all platforms next year. Xbox executives argue that console-exclusive games are becoming antiquated, as Former Blizzard president Mike Ybarra pointed out: “Please inform that to Nintendo.”
A report from Business Insider highlights how EA’s leadership has urged employees to utilize in-house AI for “just about everything,” ranging from coding to marketing conversations. Some workers voiced apprehension about essentially being paid to train their future replacements while simultaneously creating more work to rectify the AI’s errors.
Following collaborations spanning everything from K-Pop Demon Hunter to Daft Punk, the next major Fortnite crossover has been revealed: The Simpsons, featuring the entire Springfield map and character skins. It is set to launch on Saturday.
What to click
question block
The greater the pain, the greater the gain…baby steps. Photo: Devolver Digital
This week’s leading question comes from Emily:
“I read your article about the game baby steps and it was very similar to Getting Over It with Bennett Foddy. It’s often challenging and requires players to start from scratch, which can be frustrating but also fascinating. What are some games that are purposely difficult yet still enjoyable to play?”
Emily, you’ve made a sharp observation here, as Bennett Foddy is one of the three main developers (and voice actors) of baby steps, extending his philosophy of crafting games that elicit groans of self-pity. (This is an interesting story where he discusses suffering and games.) Foddy’s work serves as a masterclass in this realm, especially since the ’90s, where games have been designed to minimize suffering and streamline experiences for players, removing something crucial that makes them engaging.
I often indulge in games that test my patience, and thanks to Foddy’s influence, I can now comprehend why. The more painful the experience, the greater the satisfaction (and the lesser the boredom – my personal torment). The standout titles include the aforementioned baby steps, Dark Souls/FromSoftware canon (excluding SEKIRO, which genuinely frustrated me), Cuphead, Super Meat Boy, Return, and of course, Hollow Knight: Silk Song, which will definitely be out soon.
If you have any questions for the question block or anything else you’d like to address in the newsletter, feel free to reply or email us at pushbuttons@theguardian.com.
IAfter five consecutive years attempting to steer clear of spending £80 for a stroll around the local park to admire the extravagant Halloween decorations or securing tickets for a wet day at a pumpkin farm in Scotland, I resolved to do something different this Halloween with the kids. We opted for a virtual pumpkin festival.
ghost town pumpkin festival. This game was born during the 2020 pandemic when developer Adam Robinson Yu’s local pumpkin festival was canceled. (Yu also crafted the charming “A Short Hike.”) Each year, the event has returned briefly, letting players take the form of cute ghosts to explore a whimsical micro-world brimming with player-made pumpkins. Each iteration has brought little enhancements, with the 2024 updates featuring a haunted house escape room that took my kids and me quite some time to solve. This year also introduced a movie theater showcasing spooky silent films in vacant rooms.
As you traverse the festival, you’ll encounter other players floating around as traditional sheet ghosts, often adorned with charming hats. Pumpkins populate every corner, from the benches outside a skeleton-themed barn to the corridors of the haunted house. True to form, many designs reflect game themes. Among smiling faces and cat silhouettes against a lunar backdrop created by children, we noticed tributes to Hollow Knight and a meticulous recreation of Majora’s Mask from the spookiest installment of the Zelda franchise.
The advantages of a virtual Halloween festival are numerous. You won’t fall prey to overpriced £8 watery hot chocolate or subpar food van fries. You have the freedom to carve as many virtual pumpkins as your heart desires, and if you make a mistake, you can simply erase it. Plus, it’s no problem if your 6-year-old refuses to don a coat. We were pleasantly surprised by how enjoyable the Ghost Town Pumpkin Festival turned out to be. In addition to the obvious allure of a nerve-wracking hedge maze and a tractor ride through a barn decorated with both cute and cheesy creepy elements, there are countless hidden gems (and collectible pin badges) I stumbled upon during an hour of solo exploration.
Take, for instance, the movie theater. When exiting, I attempted to open the bathroom door only to find it locked. A key was hidden behind the popcorn counter. There was an intriguing code posted on a bulletin board by the bathroom door. Once we cracked that, we discovered another key in one of the stalls and a “restricted access” door beside the theater screen. The compelling little horror game hiding behind that door was too intense for the kids and, honestly, even for me. (Luckily, you can disable all the frightening elements through a menu featuring options like turning off fake blood splatters and swapping out scary images for pictures of dogs.)
The Ghost Town Pumpkin Festival runs until a week after Halloween and can be downloaded below. itch.io Pay as you wish. We highly recommend lingering after your pumpkin carving to explore more.
A A quirky group of misfits and a sharp-dressed investigator harboring their own secrets reside in an isolated mansion on Ireland’s west coast. A seance at Blake Manor may seem like the perfect setting for a cozy evening, but this folk horror drama delivers far more than mere entertainment for Agatha Christie enthusiasts.
Set in October 1897, you step into the shoes of private detective Declan Ward. Tasked with uncovering the fate of Evelyn Dean, a guest who has mysteriously vanished, you find yourself in a once-grand mansion turned into a luxurious hotel. Inside, a host of eccentric characters await: from a camera-wielding medium to a voodoo practitioner named Ungan, and a Brazilian woman searching for her family’s history. They’ve gathered for a grand seance on the eve of All Hallows’ Eve, when the veil between the living and the dead is at its thinnest. As you explore the intricately designed rooms and gardens from a first-person perspective, you soon realize that every attendee harbors dark or tragic secrets and knows more about young Miss Dean than they let on.
A captivating experience…the séance at Blake Manor. Photo: Spooky Doorway/Raw Fury
What ensues resembles a classic detective adventure, presented in a graphic novel style, with art that draws inspiration from the likes of Mike Mignola (Hellboy) and Eduardo Risso (The Hundred Bullets). Engage in conversations with suspects, rummage through rooms for hidden clues and valuable items, and gradually compile a list of potential culprits. The game features a real-time clock and a schedule of events that must align with your investigation. Time only advances when you are actively exploring or interrogating guests, compelling you to apply your detective skills judiciously. Being at the right place at the right time to overhear clandestine conversations about spiritualism, mythology, and the mansion’s history in the Great Drawing Room is crucial.
All your findings can be meticulously organized through a set of graphical inventory screens, including a dynamic mind map of clues and actions. Though initially overwhelming, as you gather letters, keys, and hints, you quickly adapt and realize that taking notes is essential. While it may not exhibit the structural freshness of Blueprint, the game creatively guides you in certain directions, featuring a word game deduction mechanism that allows you to formulate theories regarding motives and backgrounds when approaching suspects.
As you delve deeper into the investigation, it becomes apparent that this is more than just a quaint mystery. The mansion, steeped in historical and religious significance, serves as a poignant reminder of colonialism, highlighting the stark contrast between the guests’ wealth and the struggles of the hotel staff. The narrative weaves themes of appropriation and cultural destruction alongside the enigma of a missing person, revealing the true implications of the mansion and its affluent owners, the troubled Blake family. Guests arriving from colonized regions, seeking answers to intricate family histories, enhance this diaspora narrative, while stories of addiction, trauma, and sorrow are thoughtfully interlaced throughout. There are chilling moments, where ghosts flicker just out of sight or unsettling events transpire during the night.
The outcome is a spellbinding detective tale—a well-researched interactive folk horror experience that stands alongside notable titles like Strange Antiquities and Wadjet Eye’s landmark The Excavation of Hob’s Barrow. Immersed in a world of cultural conflict and supernatural vengeance, it tackles profound themes of colonial trauma, identity, and spirituality all within the context of a singular location and event. For those eager to explore spiritualism, folklore, and ancient Irish history further, diving into a bookstore or library is essential.
Undoubtedly, The Séance at Blake Manor is a seasonal delight filled with eerie moments, but it is also an enlightening journey. Overall, it’s a game that challenges, engages, excites, and educates harmoniously.
I don’t engage with video game adaptations of traditional board games. Why is this the case? The appeal of video games lies in their speed, visual appeal, and reduced reliance on other players compared to classic games that use dice or cards. However, after my recent family board game night was hindered by scheduling conflicts and familial tensions, I chose to test out some board games on my iPhone that Saturday evening.
I began with Uno, a cherished family favorite. We still play with the Simpsons Uno set we purchased years ago—a simple, comforting card game. The iOS version differs significantly, introducing a three-minute time limit per round, which adds a layer of urgency beyond just strategy. While I appreciate this twist, I find myself missing the lively family interactions (and the fierce shifts in loyalty) of the in-person version. It just doesn’t compare to sending silly faces to MoshOnion933. Believe me, I tried.
Next, I jumped into Yahtzee With Buddies. It’s one of the few games I enjoy that my family doesn’t share my enthusiasm for. I appreciated the fresh spin that highlighted multipliers for specific scoring categories, and I enjoyed unlocking the various dice and treasures. Yet, I soon realized these were merely gateways to microtransactions, complete with a pop-up urging me to buy more rolls just as I was 16 seconds away from achieving Yahtzee. The final straw was when scratch cards started appearing, a sneaky form of gambling reminiscent of the old FIFA packs.
Fever Dream…Monopoly GO. Photo: Scopely/Hasbro
Monopoly Go is even more frustrating. The overwhelming number of beeps and chaotic graphics gave me a headache. Land on a space, and you’ll find yourself assaulting other players’ properties with wrecking balls, only for them to defend with characters like Baby Yoda. It’s like a surreal Monopoly experience, resembling the kind of game you might be forced to endure by a malevolent antagonist.
Opting for the “Triple” option allows you to roll three dice, with the reward being tripled. This, however, leads to faster depletion and microtransaction traps, akin to a slot machine experience. You can even set it to autoplay and passively observe the distracting graphics, much like being trapped inside a retro washing machine. It hardly feels like a game; rather, you’re a landmark in a colorful reset where you spend real money to watch an artificial score fluctuate. Only someone who thinks Mrs. Brown’s Boys is hilarious would consider this fun.
I expected The Game of Life to be similar, but I was pleasantly surprised!
The familiar choices are back: Career or college? Married or single? One child or four? Costs have increased, and you now need to pay $20,000 upon marriage. We just acquired a pasta maker! Tax is only assessed if you land on certain squares, meaning you’ll only pay if you have bad luck. Ah, the life of a billionaire! I wish I could find the original game’s spinner, the second-best piece of equipment in board gaming history (nothing can top the Pop-O-Matic, akin to bubble wrap).
Des re…The Game of Life. Photo: Anadolu/Getty Images
In my subsequent game, I prioritized my career over having children and ended up significantly wealthier. This isn’t merely a game; it’s a highly detailed simulation of life. I’ve avoided playing games because it feels disheartening to see how simple success can be in their version of life. And being in my 50s, I crave something with more complexity.
Then, I remembered chess—the board game where computers excel. I downloaded Zach Gage’s Really Bad Chess to explore if someone could really reinvent this classic by 2025.
I loved his “Pocket Run Pool,” which brilliantly combines ball-hitting with exciting new features. His chess adapts the classic game with a clever premise: random piece placements and numbers. This results in matches where, at times, you may have four queens facing off against three knights and a pawn, liberating chess from its conventional openings and predictability.
We achieve the extraordinary with a version of chess that demands deeper thought. More. As you progress, the difficulty ramps up with AI opponents controlling prime pieces. It’s a delightful experience.
Perhaps the less social facets of board games make computers more beneficial to us. The only individuals who converse while playing chess are the villains from films. I wonder if a microtransaction Chess Go! will surface—there’s likely some entity trying to ruin everything out there.
YYou awaken as an ancient and formidable vampire in the basement of a crumbling building in Seattle, with no recent memories and a peculiar seal on your hand. The first thing you do is provoke the cop who spots you. In a swift movement, you slam him against the wall, blood painting the bricks. A frenzied display of fangs follows as you seek favor with the local vampire court, while viciously battling hostile undead and their ghouls, all while attempting to remain hidden from the unsuspecting mortals in this sultry city.
Yet, this is also a detective narrative. Young night stalkers share your mind, including a voice named Fabian who speaks like a 1920s gumshoe, likely because he once was one. Unlike you, Fabian isn’t violent. He collaborates with human police and the vampire underbelly, extracting the blood of willing donors and wielding his mind-reading powers to uncover murders. These two narratives present distinctly different gameplay experiences in the same setting. Unfortunately, Bloodlines 2 feels awkwardly pieced together. Having just indulged in AMC’s Interview with the Vampire series, the juxtaposition is striking. One provides a thrilling, sexual, and clever adaptation of vampire lore, while the other is lacking.
“The interactions with the people in Seattle were really puzzling.” … Bloodlines 2. Photo: The Chinese Room/Paradox Interactive
Notably, this vampire tale appears to be under a curse. The original Bloodlines game, a cult classic RPG released in 2004, took more than a decade to spawn a sequel. Development for Bloodlines 2 commenced in 2015 at Hardsuit Labs in Seattle, led by writers from the first game. However, the creative lead was dismissed in 2020, and another writer was involved in a now-resolved cheating scandal. By 2021, a new developer, The Chinese Room, took over the project. The outcome is an intriguing patchwork, with The Chinese Room integrating elements from Hardsuit’s version into a coherent 25-hour narrative that, while not entirely resolved, is mostly understandable.
For instance, the vampire abilities you can acquire are displayed on a large screen, intended to offer multiple approaches to gameplay, such as seduction, coercion, and manipulation. Nonetheless, there’s little incentive to learn more skills as you begin immensely powerful, gaining some of the most enjoyable mind control and dark powers within the first few hours. When I attempted to utilize these abilities creatively, such as possessing dangerous prey on the street or probing someone’s mind for interrogation, the game frequently denied my attempts.
While the vampire interactions held intrigue, the encounters with Seattle’s humans were utterly baffling. Walking down the street, I heard sex workers yell, “I have to pay my school fees!” to no one in particular. A businessman on a bench initially asked, “Do you want to start a business together? A sexy business?” before he commenced following me around, exclaiming, “I can’t wait to have sex!” until my annoyance grew and I ended up consuming him. Although vampires may view mortals as inconsequential puppets, this felt excessively bizarre.
“Some of the most awkward first-person combat I’ve played in decades”…Bloodlines 2. Photo: The Chinese Room/Paradox Interactive
This odd and misplaced behavior from non-player characters further amplifies the feeling of Bloodlines 2 being a product of the late ’00s. Not only does the animation appear dated, but it also conjures memories of the clunky yet captivating first-person games emerging since Deus Ex in 2000. While gliding across Seattle’s rooftops at unnatural speeds is entertaining, much of the gameplay entails traversing the city and speaking with various characters. However, when facing ghouls—of which there are plenty—you’re thrust into some of the most awkward first-person combat I’ve experienced in years. I found it so tedious that I opted to lower the difficulty after a few hours to expedite the monotonous skirmishes.
Hidden within is an acceptable vampire story. Engaging conversations with dangerous fellow vampires represent the most compelling aspect of Bloodlines 2. I appreciated several locations in Seattle, particularly the dive bars pulsating with goth music. The Chinese Room has managed to transform a troubled game development saga into something playable and somewhat engaging. However, as time passed, my motivation to continue stemmed more from curiosity than genuine enjoyment.
The undeniable truth is that SXSW Sydney, now in its third year, continues to be a hub for technology, music, and film in Austin, Australia, surrounded by brands. On Saturday, families attending a complimentary children’s concert navigated through the vibrant yellow CommBank Tour Zone, while queues formed at the enormous L’Oréal tent. Yet, just a short distance away in the gaming hall of the International Convention Center, the brand’s presence was noticeably subdued.
As the global gaming sector grapples with an ongoing recession, major studios remain cautiously distant from Australia due to the high cost of living. Even amidst a conference buzzing with brand synergy, indie developers took the spotlight. Large development teams were scarce; the majority of projects showcased were from solo creators or small partnerships. Reflective of the broader Australian gaming landscape, these indie developers were impressively ambitious.
A still from Mixtape, the new game developed by Melbourne’s Beethoven and Dinosaur and published by Annapurna Interactive. Photo: Beethoven and Dinosaurs/Annapurna Interactive
Australia’s two standout titles in the showcase, though still feeling somewhat subdued, gained significant attention. SXSW’s Game of the Year, Mixtape, from veteran developers Beethoven and Dinosaur (who brought us the delightful psychedelic adventure The Artful Escape in 2021) and the mid-sized American publisher Annapurna Interactive, tells a humorous ’90s coming-of-age story blending Edgar Wright-type comedy with the animation style of Spider-Man: Into the Spider-Verse.
Set to release later this year, the game promises a nostalgic journey through the joy of youth. Imagine Devo downhill skating on a lazy afternoon with cassette tapes playing in the background. Think of headbanging to Silverchair on a road trip or sneaking booze into parties while evading cops with erratic shopping carts. My 20-minute demo left me beaming, with at least one standout joke causing a fit of laughter.
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In contrast, the concept behind Pro Jank Footy emerges. Co-creators David Ashby and Tyler Roach, known from the series Danger 5, have cautiously ventured into gaming with support from film distributor Umbrella. This game offers a whimsical, arcade-style take on AFL reminiscent of SNES-era sports titles. After each goal, the losing team selects one of three comical power-ups (like attacking seagulls, oversized players, or resetting the score to zero) before the game resumes. During a live demonstration at Tumbalone Park, hosted by Aunty Donna’s Broden Kelly, who also features in the game, a small audience of families gathered, while a few brave souls took to the stage, risking embarrassment for the chance to win a scarf and seemed to enjoy themselves.
Aunty Donna’s Broden Kelly engaging with the audience during Pro Jank Footy’s live stage demo at SXSW Sydney. Photo: Samuel Graves/SXSW Sydney
Highlights emerged even from games featuring less ambitious concepts. One standout was the dynamic shooter Hyper Primate, where you embody a monkey, armed with various makeshift wooden guns, battling other animals in pursuit of a colossal floating banana. While the game has an intentionally rough aesthetic, the movement mechanics felt incredibly refined as you zoomed through jungle arenas.
Another impressive title was a solo project called Huedini, an exhilarating top-down game where you swiftly match colors to evade and consume enemies and obstacles. Even a brief gameplay session revealed that its seemingly simple mechanics could evolve into mind-bending complexity.
The Victorian Government’s strong backing for indie developers continues to yield benefits, with several projects funded by VicScreen, including Huedini. Other notable selections from this group included Way to the Woods, a stunning adventure game where you guide a deer and fawn endowed with light powers through a verdant city, and a captivating puzzle game, Letters to Arralla, where you decipher photo-based addresses in a serene island community populated entirely by root vegetables. South Australia also showcased a robust lineup, including Pro Junk Footy and a satisfying minimalist cube-rolling puzzle game, Toya, which felt like a serene reprieve amidst a bustling exhibition floor.
A still from Way to the Woods by Melbourne developer Onepixel.dog. Photo: Onepixel.dog
Even international participations largely embraced the grassroots ethos of the showcase. While most games, except for Sony’s Ghost of Yourei, weren’t playable, the discussions garnered good attendance. Exceptional projects from small teams included A Week in the Life of a Non-Social Giraffe, a point-and-click puzzle game centered on social anxiety from the U.S., Abyss X Zero, a 3D action game akin to Zelda from Brazil, and Crescent County, a pastel-themed broom racing simulator from a UK developer.
A recurrent critique of SXSW Sydney has been its pricing, with the least expensive one-week access pass costing over $100. This year, however, the final day’s exhibition entry was free, resulting in a vibrant crowd of families and children. Highlights included party games like Cow Chess, a project by a Sydney-based duo that bore no resemblance to cows or chess and felt like a fusion of Terry Gilliam’s Worms and Super Smash Bros., and Chained Beasts, a co-op Roman gladiator game where all players are interconnected by chains.
In truth, the plethora of indie games presented made it impossible to experience them all in a single day. While SXSW Sydney might be marked by corporate branding efforts, the indie spirit undeniably thrives, particularly in the realm of video games.
Stop motion adventure Out of Words was one of the standout announcements during this year’s Summer Game Fest. Unlike traditional games crafted from code, Out of Words is uniquely made from clay, fabric, and glue. It’s genuinely a hand-crafted love story that even caught the attention of Metal Gear creator Hideo Kojima, who expressed, “This is the biggest compliment we can imagine,” according to game director Johan Oettinger.
Oettinger has aspired to create stop-motion video games since he was 12, when he experienced the ’90s point-and-click claymation gem, The Neverhood. After years immersed in film, commercials, and installation art, Out of Words emerged as a project that flawlessly merged these two lifelong passions.
A world of handmade things…I can’t even put it into words. Photo: Epic Games
The process of giving life to clay is as exceptional as the game itself. With a robust team of 40 in Aarhus, Denmark, they have developed a custom scanner and photogrammetry pipeline to capture these artisanal assets. The Unreal Engine is fused with stop-motion cutscenes where animators maneuver puppets at 12 to 24 frames per second. “Something magical happens when real materials embody a character… [it] offers an authenticity that renders the characters more relatable than any other storytelling medium,” says Oettinger.
This implies the studio is as immersed in glue, wood, and clay as it is in coding. “Absolutely! We’re more likely to be humming our favorite Disney songs than working in pin-drop silence,” adds game developer Mariano Pugliese. “There’s a shared passion among the puppeteers who transform wood and steel into characters, just like the CG artists who refine game settings.”
The narrative of Out of Words revolves around two young characters, Kurt and Kara, on the brink of discovering their first love. “I aim to narrate a story that reflects the moments when you crave the right words to convey to someone you love, which is almost impossible, especially in your early teens,” Oettinger shares. “That moment transforms into a profound inner journey of light and shadow… In our tale, that journey is mirrored between two characters as they seek the right words, ultimately hoping to emerge from the game hand in hand.”
Castings made from clay…it’s beyond words. Photo: Epic Games
Out of Words is a collaborative two-player adventure that can be played either in person or online, with the protagonists’ journey mirroring the players’ evolving relationships.
“The cooperative element is fundamental to the game design,” emphasizes design lead Jeff Sparks. “Players will guide Kurt and Kara through a world filled with unexpected challenges, experiencing every high and low together.” While trust is central to the theme, the cooperative gameplay reflects the growth of the bond between the characters.
Even the most unusual puzzles are rooted in emotion. One distinct puzzle features a giant clay face, which Sparks elaborates on: “When Kurt and Kara near his mouth, they wiggle around, almost as if they are tickling his lips. While it serves as a rather elaborate door, the creativity and mechanics layered on top of it breathe life into it like I’ve never witnessed before.”
Ultimately, Out of Words is not just a game but an exploration of human connection. “You must treasure the incredible experience of expressing your love to someone for the very first time,” Oettinger remarks. “Our dream is for this experience to forge a deep connection between the two players.”
Their aspirations are high: “We want this experience to be memorable for a lifetime.” And what could be more fitting for a hand-crafted game than the moment you finally reach out and pick it up?
And Battlefield makes its return. The iconic military shooter franchise, renowned for its large-scale online multiplayer battles featuring countless troops, tanks, and aircraft, is here with its sixth major installment. It’s exciting, monumental, and potent.
While I appreciated the single-player campaign mode, I found the overall experience lacking. The narrative follows familiar territory: extraordinary soldiers on a quest to safeguard global freedoms against a nefarious private military group, a terrorist faction, or an undercover CIA agent. This storyline could easily fit into any military shooter or modern war film featuring a Hemsworth. Unfortunately, it’s a standard 7-hour artillery campaign that demands constant player engagement.
The issue lies in the fact that players don’t typically buy Battlefield for its campaign. In reality, many titles in the series lack a comprehensive single-player mode. This provided the developers with a chance to innovate and take risks. While mainstream cinema has been criticized for transforming patriotic depictions of the military-industrial complex into entertaining action dramas, it has also given us classics like Paths of Glory, M*A*S*H, and The Deer Hunter. Battlefield 6 occasionally hints at the challenging realities of modern hybrid warfare, but it’s hard to care about the characters, who lack depth and are forever spouting military jargon.
There have been memorable games that scrutinize the narrative of a heroic soldier acting in the name of a mostly benevolent military. Titles such as Metal Gear Solid firmly address the tragedies of nuclear conflict, while Ubisoft’s Valiant Hearts offers a poignant reflection on love amidst war. Yet, a key example remains Yager Development’s intriguing 2012 title, Spec Ops: The Line. In this tale, you embody a commander of a covert Delta force dispatched to a devastated Dubai in search of a rogue U.S. military unit. As the plot unfolds, the characters spiral into fatigue and trauma, encountering increasingly surreal hallucinations. The intention was to illustrate warfare’s detrimental psychological impacts while still providing an engaging experience. This mission was indeed accomplished.
A profound narrative about war… Spec Ops: The Line stands out as a meaningful military game. Photo: Jaeger
In the ever-consolidating gaming sector, where major corporations invest fortunes to capture millions of players, narrative innovation appears increasingly unlikely. The same trend applies to any form of political commentary. However, today’s players have a plethora of shooter options. The success of unconventional films like Atomfall and Megabonk illustrates that it’s beneficial to venture off the beaten path.
Could Battlefield 6’s campaign have transformed into a tense, claustrophobic thriller reminiscent of Alex Garland’s Warfare, or drawn players into survival narratives akin to Until Dawn? Might it have been a sandbox-style adventure filled with diverse tasks, items, and enemies to uncover?
In recent years, we have seen numerous multi-million dollar projects axed and employees laid off. The “greenlight-only” approach, competing fiercely with the perpetual nature of Fortnite, Call of Duty, and Marvel Rivals, creates a zero-sum environment: win or perish. While some may deem this optimism misguided, it feels unsustainable (even considering the fact that these mega titles are faltering). Additionally, the human cost of widespread layoffs raises ethical concerns. Clichés cannot sustain games any longer. Our modern world, rife with shifting allegiances, unpredictable climates, and uprooted societies, presents a strikingly relevant backdrop for a new war story that carries significance. If only someone dared to share it.
What to Play
A heartfelt tribute to the instant messaging era… VideoVerse. Photo: Kinmoku
Originally launched on PC in 2023, VideoVerse serves as a touching homage to the age of instant messaging. It tells a clever and delightful tale of love and friendship between users on a fading social media platform. You step into the shoes of Emmett, a young gaming enthusiast who spends his days chatting with friends online. This changes when a new user stirs deeper feelings within him.
Scheduled for release on PS5, Switch, and Xbox on November 14th, it incorporates all the enhancements made since the initial launch. For those revisiting the game and yearning for the nostalgia of MSN Messenger, this title is essential.
Available: PC, PS5, Switch, Xbox Estimated Play Time: 10 hours or more
What to Read
Console yourself… Discover news about the future of PlayStation and Xbox. Photo: Kazuhiro Nogi/AFP/Getty Images
It appears that Microsoft and Sony are on track to release a new generation console in 2027. VGC has compiled the latest rumors. Check out this captivating article for discussions from NeoGaf threads and gossip from tech news outlets.
An industry initiative titled Palestinian Voices in Games invites volunteers, including artists, coders, and designers, to contribute their expertise to upcoming projects while supporting developers from the region. This feature delves into this endeavor, sharing insights from several developers.
The exhausted remnants of the harassing Gamergate group seem to have resurfaced, with renewed interest surrounding the acclaimed historical adventure Ghost of Mt. Yotei, particularly due to its female protagonist and subtly progressive themes. For further details, read this comprehensive article.
For Kids… Shigeru Miyamoto showcasing the Nintendo DS at launch. Photo: Yoshikazu Tsuno/AFP/Getty Images
This week’s questions come from Peter:
“My 4-year-old daughter has started showing interest in video games. I want to purchase her an affordable handheld console instead of an iPad. What do you suggest?”
There are many options available. Leap Frog, known for children’s electronic toys, offers a range of devices. The Leapster is a handheld console typically available used with 2-3 game cartridges for around £20-30. It’s robust and safe for play. However, I would focus on the Nintendo DS or the newer, sturdier 2DS, both available for about £10-£50 depending on condition from eBay.
These systems boast a vast library of children’s games (original DS titles are compatible with both formats, and new 3DS games can be played on the 2DS, albeit not in 3D), and games can be found in charity shops or local CeX locations for as low as 50p. The original DS has a hinge connecting its screens that can be a weak point, depending on how carefully my daughter uses it. Both models include a stylus, which poses a choking hazard, so supervision is essential during its use. My sons have lost countless styluses! Fortunately, many games don’t require them. Any titles featuring Mario, Wario, Kirby, as well as Animal Crossing, Pokemon, or Lego are perfect choices.
If you have questions for the question block or any feedback regarding the newsletter, feel free to reply or email us at pushbuttons@theguardian.com.
DDuring my family’s vacations in the 1980s, primarily spent at classic British seaside resorts, I devoted all my time and pocket money exploring arcades. From Shanklin to Blackpool, I dabbled in them all, drawn in by their vibrant bulb-lit facades and enticing names (Fantasy Land! Treasure Island!), alongside the alluring sound of beeping video machines within. Although I spent countless hours on well-known classics like Pac-Man, Galaxian, and Kung Fu Master, there’s one particular game that has always captivated me. It features a distinctive design that is both quirky and exhilarating. It offers a complete experience that feels like a blend of a traditional arcade game, a flight simulator, and a roller coaster. At the time, it appeared remarkably futuristic. Now, I find myself at the age of 40.
Launched by Sega in 1985, Space Harrier is a 3D space shooter where players control a jetpack superhero named Harrier. Harrier emerges on the screen and shoots down surreal alien foes amidst a psychedelic landscape. Initially envisioned by designer Yutaka Suzuki as a detailed military flight shooter, the graphic constraints of that era rendered this impossible. The animations were too complex. Thus, drawing inspiration from the flying scenes in the fantasy film The Neverending Story, he conceived something surreal and different, replacing fighter planes with flying characters and creating alien adversaries reminiscent of stone giants and dragons. It was vividly colorful and wild, akin to a Roger Dean artwork animated by the Memphis Group.
However, what truly captivated players was the game’s motion cabinet. Sitting in a cockpit-style seat connected to two motors that provided rocking motion in eight directions, as Harrier leaped, so did you; as he tilted from side to side, you mirrored his movements. Enemies constantly approached from various angles, switching direction and altitude, keeping you swooping down, rising up, and spinning your body into action. Throughout, a synth-pop score by Hiroshi Kawaguchi, known for his work on Suzuki’s “Afterburner” and “Outrun,” resonated through the headrest speakers. Advanced speech synthesis enhanced the experience, allowing machines to shout encouragement and instructions: “Welcome to the Fantasy Zone, get ready!”
Space Harrier was a truly immersive experience and exemplified Suzuki’s talent for crafting engaging gameplay. It was just one of the many projects he was proud of at the time. Notably, Taikan offered a physical sensory experience. Games like “Outrun,” “Space Harrier,” “After Burner,” and “Power Drift” emerged in arcades featuring large motorized or hydraulically driven cabinets designed to enhance realism. Suzuki and his team also created an animation technology termed Super Scaler, which allowed manipulation of thousands of 2D animation frames to simulate a 3D environment. What I cherished most about Space Harrier was the way this motion intertwined within its fantastical realms of checkered planets and surreal aliens. It felt akin to participating in a vibrant 1980s interactive pop video. Like Pac-Man or Tetris, its timelessness lies in its unique abstract world.
Why does Space Harrier celebrate its 40th anniversary? This arcade cabinet could still entice players anywhere in the world (if one can still locate it), but sadly, such opportunities are diminishing. The machinery is aging, and the expertise to repair and maintain it is fading. Aside from a few adaptations for home computers and consoles (with the PC Engine and 32X versions being the most notable), I haven’t engaged with the game in years. Now, as I settle into that familiar seat, insert two 10p coins into the slot, and grasp the joystick in anticipation, I wonder: Will I ever rediscover that immersive gaming experience? Will I ever see my 13-year-old self exploring an arcade in northern England again? Regardless, Space Harrier remains fulfilling for whatever purpose.
You might be surprised to learn that there are many animal gamers out there. For instance, in California, U.S. Navy sea lions are trained to: manipulate a cursor on a screen using their noses to press four buttons (up, down, left, and right) to navigate through a maze.
The sea lions, utilized by the Navy for locating and retrieving underwater objects, earn real herrings as rewards for completing their tasks, as opposed to loot boxes or power-ups.
This game is specifically designed to assess the cognitive skills of the sea lions; however, they face tough competition from the Navy’s bottlenose dolphins, which have been trained to control a joystick with their mouths to play the same game.
On land, primates reign supreme as gamers. Chimpanzees and orangutans at zoos in Edinburgh, Scotland, and Leipzig, Germany, have recently been trained to forage for food in a virtual setting.
When one of them discovers a digital snack (with apples, grapes, and bananas scattered throughout the game), they are rewarded with a real-life equivalent of the food.
This game offers valuable insights into how these animals utilize landmarks, like trees, to navigate while searching for food.
Meanwhile, chimpanzees in the United States have showcased their ability to navigate virtual mazes. A 2014 survey conducted by the Language Research Center at Georgia State University revealed that they perform comparably to children aged 3 to 6 years old.
Chimpanzees in the United States demonstrating these remarkable skills – Illustration by Robin Boyden
However, like sea lions, primates also face strong competition. In 2021, four pigs in the United States were taught to operate a joystick using their noses to guide a cursor on the screen to a target, a task that requires a “conceptual understanding of the task and skilled motor skills.”
There are even digital mice and tablet apps for cats that let them “catch” fish with their paws.
Where will this all lead? A hedgehog playing Sonic Racing? A hamster playing Grand Theft Auto? Perhaps not, but these animal gamers reveal that we still have much to learn about their cognitive capabilities.
This article addresses the question posed by Guy Russell via email: “Can animals play video games?”
If you have further inquiries, feel free to email us at:questions@sciencefocus.com or send us a messageon Facebook,on Twitter, oron Instagram(don’t forget to include your name and location).
Explore our ultimatefun facts for more amazing science insights!
IIn the realms of music, television, and film, the emergence of streaming has dramatically revolutionized the traditional business model. Instead of purchasing an album or movie, most of us now opt for a few subscriptions based on our viewing preferences, occasionally supplementing this with unique records or special Blu-ray editions. This shift poses significant challenges for musicians, as they earn roughly $0.004 per play on Spotify. In contrast, Spotify itself has achieved a billion dollars in profit (after years of operating losses). On the television side, customers are increasingly frustrated; in my household, we juggle five different TV subscriptions, based on our series interests, just to manage costs effectively.
This subscription model has not gained the same traction in video games. Apple’s Arcade service provides premium mobile games for £6.99 per month, but the free-to-play model prevails on mobile devices, generating massive profits primarily through advertising and in-game purchases. (Fun fact: approximately 85% of the gaming industry’s total revenue predominantly comes from free-to-play games in regions like China.) While Netflix offers games included in its subscription, user engagement remains low. PlayStation and Nintendo have their own subscription services, but these mainly feature older titles rather than new releases. Xbox Game Pass stands out with over 200 games available, but purchasing new exclusive games still comes with a hefty price tag—until now.
Recently, Microsoft revealed that the price of its Game Pass Ultimate subscription would rise from £14.99 to £22.99 per month. (This tier includes all the latest releases, with more affordable options still available.) Additionally, subscribers in certain countries (primarily Europe) received emails notifying them about a delay in the price increase, while those in the UK and US face the additional cost. Price hikes had long been considered unavoidable given the millions of dollars invested in blockbuster game development, alongside payments to developers for hosting on its services. A Bloomberg estimate indicated that Microsoft spent $300 million on revenue by including Call of Duty in Game Pass.
Does this imply that Game Pass isn’t achieving the success Microsoft anticipated? We consulted Christopher Doling from the Game Business Newsletter, who provided invaluable insight. “Game Pass is profitable,” he noted. “However, it affects premium game sales. Notably, titles like Halo Infinite and Starfield have not performed as well on the charts as anticipated. Microsoft’s acquisition of Activision Blizzard for $70 billion is under scrutiny by company leaders, including Chief Financial Officer Amy Hood. It’s not just about profitability; it’s about growth. Microsoft expects a significant return from the Xbox division on this investment. This isn’t excessive,” he added, simplifying matters. Thus, Xbox is cutting costs, projects, and even studios, while raising prices across the board.
With sluggish console sales for Xbox in recent years, the company is depending on Game Pass for growth. Microsoft has ceased reporting Xbox migrations, preferring to discuss revenue and engagement. However, sales of the Xbox Series S/X are estimated to be substantially lower than those of the 2013 Xbox One, putting it in a competitive third place behind Nintendo and PlayStation. Xbox executives themselves have acknowledged that console sales are no longer a priority. This is likely why Microsoft has started to release many of its games on PC and PlayStation, while heavily investing in studio acquisitions to create more content for Game Pass.
Call of Duty Warzone promotional images. Photo: Activities
However, the broader question remains: what does the future hold for subscription-based video games? Furthermore, what implications does this have for developers? One potential trajectory may mirror trends seen in the television industry where subscription costs gradually increase, and streaming services proliferate, forcing gamers to pay substantial amounts annually for the latest titles. Meanwhile, developers may feel the impact of decreased direct sales, making it harder for them to financially support ambitious projects, which could stifle the emergence of original art. Despite this, millions of gamers are still willing to spend £70 on games upon release. Titles like Mario Kart World and Assassin’s Creed Shadows were among the top-selling games in Europe the first half of this year. Why then are major companies attempting to undermine this?
“For the [smaller] developers, right now, Game Pass serves as a vital discoverability tool in an industry where that’s genuinely a concern. It also enables players to access games more economically (well, that used to be the case) and is crucial in today’s economic environment. Nonetheless, there are valid worries about what the future may hold.”
Certainly, diverse business models can coexist within the gaming landscape, with video games currently finding a balance between free-to-play and premium formats. These categories cater to different audiences, and data indicates they do not cannibalize one another’s revenue. Some consumers prefer investing in high-end consoles and premium game titles, and the market has remained relatively stable over the past decade. As more casual gamers flock to free-to-play titles, the overall gaming landscape has expanded significantly, leading to enhanced viewership. If managed effectively, subscription services like Game Pass could provide intermediary solutions that do not completely erode traditional industry business models. However, given precedents in other arts sectors and the profit-driven ambitions of large corporations like Microsoft, this may be overly optimistic.
Despite rising costs, Xbox Game Pass continues to deliver substantial value for the most engaged players. “Xbox is asking the most active players to shoulder higher prices. Game Pass Ultimate caters specifically to these individuals,” Dring points out. “Statistics show they receive considerable value, so if they can afford it, a good portion of these players will likely accept the cost. The average Game Pass Ultimate user is expected to play around $550 worth of games annually.”
Editor’s Notes: Due to an editorial oversight, last week’s issue incorrectly referred to the new president of Nintendo of America, Devon Pritchard, using the wrong pronouns despite her being the first woman to hold the position. I apologize to Devon and appreciate those who brought this to my attention.
What to play
Baby Steps. Photo: Devolver Digital
September had a host of exceptional games, and I’m still catching up on them (and engrossed by Silksong). One game I’m particularly excited about is Baby Steps, a surreal slapstick comedy experience I’ve been eagerly anticipating forever. The narrative kicks off with a not-so-promising scenario where a sluggish man and woman, Nate, are dragged from their parents’ basement and plunged into the unforgiving wilderness. Using the triggers to lift your hesitant feet and the control stick to balance, you stumble out of the cave, bound for the camp at the mountain’s base.
However, the ensuing experience is among the most exasperating in gaming history. Expect to slip, stagger, and slide down areas you’ve painstakingly navigated for 20 minutes. I once stumbled Nate’s foot into a wooden beam and plummeted down, necessitating a lengthy trek back to the campsite I had just left an hour prior. Yet, astonishingly, I was glued to the screen until 2 AM, drawn in by its bizarre humor and the persistence required to maneuver Nate’s clumsy body. It truly embodies “painful beauty in art,” and if intriguing challenges appeal to you, give it a whirl.
Available: PS5, PC Estimated play time: 10 hours
What to read
EA Head Office. Photo: Terry Schmidt/UPI/Shutterstock
For those interested in the ethical implications surrounding Saudi Arabia’s Public Investment Fund – as noted last week, EA is set to co-own a part of EA – Euro Gamer highlighted, “This is the Saudi national wealth that should be harnessed to advance the economic and social rights of the Saudi populace. Instead, it’s being directed towards lavish mega projects both domestically and internationally… This appears to be a deliberate tactic to distract from the human rights situations in the country.”
This summer yielded an animated Netflix film, K-POP Demon Hunter (if you know, you know), which has achieved notable popularity taking over Fortnite with new modes and character skins added. This sparked some lively discussions between me and my partner, who believes young kids shouldn’t play Fortnite. I’m more okay with it since it appeals to them. Either way, I will be engaging with it.
Pour one out for Rock Band, the once-famous plastic instrument game and the soundtrack of my college years. Its final installment, Rock Band 4, was delisted last Sunday, marking its 10th anniversary as the music licenses for the songs have expired. If you still own a copy, make sure to beef up your track library before all songs are taken off the market. As for developer Harmonix, they’ve shifted to creating music for Fortnite, thus signaling the end of new Rock Band games.
“We work in the dark to serve the light.” Photo: UBISOFT
A couple of weeks ago, I asked readers for thoughts on video game quotes that resonate with them. The responses were abundant. In no particular order:
“I’ve always believed if life hands you lemons, don’t just craft lemonade! Return those lemons and get angry! You don’t need those stinking lemons right now! What should I do with this? I’m calling for an emergency meeting with my life advisor!” – Portal 2, Submitted by Helen
“We work in the dark to serve the light” – I resonate with this phrase from Assassin’s Creed. It often echoes in my job as an assistant director in the film and television sector, where I spend a fair amount of time working in both literal and metaphorical darkness as a lighting manager. – Submitted by Stephen
“Please make your determination.” Undertale submitted by Kelly
“‘Comment is never forgotten, so there’s no need to remember it'” – this quote from Breath of the Wild holds a personal significance for me. A non-gamer friend wanted to give me a baby gift, so she printed this quote alongside a baby blanket and sent it to me. I still have it on my fridge. Loving everything her about Zelda, I named my daughter after the game. This line strikes me as particularly poignant during the final battle when Link confronts the dark beast Ganon, and his wise companion encourages him: it captures the essence of our journey as new parents. – Submitted by Kelly
“‘We’re not going to Ravenholm.'” – I often recall this quote from Half Life 2 whenever I am hesitant in my job and personal spheres—iykyk.
“Okay. This won’t cease until I die, but I yearn for pain when that moment comes. As friends depart and when I must let go, even when all hope collapses, I crave to feel it all. It is daunting. I embrace loss. I want to face challenges and rise above until it all concludes. Can I express that? I wish to find light again, even through hardship. Because feeling pain signifies meaning. It confirms my existence.” …at least, at least…” From May Borowski in Night in the Woods, submitted by Keira
If you have inquiries regarding the Question Block or anything related to the newsletter, feel free to reply or email pushbuttons@theguardian.com.
In 2019, researchers at the Berlin Computer Game Museum uncovered a remarkable find made from salvaged electronic gear for joysticks and plastic containers. The beige rectangular tupperware, containing wires, will display a functional version of Pon when connected to a TV.
Arcade Fire… A notable attraction from Cold Wargames in East Germany. Photo: Dora Csala/Alliiertenmuseum
Initially, they believed that these homemade devices were an isolated testament to creativity behind the iron curtain. However, earlier this year, they stumbled upon something else: seifendosen-pong (“Soapbox Pon”), accompanied by a national magazine called Funkamateur, featuring various DIY diagrams for Atari’s 1970s gaming hits.
This discovery contradicted the notion that the emergence of computer games was merely tolerated or heavily suppressed by socialist East Germany. Evidence arose suggesting that gaming received a degree of official backing from the regime’s notorious Secret Service.
A new collaborative exhibition from the Union Museum and the Computer Games Museum in Berlin aims to uncover the intrigue surrounding Cold War-era games from both sides of the iron curtain. This includes East Germany’s sole arcade cabinet, Polyplay, which visitors can experience. Featuring honey-colored wooden panels and vibrant signage, only 2,000 machines were produced. In the late ’80s, youth flocked to these cabinets in clubs and holiday retreats, enjoying games that were largely clones of Western originals.
However, Polyplay was developed “with assistance from national security,” explains Veit Lehmann of the Alliance Museum. Due to a lack of programming expertise, the manufacturer Veb Polytechnick turned to the Stasi, who provided personnel “with expertise and computing capabilities” to code games.
PAC – In place of Man, there was Hase und Wolf – a rabbit dodging a dog, while Namco’s infamous ghost from Pac-Man was replaced. Games included Hirschjagd (“Deer Hunt”), a reimagined version of the sci-fi shooter Robotron: 2084, and Schießbude, a carnival shooting game, along with titles like Schmetterling (butterfly collecting), memory puzzles, skiing games, and other racing contests.
Tame… Game featuring rabbits and wolves. Photo: Veb Polytechnik Karl-Marx-Stadt
For many in East Germany, Polyplay marked their first exposure to computing, “opening up an entirely different world,” states Regina Sewald of the University of Birmingham. “It was seen as a family-oriented machine.” Families would spend weekends enjoying leisure activities together. While perceived as innocent entertainment, it subtly encouraged technical skill development.
However, Polyplay eliminated themes of violence, contrasting with Western arcades that showcased tanks in combat scenarios and dragons targeting players propelled by jetpacks. The GDR aimed to present itself as a peaceful nation, viewing media law as a means to suppress any portrayal of violence. “The GDR’s approach to technology reflected a desire for a harmonious self-image, coupled with a fear of the unknown,” remarks Seiwald.
Despite the family-friendly concept of Polyplay, self-proclaimed “freaks” gathered at computer clubs to challenge the regime’s limits. East Germany identified technology as a critical economic focus by the late 1970s, but Western tech was often smuggled into the country as trade embargoes restricted access, with devices like the ZX Spectrum being disguised in car seats or hidden inside chocolate boxes for cross-border smuggling.
Long arms of the state… Displayed at coldwargames. Photo: Wikimedia Commons
State-run factories produced some of their own gaming devices, including the Bildschirmspiel 01 Pong clone and the Veb Robotron series of microcomputers, but accessibility was limited. High costs made it difficult for most citizens to obtain them.
As early enthusiasts began forming clubs at universities and youth centers across cities like Berlin, Dresden, and Leipzig, officials speculated whether this youthful engagement would help mitigate technical challenges. “They believed that if young people engaged with games and computers, it could lead to better outcomes,” notes Lehmann. Perhaps the regime hoped this interest would nurture a new generation skilled in microelectronics, ultimately developing a necessary homegrown industry.
A phrase often echoed among GDR officials was expressed by Martin Görlich, managing director of the Computer Games Museum: “Learning from the Soviet Union means learning how to win.” Thus, computing was embraced as mirroring Soviet dynamics, blending physical action with screen engagement in arcade games.
Eastern block…coldwargames. Photo: Dora Csala/Alliiertenmuseum
The Soviet Union also birthed Tetris, a dynamic puzzle game created by software engineer Alexey Pajitnov to test computer performance. Initially exchanged among engineers, it led to fierce competition for distribution rights involving Dutch game designer Henrogers and Kevin Maxwell, son of the disgraced media tycoon Robert Maxwell.
In East Germany, citizens often depended on bootleg versions to bypass restrictions and shortages. Fashion enthusiasts crafted their garments, musicians repurposed audio gear, and underground board games like a twist on Monopoly flourished in exchange for communist-themed titles.
This DIY ethos aligned with the state’s self-reliance policy, encouraging citizens to craft, build, and repair. Official publications such as Funkamateur and Jugend Und Technik advocated for “computer sports” and published programming guides. “The GDR was acutely aware of technological constraints,” affirms Sewald. “People became proactive in educating themselves and pushing the boundaries of available technology.”
For young enthusiasts, some clubs boasted advanced computing systems like the Commodore 64, far superior to state alternatives. Most members were young males, their primary interest often lying in gaming.
Some learned to program their own games on machines like the KC 85 from Veb Mikroelektronik, while others like René Meyer, who joined the Computer Club at the University of Leipzig at 16, explored this new digital realm.
“GDR’s home computers were compatible with various systems and cultivated a unique computing ecosystem in the East,” recalls Meyer, particularly one game called Bennion Geppy, which involved navigating dungeons while avoiding monsters and collecting keys.
Paradoxically, while the state seemed to endorse these groups, club members often found themselves under the close scrutiny of Stasi informants, and their computing activities were frequently viewed with suspicion. One Stasi report detailed the games circulating in Young Talent’s House, highlighting acceptable choices like Super Bowl and Samantha Fox Strip Poker, alongside more controversial titles reflecting violent themes.
As internal tensions within East German society escalated, Stasi grew increasingly paranoid about war-related themes in software, computer viruses, and anti-socialist messages. Their fears may have been exaggerated. Notably, in neighboring Czechoslovakia, underground game developers created titles like the Adventures of Indiana Jones, a text adventure where a fedora-clad hero could face peril from bloodthirsty authorities.
East Germany’s relationship with technology was complex. In 1984, West Germany penalized children for playing arcade games, viewing them as gambling hazards. Consequently, they imposed stringent age restrictions on violent games like Activision’s River Raid. This skepticism extended into the 21st century, with publishers altering titles to sidestep censorship, as seen in the German version of Call of Duty: Modern Warfare 2, where players faced penalties for actions during the controversial “No Russian” mission.
While East Germany advocated for decentralized computing, the state maintained strict control over communications, criminalizing home networking and hacking activities. In response, activists in West Germany founded the Chaos Computer Club, still active today, known for crafting DIY modems as a form of protest, referred to as Datenklo (“Dataloo”).
“The West has been very harsh on hackers and crackers,” observes Seiwald. “It surprised many to find that the GDR exhibited a degree of surprising tolerance.”
IT is the season for all the warm and cozy entertainment options. This encompasses the longing to illuminate the night, gather around a roaring fire, and nestle into an armchair with something thrilling. Familiarity plays a crucial role in comfort, so I won’t stray from tradition. Here are 10 new games perfect for sinking into the sofa as evening falls and the warmth of heating prevails…
This sequel to the quirky gardening puzzle game has you temporarily working as a sales assistant in a shop bursting with odd artifacts, totems, and potions. Visitors present unique problems, requiring you to consult an encyclopedia, sift through eerie inventory, and locate the appropriate occult item. It’s fascinating enough, especially as you become absorbed in the broader mystery that keeps you captivated during many rainy evenings.
Two Point Museum (PC, PS5, Xbox)
Control… 2 Point Museum. Photo: 2 Point Studios/Sega
The Two Point series has previously managed hospitals and universities. Now, it tackles museums where you can discover artifacts and showcase them attractively to draw visitors. Filled with silly jokes and engaging mechanics, this game offers a rich, challenging experience perfect for cozy evenings by the fireplace.
The beloved farming simulator makes its latest entry as Grand Bazaar, where you move to a quaint country town to establish farms, cultivate crops, raise animals, and sell goods at local markets. With its serene visuals, leisurely pace, and charming characters, it feels like living in your own cozy Sunday night television show.
Wonderstop (PC, PS5, Xbox)
It makes me feel better… Wonderstop. Photo: Annapurna Interactive
Crafted by the talented Davey Wreden (Stanley Parable, The Beginner’s Guide), Wonderstop follows a quirky warrior who abandons combat to operate a tea shop. Your tasks involve brewing drinks, cleaning up, tending to the garden, and gradually building a more positive outlook on life. A colorful and uplifting experience awaits.
Tiny Bookshop (PC, Switch)
Charming… a tiny bookshop. Photo: Neoludic Games
In a cozy and whimsical world, the notion of characters escaping their past to open a bookstore in a remote village has become a popular narrative. Now, you can join in on the fun. Navigate your mobile bookshop around Bookstonbury’s Seaside Hamlet, interact with locals, and discover which novels resonate with you. This delightful and engaging game is the perfect cuddle companion for avid readers.
Bring your whimsical persona to life, turning mundane household objects into charming characters as you explore suburban homes seeking potential romantic connections. Engage in amusing dialogues with items like your phone, detergent, and even the staircase. It’s not as absurd as reality shows like Love Island, I promise.
The Roottrees Are Dead (PC)
Unraveling the mystery… The Roottree Are Dead. Photo: Evil Trout Inc
The Roottree Dynasty, owners of a sprawling candy empire, faced devastation with a tragic plane crash. Use your in-game computer to uncover evidence through photos, articles, and documents, piecing together relationships and constructing a comprehensive family tree. This intriguing effort released last January now features a remastered version that adds even more mystery to unravel.
A charming and clever puzzle game where you must arrange groups of individuals based on their preferences and mutual dislikes. Whether on a crowded bus, at the cinema, or a wedding reception, your task is to seat the right person next to another or deliberately create a scene. This fun twist could also prove beneficial if you’re planning a festive dinner party.
Flowers and Favors (PC, Switch, Coming Soon)
Lovely bouquet… Flowers and Favors. Photo: Misk Games
Yes, it’s yet another delightful shopkeeping simulation, but this one takes place in a florist’s shop catering to an endearing clientele. I gave this a whirl because I read Sarah Maria Griffin’s intriguing novel, *Eat the Rich*, and found the exquisite floral designs uplifting the overall ambiance of this sweet and charming bouquet game.
Mina The Hollower (PC, PS5, Switch, Xbox)
A nostalgic adventure… Mina The Hollower. Photo: Yacht Club Game
This feels like a cheat since it’s set to release on October 31st, yet it deserves a spot as the latest retro endeavor from Yacht Club Games, known for the revered platformer *Shovel Knight*. It captures the essence of classic Game Boy color games, making it an ideal nostalgic getaway.
wEngaging with e-arts encompasses more than just passive observation. We have a role to play. Whether it’s music, painting, or film, the artist contributes, but our mental engagement is what completes the experience. This is particularly applicable in gaming, as you aren’t just passively staring at the Mona Lisa for hours on end.
Our relationship with art evolves. In my youth, I had a stronger appreciation for animation, while nowadays I find great value in jazz. My feelings towards the Mona Lisa can vary—sometimes I find it captivating, other times rather dull.
This dynamic perspective is what makes Clair Obscur: Expedition 33 so intriguing. The game explores our efforts to capture our artistic preferences, or at least that’s how I interpret it. The complexity of this sentiment mirrors my evolving relationship with the game itself. Initially, I was entranced by its beauty nearly three decades ago, illuminated as if by personal rays of sunshine as Glenn navigates through nature. (Rest in peace, Robert Redford.)
Visually and audibly, the characters are stunning, complemented by the best voice acting and soundscapes I’ve encountered. The plot initially eluded me; it vaguely centers around Logan who seems to be on the run. A mysterious force referred to as “the sedative” erases individuals from existence once they reach a certain age. Each year, the Hardy Band embarks on a journey to find and confront this entity, striving to prevent humanity from fading into oblivion.
The courageous adventurer of Clair Obscur attempts to escape the annual Gomage event that gradually erases its participants. Photo: Sandfall Interactive
Despite my confusion regarding the plot, I was enamored by its aesthetics and emotional resonance, and I realized that understanding the intricacies of your passions often takes time. Another aspect that turned my appreciation into obsession was the combat system, which is crucial for any turn-based RPG. Once I invested the effort to understand it, my connection deepened and the combat became exhilarating. It was so fulfilling that I embraced my clumsy attempts in the platforming segments, even when they were harshly punishing. That wasn’t my best decision.
But isn’t it true that we overlook the flaws of those we love?
I spent an excessive amount of time with Expedition 33. I’m a player who often bulldozes levels to simplify boss fights. Online sources say the game takes about 30 hours to complete, yet it took me over 50 to face the final boss. This was largely due to my choice to play on default difficulty instead of easy mode. The gameplay was so rewarding that I didn’t mind losing multiple battles; mastering the unique timing of each encounter felt like a genuine accomplishment, akin to mastering a soccer volley.
However, as time went on, my irritation grew. The absence of a level map left me uncertain about whether my current path was a quick detour or a futile expedition. My mood soured when the plot frustrated me with its lack of subtlety in dialogue that leaned toward the melodramatic (“Painting is about essence, not about truth” – please!). Yet, I had committed to this game, along with its ups and downs.
Then something happened that changed everything.
After finally conquering the sedative in an intense 30-minute boss battle, the game crashed.
The battle was thrilling; I didn’t mind failing – Photo: Sandfall Interactive
The game crashed. I was booted back to the title screen, which hasn’t happened to me with an Xbox game in ages. I searched online and found that many players faced this bug. As far as I know, there haven’t been any patches for the Xbox Series S despite the game being released back in April. From a relational perspective, my emotional investment in this game definitely took a hit. A game shouldn’t launch with a bug that can ruin the experience at such a critical moment.
I discovered that pausing immediately during the cutscene can work around the bug, but that results in missing the cutscene—especially important after defeating the ultimate boss.
After bypassing the cutscene, I realized the game was not finished. A plot twist revealed a new third act, adding complexity to the narrative.
I felt a sense of detachment as I tried to progress further. I grappled with my emotional investments in both this game and my other commitments.
What initially felt new and captivating had become tainted. Elements I once found exciting, like character relationships leading to enhanced abilities, now seemed cumbersome and pretentious. My trust had eroded. If I crash at the end again, would I truly endure a long and challenging boss fight?
I’m not saying I’m completely done with Expedition 33, but I believe I need some space before I can fully commit again.
fA few years back, during a time when we sought refuge from the chaos of the outside world, “Hades” by Supergiant Games provided a welcome distraction. Zagreus, the underworld’s rebellious son, attempted to escape his prison while the rest of us remained confined at home. There was no shame in its alluring charm, and it embraced its sensuality without reservation. The character designs by artist Jen Zi showcased Olympian perfection, and winning the favor of these irresistibly charismatic Greek gods was essential for thriving in this realm. It was a tale filled with apologies.
Alongside this, a series of challenges awaited. In “Hades II,” composer Darren Korb delivers a powerful and dramatic score to underscore the climactic stages of Olympus. This level of operatic grandeur surpasses anything from the original game. Zee’s new character illustration (including one wearing a leopard skin pouch) may even inspire further fan art and fan fiction. The brilliant script by writer Greg Casabin is wittier, smarter, and more layered than ever before.
Revenge is sweet, but this time, you are not playing as Zagreus; instead, you take on the role of his sister, Merinoe, at a crucial juncture. Rather than being trapped in a motel, she calls a haunted forest home, guided by the spectral shade and her mentor Hecate. While it may be dim and dreary, unlike Zagreus, she does not seek escape. Instead, she faces nightly adventures. Supergiant invites us to reclaim our time as we dive into the same struggles we faced five years ago, navigating two frontlines of intense battles—from the depths below to the heights of Mount Olympus.
Hardships and troubles… Hades II. Photo: Super Giant Game
Preparing to face Hecate in your first attempt may be a challenge—your showdown with the “Head Mistress” is merely the initial test of your combat abilities. However, the allure of run-based games like “Hades II” lies in the opportunity for improvement each night presents. Every failure offers lessons, and with each attempt, you gain some measure of progress. Emphasizing its occult theme, you will gather materials to throw into a cauldron during quests, enhancing your spells and boosting your odds of survival.
The game also draws inspiration from another pandemic hit. Animals that cross your path can sense resources and assist you in battle. The pale raven Raki surprises both rocks and foes, while the faithful hound Hecuba can distract enemies while unearthing recovery items. Personally, I found Wildcat Toula hard to overlook; she charges at nearby opponents with her claws—when she feels like it. Plus, she grants you a single chance to evade death during each run. With nine lives, she can afford to be daring.
To defeat Cronos, we will require the help of these newfound allies along with other forms of essential support. Encounters are as intense as you might expect, and it takes time to get accustomed to Merino’s captivating weapons. Interestingly, even if you wield the witch staff like a spear, combat feels intimately magical. The dark cloak allows you to send enemies into the ether and serves as a magical jetpack. As challenging as “Hades II” may become, you are afforded more avenues than ever before to tip the scales in your favor. Conversely, you can make the slopes of Olympus even steeper: nightmare boss fight variations demand mastery of the game’s delectable yet perilous risk-reward mechanics.
One of the delights of “Hades II” lies in its exploration of an internal conflict within a Dysfunctional Extended Family. But this is merely a setup for the resolved conflict. Not every character seems aware of the stakes: Scylla, the frontwoman of the Pop-Punk Trio of Sirens, cheerfully sings I will captivate you and make you my own deep down in Oceanus. Nonetheless, even amidst chaos, the fickle nemesis of your power suit could sporadically challenge you before blocking potential exits, but you can overcome them with the gifts of Nectar or Ambrosia. The conclusion of the game makes it abundantly clear: the fight against oppression’s power requires every ounce of our collective strength, no matter how insignificant we may feel. Regardless of our stance, true resistance arises from solidarity.
eSince my journey began in 1988, the annual Game Developer Conference (GDC) has taken place in California each year. It started modestly as a cozy gathering in the living room of Atari designer Chris Roford, hosting just 27 attendees. By the mid-90s, the event outgrew Chris’ home and expanded to over 4,000 participants. In 2005, it found a permanent venue at the Moscone Center in San Francisco. Nowadays, nearly 30,000 game development professionals attend annually. The GDC Vault online is a valuable resource, offering insights into the history of game development and practical tips across gaming disciplines.
However, GDC has faced challenges in recent years. Rising costs have become a significant barrier for developers, with conference passes exceeding $1,500, and expenses for travel and accommodation in one of the world’s most expensive cities can quickly escalate to between $5,000 and $10,000—even for small hotel rooms.
Additionally, following Trump’s re-election, many members of the global video game development community have expressed reluctance to visit the United States. The atmosphere at the conference has been dampened by the loss of funding throughout the gaming industry, alongside the pressures brought on by AI developments and ongoing layoffs. If securing funding for games is challenging, why should professionals spend thousands on travel for meetings with thousands?
As Jon Ingold, founder of UK Studio Inkle, remarks, “GDC, as an industry networking event, currently lacks financial viability and job opportunities. The United States feels like an inhospitable environment.”
This may be a reason behind the event’s recent rebranding. It was announced on Monday that the Game Developers Conference will now be known as the Festival of Gaming: GDC, promising a “week of opportunity” linked to a comprehensive B2B game ecosystem in a vision presentation. The key takeaway appears to be that obtaining a pass will be more accessible, with events being hosted not only at the Moscone Center but also across the city.
Calling California… Within GDC: Game Festival.
Unfortunately, this rebranding has not addressed long-standing worries among developers—that the conference is not accessible enough, and that San Francisco (or the U.S. at large) is an unsuitable venue for global gaming events. “Despite clear evidence from the COVID era that GDC could have integrated digital access, the exorbitant ticket prices reflect [organizer] Informa’s focus on profits rather than accessibility,” says independent game developer Rami Ismail, who has advocated for the global developer community on GDC’s issues.
Even when a visa is obtained, safety concerns regarding firearms, crime, and healthcare expenses linger. Furthermore, the Trump administration’s right-leaning populism has rendered the U.S. unwelcoming for many.
This concern is valid. Visitors to the U.S. face risks of deportation and even detention since Trump’s reelection. Many choose to carry burner phones and clean their social media profiles, with numerous European developers and journalists, myself included, feeling hesitant about traveling to the U.S. under the current administration. For individuals coming from Arabic or South American countries, these fears are intensified.
A consensus seems to be forming within the global game development workforce: the U.S. no longer serves as a crucial industry hub. While San Francisco remains home to top companies and studios, many feel the city has lost its creative spirit, hollowed out by the relentless pursuit of Silicon Valley’s interests.
There are viable alternatives. Canadian tax incentives make it an attractive destination for game development, and the current government is welcoming to foreigners. From Brighton in the UK to Game Connect in Australia, various regions host local developer gatherings. Events like Gamescom in Cologne, along with an increasing number of developer-centric events around the world, underscore this shifting landscape. While the GDC organizers cannot control U.S. policy, maintaining relevance as a professional game nexus will require more than a rebrand.
What to Play
Unpleasant and funny… consumes me. Photo: Jenny Jiao Hsia
The video game landscape continues to expand with exciting choices. Hades II, a visually stunning and challenging action game developed by Supergiant, is eagerly anticipated. Meanwhile, the horror reboot Silent Hill F has garnered positive feedback from many critics.
I am currently immersed in Consuming Me, an entertaining and occasionally uncomfortable game by developer Jenny Jiao Hsia about navigating high school amidst the pervasive diet culture of the 2000s. It features a quirky mini-game where players must focus on class and manage walking their dog while dealing with awkward conversations about weight with their parents.
This topic can be triggering for many, as it evokes painful memories of the 2000s’ beauty standards for women. If you’ve ever wrestled with disordered eating (or know someone who has), finding enjoyment might be challenging. However, the game addresses sensitive issues with humor, empathy, and plenty of satirical jabs, making the discomfort worth exploring.
Stardew Valley-style sim… Palpharm from Palworld. Photo: PocketPair
The developers behind last year’s hit, Palworld, are currently entangled in legal disputes with Pokémon companies over similarities to their creature-collecting games. They’ve announced a new game: Palpharm, which fuses adorable creatures with Stardew Valley-like gameplay.
I’ve thoroughly enjoyed video game memoirs from TV comedy writer Mike Drucker. His latest release, Good Game, No Rematches, is now available in the UK. It offers a fascinating perspective on growing up with Nintendo across the Atlantic during the NES era, detailing how a young gamer turned into a game writer.
For years, our game correspondent Keith Stuart has tackled the question: Why do some people choose to invert the controls? His 2020 article on the subject prompted scientists to delve into the matter, and they have finally determined that it relates to how our brains perceive 3D space.
Question Block
Words of wisdom…The Legend of Zelda. Photo: Nintendo
Following up on last week’s discussion about video game dialogue, reader William asks:
“I believe there are quotes from various video games that serve as life advice. Two of my favorite quotes are: ‘When the time comes, just act’ (Wolf O’Donnell, Star Fox Assault) and ‘Anyone who is stubborn enough can survive. Anger is an anesthetic hell’ (Zaeed Massani, Mass Effect 2). What video game wisdom resonates with you?”
This may be a contentious viewpoint, but I often find that video game quotes are profound by coincidence. The most memorable lines frequently emerge from translation quirks and voice acting inconsistencies (“I used to be an adventurer…but I took an arrow in the knee,” “Your bass is all ours,” “Jill, Master of Rocking”). They stick with us not necessarily for their deep meaning, but for their absurdity.
That said, the phrase “It’s dangerous to go alone” from the original Legend of Zelda somehow strikes me as genuinely supportive, while “The right man in the wrong place can make all the difference in the world” also comes to mind.
I invite readers to share: Are there any video game quotes that genuinely carry significance for you?
If you have a lingering question or want to include your favorite game quotes in the newsletter, please reply to this or email us at buttons@theguardian.com.
fA few years ago, just before the first Covid lockdown, I wrote an article exploring a rather niche query. Most gamers press down on the controller, gazing at the characters on their screens as they look up. However, controlling avatars like pilots represents a significant minority who handle their characters as if they were piloting, returning to control the plane and ascend. In many modern games, this necessitates diving into settings to adjust the default controls. Why has this practice persisted?
I figured some hardcore gamers might find this topic intriguing. To my surprise, the article resonated with over a million readers, drawing the attention of Dr. Jennifer Corbett (cited in the original piece) and Dr. Jap Munneke.
At that time, the two were investigating vision science and cognitive neuroscience, but the lockdown meant they could no longer conduct lab experiments with volunteers. The issue of controller inversion presented an ideal chance to analyze the neuroscience behind human-computer interactions using remote participants. They reached out to gamers who contributed insights into the motivations behind their controller preferences, garnering hundreds of responses.
Microsoft Flight Simulator… Many believed that being a pilot would affect control retention. Photo: Microsoft
Interestingly, it wasn’t just gamers who were engaged. “Machinists, equipment operators, pilots, designers, and surgeons — individuals from diverse fields reached out,” Corbett noted. “The variety of responses signaled a wealth of scientific literature to examine for structuring optimal research. The feedback from readers prompted us to refine how users customize their controllers.”
This month, the duo released their findings in a paper titled “Why Axis Inversion? Optimizing the Interaction Between Users, Interfaces and Visual Displays in a 3D Environment.” Why do some people choose to invert their controls? It’s a complex issue.
The study commenced with participants completing a survey detailing their background and gaming experiences. “Numerous individuals indicated that their preference for flipping controls stemmed from their early experiences with flight simulators or the first console games they played,” Corbett explained. “Many reported changing their preferences over time, prompting us to include an entirely new section in our research based on this input.”
Mental rotation… Subjects engaging in the controller inversion study. Photo: Jen Corbett
However, Corbett and Munneke, currently based at MIT, were convinced that critical cognitive aspects of inversion could only be assessed through behavioral reactions. They developed a sequence of four experiments, in which participants were monitored via Zoom. Corbett elaborated, “They had to mentally rotate random shapes, adopt the perspective of the ‘avatar’ in the scenario, judge the tilt of an object against a differing background, and navigate the typical ‘Simon effect’ when responding to targets while using a machine. These varied tasks clarified whether an individual tends to invert.”
The outcomes of the cognitive evaluations revealed that many assumptions surrounding controller preferences were indeed incorrect. “There was no discernible reason provided by participants [for inverting controls],” Corbett stated. “It was linked to their actual inversion habits. The quicker participants were, the less inclined they were to invert. Conversely, those who identified as occasional invertors were significantly slower in these tasks.” Does this imply that non-inverters excel at gaming?
In essence, gamers believe they are inverters or non-inverters based on their initial exposure to game controls. Many flight simulators from the 1980s may have conditioned players to instinctively turn themselves around. Conversely, gamers raised in the 2000s might assume they are inherently non-inverted, given that non-reverse controls became the norm. Yet cognitive testing suggests otherwise. Depending on how your brain perceives 3D objects, you may be predisposed to either invert or not.
Consequently, Corbett suggests that trying out a controller configuration you’re not accustomed to might enhance your gaming skills. “Non-inverters should experiment with inverting. Inverters should consider giving non-inversion a fair shot,” she suggests. “You might want to commit to it for a few hours. People have learned one way, but that doesn’t necessarily mean they can’t excel with the alternative. A parallel can be drawn with left-handed children who are compelled to write with their right hand, potentially leading to long-term handwriting difficulties and learning challenges.”
Through their research, Corbett and Munneke established that complex, often subconscious cognitive processes govern how individuals utilize controllers, affecting not just gaming hardware but also human-computer interfaces across various fields, from aviation to surgical technology. They crafted a framework for assessing how to optimally tailor controls for individuals, now detailed in their published research.
Learning curves… Corbett and Munneke’s research can also influence surgical practices. Photo: Oksana Krasiuk/Alamy
“This research has significant potential for optimizing inverted settings to enhance human-machine collaboration,” Corbett stated. “Many technologies blend human capabilities with AI and various machines to amplify performance. It allows individuals to tailor a specific configuration for tasks—whether aiming for a target or avoiding a mistake—such as in laparoscopic surgery.”
What began as a casual, almost nerdy inquiry has evolved into a published cognitive research document. One scientific publication has already referenced it, and interview requests have surged from podcasts and YouTube channels. What’s my takeaway? “The most remarkable discoveries for gamers [who don’t invert],” Corbett remarked:
On its fourth installment, the NCE gaming franchise certainly matures, though maturity isn’t typically a term tied to Borderlands, a vibrant, performance-driven shooter from Texas. Known for its blend of adolescent humor, the series takes a turn in Borderlands 4 as developer Gearbox addresses longstanding issues. Featuring a cast of returning characters, the storyline is more globally engaging and less manic than previous entries. Borderlands has reached a new level of maturity, which is long overdue.
Borderlands 4 maintains its signature thick layer of humor, although the jokes can be hit or miss. Nonetheless, the humor is now a bit more polished. It continues to showcase the beloved cel-shaded graphics and intense gameplay involving an arsenal of weapons. The game introduces an even greater variety of guns than its predecessor, allowing players to sift through many options to find the truly exceptional ones suitable for both easier enemies and more intriguing bosses. A solid storyline emerges after the initial hours, leading players down unexpected, entertaining, and sometimes surreal paths.
Set on the planet Kairos, familiar to the series, this setting feels more cohesive than previous ones. The residents of Kairos are under the oppressive rule of a tyrannical timekeeper and must rally the oppressed indigenous populace for a resistance movement. Players will work to eliminate the timekeeper and liberate tribes from surveillance implants. As the story unfolds, numerous side quests and insights reveal themselves, from dungeon-like vaults to loot and environmental puzzles.
Players can choose from one of four vault hunters: a siren with summoning abilities, an Exo Soldier known as Super Soldier, a tank armed with a hammer called Forgenight, and a high-tech graviter. Each character brings essential battlefield skills, allowing for various offensive and defensive strategies. With significantly improved movement capabilities, players can utilize grapples, hover bikes, massive jumps, and glides while exploring. This installment also embraces the series’ renowned cooperative gameplay, featuring support for up to four players.
Borderlands 4 is extensive, with the main storyline spanning 20-30 hours, plus plenty of post-story content. However, it isn’t entirely seamless; at times, traversing large distances during missions can be frustrating, and navigation indicators can be inconsistent. Some technical issues were present at launch, especially on PC, leading to crashes despite significant patches. Players have also reported various performance problems here. Nevertheless, Borderlands has come a long way in its evolution, maintaining its core charm while reducing the annoyance factor evident in earlier titles.
In the expansive office space at EA’s Vancouver campus, numerous people gather around multiple monitors to engage in EA Sports FC 26. Nearby hang soccer jerseys from various global leagues, as staff members monitor the match feed. The players include members of EA’s Design Council, professional athletes, influencers, and devoted fans, who frequently join to play, pose questions, and offer feedback on new updates. These councils have been active for years, but their insights are being taken more seriously than ever for this third iteration of the EA Sports FC series, the successor to EA’s FIFA franchise.
Let’s delve into the game for the journalists invited here. Insufficient response for EA Sports FC 25 emphasizes that addressing user feedback is the priority. EA has launched a new player feedback portal and a dedicated Discord channel for fans to voice their concerns. Additionally, developers have implemented AI-driven social listening tools to track discussions about EA Sports FC across platforms such as X, Instagram, and YouTube.
EA Sports FC 26 – Manuel Neuer pulls out saves. Photo: Electronic Arts
“There were so many different groups working on feedback across EA that we were overwhelmed by the individual teams in the game,” explains lead producer Joel Doonan. “Now we’re really focusing on it. How can we ensure that people who need to know are getting the right information at the right time and can respond as quickly as possible?”
“There’s also been a shift in the percentage of team resources devoted to our feedback commitment. We have a continuous development team. Currently, ten engineers are dedicated to processing feedback rather than waiting for FC 27. That’s what players expect today.”
Significant changes are genuine surprises. Two distinct play styles are offered: competitive and authentic. The competitive mode emphasizes speed, fluidity, and high scoring, capturing the rapid gameplay of classic FIFA titles while omitting elements like player fatigue. It directly influences online competitive modes such as Ultimate Teams and Clubs. Conversely, the authentic mode serves as a pure simulation aimed at offline players, characterized by slow build-up play and realistic outcomes.
EA Sports FC 26 – Rush Stadium Photo: Electronic Arts
“I’ve wanted to do this for some time, but other areas took precedence,” states Sam Rivera, production director for gameplay. “It’s clear, based on feedback, that it’s impossible to satisfy everyone with a single gameplay experience. Some players prefer simulations, while others desire more responsive experiences that let AI take on more roles instead of just assisting with specific actions. We’re now better positioned to support both in ways that align with different community needs.”
The dribbling feels tight and fluid, allowing for increased directional freedom for players. When in a scoring position, there’s a new feature that enables users to double-tap the shoot button for a powerful low shot, as opposed to simply lofting the ball. Goalkeeping mechanics have been enhanced with smarter positioning, utilizing new reinforcement learning AI, to minimize the chances of the ball being sent back to the offensive player. Likewise, defensive tackles will see less rebound, while attacking players will benefit from improved ball shielding.
The development team seems to have drawn inspiration from contemporary games and genres. The new archetype feature in Club and Player Career Modes lets players design and create individuals across 13 types (including categories such as Magician, Recycler, Boss, etc.). This is reminiscent of character classes in RPGs, allowing players to earn experience points throughout their careers and upgrade stats. Additionally, the Manager Live Career Mode allows you to lead head coaches through multiple seasons, pulling from live service inspirations like Fortnite. Weekly challenges occur throughout the year, encouraging players to set targets, such as topping the Christmas league. Some features are inspired by real-life sports unpredictability. During the demo presentation, Pete O’Donnell, Design Director of Career Mode, highlighted an intriguing scenario: a food poisoning outbreak affecting the Italian Serie B team Salernitana at the end of the last season. Will the team handle the sudden epidemic before a crucial playoff match?
The most beloved aspect of the game, Ultimate Team, has received an array of new features. The controversial Panini sticker-style fantasy football mode allows players to create teams by opening randomized digital packs, where competitors engage in live tournament modes with linked competitions throughout the season. A new feature called Bounties introduces players to randomized challenges like “scoring first/last goal” and “maintaining a clean sheet,” ensuring that even in a losing online match, players still receive rewards. Additionally, Gauntlets present a rapid live event requiring competitors to complete a five-match series, with each match demanding a different player from the team.
I believe that the focus on user feedback serves as a timely PR strategy, much like the authentic design principles. The game’s recent launch trailers spotlight gameplay footage rather than flashy cinematics. The underlying message is, “We’re listening to you, stay with us.” Timing is also crucial; in June, FIFA launched a competitor for the casual mobile title, indicating they may collaborate with developers on a more refined football simulation ahead of next year’s Men’s World Cup. EA Sports has been in this arena for several years, but the window may be narrowing. Fan support for EA Sports FC 25 is invaluable.
EA Sports FC 26 will be available on PC, PS5, Xbox, and Switch on September 26th.
bThe Polish developers behind the overlooked psychological thriller The Medium from 2021, along with last year’s impressive Silent Hill 2 remake, clearly grasp the almost rhythmic essence of survival horror games. It’s perplexing to witness this latest release shine in many aspects while simultaneously stumbling in some of the genre’s foundational principles.
Players take on the role of travelers sent to investigate a catastrophic outbreak that has turned the residents of a town named New Doon into nightmarish figures, typical of Science Fiction-adjacent survival horror. Delve into the ruins of a beautifully devastated scenario and seek out places to spend your time traveling. The narrative unfolds slowly through a familiar mix of audio logs, chaotic elements, and signs of harsh environments, often depicted with bloodstains on the walls.
Unfortunately, this intriguing premise cannot uphold the weight of Chronos’ series of baffling missteps. Instead of cultivating a sense of claustrophobic dread, it opts for overwhelming, frantic impulses, sparking a need for creative expressions of frustration.
Moody Blues…Chronos: A new dawn. Photo: Bloober Team
The superb sound design effectively instills a sense of waiting in the dark, plagued by hunger. The problems arise when you confront the monsters. One of the initial foes ambushes you in a tight space, and you’re downed in mere hits. Your only defense is a weak weapon and an aim that seems to flail in every direction, making you realize how to cheese your way through until you meet your demise—only to repeat the cycle. This maddening dance persists throughout the entire 14-hour journey.
This complaint is somewhat alleviated when ample ammunition and health-restoring items are provided, creating a semblance of having narrowly escaped death. However, you’re often thrust into battles with overwhelming monsters armed for combat, with limited health and resources, leaving no viable strategy. Attempts to introduce challenges devolve into frustrating designs riddled with issues.
The inventory system doesn’t help matters; even the most dedicated survival horror fans will find themselves sacrificing precious bullets to carry keycards to progress or waste time moving between storage points to retrieve items. This doesn’t build tension; instead, it fosters tedious tasks.
The most exasperating aspect is the presence of a striking core. Despite its time travel themes, Chronos: New Dawn isn’t wholly original. I find I’ve navigated these dark hallways of hospitals, factories, and apartment buildings before; however, they exhibit stunning visuals and often engage when upgrading your weapons. When everything aligns, it delivers the gruesome body horror experience you seek. Yet, it too often shoves you into another overly punishing fight against resilient foes, replacing fear with sheer frustration.
The enigmatic three-person game development team based in Adelaide has stirred up a storm on the global online gaming scene.
On Friday, major platforms like Steam, Nintendo’s eShop, PlayStation Store, and Microsoft Store all experienced crashes as they struggled to keep up with the demand for Hollow Knight: Silksong, the eagerly awaited sequel to the acclaimed 2017 indie sensation, Hollow Knight.
The game’s launch resulted in widespread outages, with thousands of players reporting difficulties in purchasing the game during the initial hours of its release. Many faced persistent error messages for almost three hours post-launch, preventing them from completing their transactions.
The spike in demand was evident on down detectors across troubleshooting platforms, which recorded a surge to 3,750 users immediately after the game’s launch, slowly diminishing thereafter.
Social media erupted with complaints about error codes and shared screenshots as frustrated gamers expressed their disappointment over the absence of pre-order options. Some labeled the situation as “absurd,” while others criticized the lack of measures to prevent such congestion.
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Another digital retailer, Humble Bundle, indicated that the game was momentarily unavailable due to high traffic, although this notification was later removed once the situation stabilized.
Regardless of these technical challenges, Steam noted over 100,000 active players within just 30 minutes of launch, implying that many managed to secure their copies.
Hollow Knight was crafted by Ari Gibson, William Pellen, and Jack Vine, along with music from Christopher Larkin, representing the Adelaide-based indie studio, Team Cherry. Set in a vividly imagined realm of insect warriors, the game has garnered a passionate following since its debut in 2017, selling over 15 million copies globally.
Hollow Knight: Silksong screenshot. Illustration: Team Cherry
The New York Times recently hailed the original Hollow Knight as a “Modern Metroidvania Classic,” praising its “engaging and detailed hand-drawn animations, challenging boss encounters, and twists with secret pathways.”
The original has achieved cult status, largely through word-of-mouth recommendations. Anticipation for a sequel focusing on Hornet, the sword-wielding princess who served as a supporting character in the first game, has grown, as highlighted by a recent New York Times report that discussed at least seven new game developments avoiding past conflicts and employing gaming demons in baby steps and tactical roles in Walking Sims.
The development of the game was financed independently, though a South Australian film company celebrated Team Cherry’s global success on Friday, stating, “This small team of combat developers in Adelaide showcases world-leading talent and the creative excellence that emerges from South Australia.”
In a recent Bloomberg interview, Gibson mentioned that the seven-year development timeline of Silksong is entirely attributed to the team’s choice of project.
“We’re a small team, and it takes us considerable time to create the game,” he explained. “There wasn’t any significant controversy surrounding it.”
In a previous discussion with ABC, Pellen attributed the original Hollow Knight’s lasting appeal to its blend of classic inspiration and modern aesthetics.
“What was gratifying about Hollow Knight was that we crafted something according to our tastes, leading to a slightly unique product,” Pellen stated in the ABC interview. “We hope Silksong can achieve something similar.”
Roblox, the popular gaming platform, is set to restrict communication between adult strangers and children by the end of the year in an effort to eliminate “bad actors.”
With over 110 million users engaged in games like Grow a Garden and Brookhaven RP, the platform has faced scrutiny over child safety as studies have indicated that children can interact with adults during gameplay.
Last month, the platform announced a ban on vigilantes attempting to confront predators. In the previous year, Roblox submitted over 24,000 reports to the National Center for Missing & Exploited Children, addressing allegations of child sexual exploitation in the U.S.
On Wednesday, it was announced that by the end of 2025, all users will be required to utilize text and chat communication tools alongside thousands of games and pass age verification. Users who cannot prove they are over 18 must show that they know who they wish to communicate with. Currently, Roblox mandates proof that the user is over 13 years old to enable communication.
“We’re instituting two major changes,” stated Matt Kaufman, the chief safety officer of the $92 billion gaming company. “By the end of the year, we will require all users with access to Roblox communications to undergo an age verification or estimation process.”
“This process will provide better insight into the user’s age, rather than solely relying on self-reported age at registration. This is especially crucial for younger users, making it imperative to use communication features appropriately based on age.”
The platform continues to expand rapidly, recently allowing companies like Netflix, Lionsgate, and Sega to develop games using their intellectual property on Roblox.
In April, The Guardian published a “deeply intrusive” study highlighting how easily children can encounter inappropriate content and unmonitored interactions with adults. One parent reported that adult strangers could contact their child on the platform, soliciting them to share explicit images. Others have expressed concerns regarding exposure to violent and sexual content, leading to distress for their children.
Roblox stated in a blog post, “Our users, creator community, parents, partners, and lawmakers strive for the same goal as us: to ensure young people remain safe while using Roblox. We are committed to continually innovating and enhancing our safety systems, policies, and moderation tools.”
The game I’m eagerly anticipating at the moment is Big Walk, the newest creation from House House, the developers behind the beautiful Untitled Goose Game. This cooperative multiplayer adventure invites players to explore an expansive world, and I’m excited to see what intense gameplay arises from it. Will Big Walk allow for a unique form of community archaeology with friends? I genuinely hope so.
From the placement of objects to audio recordings and graffiti, if the game effectively employs environmental storytelling, it encourages players to embody the role of archaeologists. Game designer Ben Esposito characterized environmental storytelling in 2016 as “the technique of placing a skull near a toilet.” – This might have been a critique directed at games like the Fallout series, but his quick remark illustrates how an archaeological narrative can unfold within a game. After all, the contrast between the skull and the toilet can provoke numerous questions and interpretations about the past within that game world, albeit a rather absurd one.
I have worked as an archaeologist in the tangible world, where I was involved in excavations, fieldwork, and site evaluations across the UK. Currently, I’m pursuing a PhD in Computer Science with a focus on video game archaeology. We are developing innovative methods to document gameplay experiences, including conducting in-game interviews with players and tracking in-game messages in Elden Ring.
Given my background, I often find myself contemplating the games where you play roles akin to an archaeologist, whether as a grave robber or an unknown entity, as well as those that simulate the tasks we perform in the field. Games like What Remains of Edith Finch encourage players to immerse themselves in the environment and contemplate what the objects scattered throughout signify. Dr. Melissa Kägen, an assistant professor of interactive media and game development at Worcester Polytechnic Institute, refers to this type of interpretive gameplay in Walking Simulators as “archive adventure.”
Ready to play the role… Outer Wilds: Archaeologist’s Edition. Photo: Nintendo Switch
However, it’s not limited to Sims; there are various puzzle games where one can take on the role of an archaeologist, piecing together remnants of the past from archived materials and clues. While some may label these games as “Metroidvanias,” I have a personal affinity for them. Essentially, “information games” (a term coined by developer Tom Francis) require players to formulate theories based on available information and utilize those theories to gain further insights. Heaven’s Vault stands out with its core mechanic of deciphering ancient languages, while other information games like Return of the Obra Dinn, Her Story, and Outer Wilds (which even has a dedicated “archaeologist edition”) encourage players to excavate clues related to their environments and histories.
In my research, I aim to explore how modern gaming can be documented as meticulously as ancient artifacts. I’ve noticed numerous parallels in the gaming landscape. The methods players use to document their experiences—such as screenshots, mapping, and journaling—mirror techniques employed by real-world archaeologists. Some games integrate these documentation methods as central mechanics. A prime example is Season: A Letter to the Future, where players capture the world’s essence just before a cataclysm through their diary entries. Games that prompt note-taking certainly enhance the recording of gameplay experiences, such as the anticipated 2025 puzzle sensation, Blue Prince.
If you’re interested in becoming a video game archaeologist rather than just Tomb Raider-ing, look for the skull next to the toilet. Better yet, document your findings. Future gaming archaeologists will be grateful!
What to Play
Obsessive and stylish… Shinobu: The Art of Vengeance. Photo: Sega
In today’s gaming scene, many classic ’80s arcade titles are being rediscovered, with Gradius Origins delighting shoot-’em-up aficionados and Bandai Namco’s Shadow Labyrinth offering a fresh take on Pac-Man.
Next up is Sega’s Shinobu: The Art of Vengeance, a stylish platformer adventure heavily inspired by classic ninja brawler aesthetics. Players navigate a richly hand-drawn cyberpunk world with an impressive array of combat abilities, weapons, and combos. The French developer LizardCube has masterfully blended captivating visual flair with the nostalgic immediacy and modern enhancements of the original title. Expect to relive fond memories while executing fierce moves to dispatch enemies in a visually stunning ballet of violence.
Available on: PC, PS4/5, Xbox Estimated playtime: 15 hours
What to Read
Switch and Bait… I’m waiting outside my Nintendo store for the release of Nintendo Switch 2. Photo: Kylie Cooper/Reuters
Curious about Nintendo‘s game design philosophy? The upcoming book “Super Nintendo” by Keza McDonald is available for pre-order. This in-depth examination offers a behind-the-scenes look at the legendary game and console maker, featuring insights from key figures, including Miyamoto himself. A must-read!
Over 450 Diablo developers have voted to unionize, as reported by The Communications Workers of America. Nav Bhetti, a senior software engineer on Team 3, shared, “Throughout my development career, I’ve observed my colleagues paying the ‘passion tax’ to work in the industry we cherish.”
Have you heard of “friendsslop“? Nicole Carpenter explores emerging genres in social gaming, such as Peak, Fatal Company, and Content Warning. Find out what developers can glean from focusing on cooperative experimentation with peers.
Console Wars… Indiana Jones and the Big Circle. Photo: Game Press
This week’s question comes from Richard B. via email.
“Does the console war still exist?”
This is a topic currently under scrutiny throughout the industry. In February, Xbox Chief Phil Spencer told Xboxera that he’s no longer focused on attracting players from PlayStation or PC. Just three months later, previously exclusive titles like Indiana Jones and the Big Circle have been announced for PS5, alongside Gears of War: Reloaded being linked to Sony’s platform. In return, Sony will release Helldivers 2 on Xbox, with more collaborations likely to follow. A recent Sony job listing suggests they are indeed open to this.
Cross Play—features available in games like Fortnite and Apex Legends—allows players across different systems to compete. In an industry where mobile gaming is increasingly dominant, with NewZoo projecting a worth of $92.5 billion for mobile games in 2024, the competitive landscape is changing.
Still, gamers are inherently territorial in nature. Brand loyalty remains a significant facet of fandom (think Nikon vs. Canon, Nike vs. Reebok, or Android vs. iPhone). Technical specifications are merely one aspect of these rivalries, with style, image, and identity also playing vital roles. Thus, don’t anticipate Xbox and PlayStation to transform into mere apps across various platforms anytime soon. Some battles may come to a close, yet the war rages on.
If you have any questions or thoughts regarding the newsletter, please feel free to reply or email us at butingbuttons@theguardian.com.
At 18 years old, the newest generation is on a quest for discovery. Starting university presents a whirlwind of minor mishaps and significant challenges. Between sleepless nights and missed classes, forgetting where your research group meets, or misplacing your books, a considerable amount of time is spent searching for lost items.
These small enigmas often translate into nearly problems, forming charming little detective games that Mary, the protagonist, navigates as she embraces her new student life each day. Designed by Indonesian creator Melisa, who chose to be known by her first name, the inspiration was drawn from her passion for detective narratives and a wish to steer clear of violence in the genre.
“Since childhood, I’ve devoted myself to reading detective comic books, novels, and manga, alongside playing detective games. I have a fondness for horror as well. Initially, I thought blending detective games with horror aesthetics would create something intriguing—a delightful sense of warmth from unraveling the mysteries of everyday life.”
It’s relevant…it’s hardly a problem. Photo: Posh Cat Studio
In essence, there are no serious crimes. Often, Mary is simply on the lookout for a favorite earring, a familiar face in a crowd, or her playful cat. Each scene plays out like a hidden object puzzle where players search for clues—photos, notes, schedules, and more—before piecing together the story. Who shattered your cherished mug? Investigate its contents and consider what your housemate enjoys drinking along with whether you were present at the right moment to identify the culprit. This is undoubtedly the most relatable crime ever tackled in a video game.
The light-hearted, low-stakes atmosphere is accentuated through gentle cartoons and artistic styles inspired by anime such as Doramon, Marco-chan, and Kobo-chan. Much like certain domestic games like Unpacking, with elements of local storytelling, it emphasizes friendships and family through straightforward narratives. Melisa initiated this project as a quick prototype for the Twitch Game Jam, but it ultimately evolved over two years with the establishment of her studio, Posh Cat, alongside two additional team members. It became a labor of love. “I created it because I longed for a more comforting detective game,” she shares. “Expect something even cozier after 2025!”
I dedicated a week to the quest of saving the universe. Leading a quirky team of seasoned veterans, I launched an assault on an intergalactic tyrant’s base, while also tackling a series of well-crafted tasks aimed at enhancing my warrior magician to vanquish the ancient, malevolent god of hope.
I accomplished this through a straightforward bike race. Sounds absurd? Welcome to Wheel World.
When your joy comes from saving the world by leaping on mushrooms or watching a chatty sneaker-wearing hedgehog, critiquing the absurd plot of video games becomes a mere reflection of the game’s essence. After all, he even led Arbroath FC to the final match of the Championship Manager’s European Cup. Yet, the narrative of Wheel World feels awkwardly jumbled. I suspect 10% of the code could simply be Blu-Tack.
Your bike is accompanied by a spirit resembling a skull, aptly named Skully. That’s just how this game rolls. You must defeat the cyclist who possesses them to recover seven missing pieces of his legendary bike. This allows Skully to access Soul Sewer, ascend Mount Send, conduct a grand ritual, and venture to the moon to save the cosmos. Just entering this plot makes my fingers tingle with its clumsiness; it’s like a lo-fi hipster rap trap. It didn’t have to turn out this way.
The original storyline, initially dubbed ghost bike, featured a roadside memorial commemorating a fallen cyclist. It sounds far more compelling, but was abandoned for a lighter narrative. Now, Mark Essen, the head of Messhof Studio states, “There’s some silly lore out there, the creation myth, and people pray, but it’s take it or leave it.”
What would I think if the game developers didn’t care about the story?
But who even cares? This is a racing game: does it require a plot? It’s all about thrilling excitement and keeping the audience on edge.
Yet, this isn’t the case.
It’s not a dreadful game by any means. While it could easily be likened to Tony Hawk, placed on two wheels with a Jet Set Radio aesthetic, it’s decent and “free” with an Xbox Game Pass. It passed the “sitting and thinking when I’m not playing it” test. However, each time I returned, my enthusiasm was palpably low, not high. There are no weapons or outrageous power-ups, no multiplayer mode, and you can’t force other cyclists off their bikes (it doesn’t involve crashing like in a car). I finished the game, briefly captivated, but it was just gripping enough. It utilized 14 bicycle parts—out of over 170 games available.
Get your skates… Tony Hawk’s professional skater. Photo: Activision
It doesn’t provide enough escapism for me since much of what you can do in this game can be duplicated in real life. Right now, I’m cycling and racing another cyclist, ringing my bell, saying, “Hey, lonely wolves, I challenge you to a race,” just like in Wheel World. In reality, things could be even more exhilarating; other cyclists might retaliate if they feel provoked.
I’m yearning for a game that lets me experience things outside the realm of reality.
I never owned a bike but reveled in Road Rash on the Mega Drive. I can play soccer, yet I can’t replicate the players and tricks seen in FIFA. Apologies for my lack of ambition, but I’ll probably never be a spaceship captain—I cherished games from Elite to Mass Effect.
Of course, not all games revolve around smart bombs and dragons. I grasp the allure of farm, train, and bus simulators. They provide engagement and interactivity. While many people may aspire to be rail operators in real life, spending two hours a day doing so might seem fair play. Just as long as you don’t mind wearing a special hat.
I can’t shake the feeling that we’re overdue for a fantastic bike game. Pedal mechanics can feel inadequate and unrealistic on consoles, but spinning the thumbstick to boost speed, as seen in track and field games, can be quite frustrating (and painful).
What I crave is a Cycle Courier version of Crazy Taxi, or a game that captures the joy of riding a bike as a child. Until then, I’ll have to settle for reminiscing about Dave Mirra Freestyle BMX on PlayStation.
THere are two categories of fears. One will leave you stunned with an unexpectedly original way of cowering under a pillow. The other, slowly seeping beneath your skin, gently pricks the back of your neck, haunting you for weeks. The break etiquette seance fits into this latter category, exuding an atmosphere reminiscent of an Irish murder mystery set in the 1890s.
You will take on the role of a detective dispatched to the esteemed Blake Manor to investigate the mysterious disappearance of Evelyn Deane, which occurred just two nights before the Seance. Mystics from around the globe have gathered at the dilapidated mansion to reach out to the deceased regarding all the treasures Evelyn possessed, but can they truly connect with the other side? And what is the source of the shadowy presence? Numerous secrets await unraveling.
You need to be in the right place at the right time… Gameplay of Blake Manor’s Seance.
Photo: Spooky doorway
“Think of it as Gothic or folk horror,” states Dave McCabe, the lead storyteller. “Being in a location you shouldn’t be invokes a creeping dread, and each step you take feels perilous.”
As you navigate the house and converse with each guest, time slips away. You’ll need to strive to comprehend what’s unfolding. Solving the puzzles may require moving objects or discovering hidden codes. Furthermore, you’ll need to be alert and present to catch crucial information.
The mystery is steeped in Victorian spiritualism, reflecting the Maelstrom of Irish folklore. “We selected a pivotal moment in Irish mythology to set our narrative,” explains Paul Conway, the lead artist and CEO of developer Spooky Doorway. “This specific place serves as a conduit between ancient magic and supernatural occurrences, though I can’t divulge too much without spoiling the surprise!”
“We are definitely exploring various Irish myths, pagan traditions, and ghost tales,” McCabe adds. While these elements may not always have a direct influence on the storyline, otherworldly entities linger just beyond the veil. Traditional Irish motifs, such as turnips—far more ominous than today’s Halloween pumpkins—are scattered across the estate. Expect to encounter a sudden flash of light something early on, as the library brims with ancient stories and legends for your perusal. However, don’t dawdle; time is of the essence in solving the mystery.
The developers take pride in their heritage and aim to foster a deeper appreciation for Irish culture and history. “I hope we can add another dimension to the awareness people have about Ireland and Irish heritage—beyond just St. Patrick’s Day or flat caps,” says McCabe. “And perhaps some visitors will be inspired to explore ghostly castles.”
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