Some games are so old they’ve almost faded from memory, but one reader suggests remaking a ZX Spectrum classic that was one of the first ever isometric video games.

Back in 1983 Ant Attack came out. A game created for the ZX Spectrum by Sandy White and published by a company called Quicksilva. Ant Attack is listed on the Guinness World Records website as the first isometric game to exist for home computers. Isometric games present their worlds at a slant and create a three-dimensional effect without perspective projection. Ant Attack’s slanted world is the city of Antescher.

First you choose: Girl or Boy (g/b)? Press the relevant key on your keyboard and a short paragraph sets the scene:

‘After a long journey you see your destination. The high walled city of Antescher. As you stand at the gate you hear a call of distress, irresistible to a HERO like you. You must answer it.. Good luck!’

Antescher seems entirely empty at first. An eerie maze of geometric structures and blocks. However, venture forth at your peril because in Ant Attack you’re never alone for long. Giant ants scurry in from nowhere, homing in on you in seconds. Any contact with the insects and you’ll be bitten. Prolonged exposure means being eaten alive.

You might get lucky and manage to paralyse an ant by jumping onto its back, but your primary defence against the aggressive inhabitants of Antescher are grenades. You can hurl grenades with varying amounts of effort and so determine how far the grenades go and where they land and explode.

The goal in Ant Attack is to find and liberate helpless members of the opposite sex. A clue to the next captive’s location is provided by the game’s scan indicator, which turns green if you’re walking towards them.

Locate a horizontal captive, free them, lead them back out of the city to safety and you score points. After that you re-enter Antescher to search for another captive who might be lying trapped and helpless anywhere within the desolate conurbation. And while all of the above transpires a countdown counts down. From one thousand to zero. When the timer reaches zero it’s game over, for you and for the existing prisoners of Antescher.

Back when it first came out I owned, played, and loved this game. Visually and in terms of atmosphere the location of Antescher is iconic. No other game looked like Ant Attack at the time. And the whole concept of exploring a mysterious city while being pursued by giant ants was both scary and cool.

The brilliant cover art by David Rowe also probably sold the game to 13-year-old me before I even loaded it from its cassette tape for the first time. I seem to remember that Ant Attack reviewed well in the press. I avidly read game reviews in magazines back then.

To flesh out my fond but fairly ancient memories of Ant Attack I was able to find a browser emulation of the game. Initially playing Ant Attack in 2026 proved awkward for me. Years of being spoiled with joypads, decent game cameras, and general ease of use meant that I felt severely hampered by Ant Attack’s keyboard controls and its limited viewpoints.

The game felt a bit laggy too. And thanks to those giant ants most of the time you’re operating in a state of panic. Faced with the prospect of death by mandible it’s easy to turn and speed walk the wrong way or blow yourself and your liberated captive up with a poorly thrown grenade.

But then again, this game is 43 years old, and I only played an emulated version. Regardless of its age Ant Attack probably still plays better on an actual ZX Spectrum. This classic and interesting game deserves to be remastered. It would be great if Sandy White’s groundbreaking creation was available on modern consoles and therefore became known and loved by gamers who aren’t yet in their fifties.

Regarding a possible remake/remaster, I don’t think Ant Attack’s graphics would need to change much, if at all. The visuals of this coding miracle (all that good stuff generated in just 48K) are so stylish and appropriate to the game’s story and concept they are etched forever in my mind.

Being chased through a geometric city by giant killer ants is one memory that tends to stick with you.

By reader Michael Veal (@msv858)

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With Nintendo rumoured to be planning a remake of one of their most beloved video games, a reader suggests a number of changes for a modern version of Zelda: Ocarina Of Time.

Nintendo don’t make a lot of remakes, but it’d be wrong to say they don’t ever do them. They are usually for more minor games though, like Super Mario RPG and a few Kirby games. It’d also be wrong to say there are never leaks about their upcoming games. It’s not common, unlike with other publishers, but it does happen – with Donkey Kong Bananza having been leaked years ahead of time, even if the information was a bit vague.

The latest leak didn’t really have any information though, beyond the fact that a remake of Zelda: Ocarina Of Time is coming. There’s no hint of who’s making it or how far it’ll go in changing things. Will it be a Resident Evil 2 style deal or something closer to the 3DS version of Ocarina Of Time, which was really just a remaster.

I have no idea, but naturally I’m hoping it’s as big budget an effort as possible, which seems likely if it’s supposed to be their key Christmas game. If it is that kind of effort though that implies changes – just like the Resident Evil remakes – and I have some ideas for what they could be.

I will say from the start, that I’m hoping the changes will be relatively minimal. I don’t think there’s any need to change the combat or (with one exception) the dungeon designs, but there is a lot of fine tuning that would be useful. However, another thing I don’t want them to change is the creepiness and weirdness of the game, which is more extreme than most of the modern ones – so it’ll need actually scary ReDeads and keeping the Forest Temple as it is.

The first change I’d make is simple: voice-acting. The most recent games have been slowly adding more but while I absolutely agree that Link shouldn’t talk everyone else should. It just spoils the immersion when they don’t, and I don’t believe they have it that way for any reason other than Nintendo don’t like spending money on actors.

Another big decision is the art style. It’s hard to tell whether the original was meant to be photorealistic or not, given the limited tech, but while it’s close I’d say it was stylised a bit and it should stay that way. Looking at character faces in particular, you can see a subtle cartoonish effect and I’d like them to keep that.

Some basic changes would be making Hyrule Field bigger and/or filled with more things and generally ensuring that the whole game is just one big open world, just with the same design as the original. That should be no problem given the last two games.

One of the biggest problems I can foresee is that Ocarina Of Time is a lot more complicated than a modern game, especially in terms of dungeon puzzles. It wasn’t considered particularly hard at the time but nowadays people aren’t going to be used to the lack of hand-holding.

The infamous Water Temple is going to flummox any younger gamer, so I think that either has to be changed or, and this would be my preference, they have alternative versions of the dungeons and maybe the game as a whole, with a lite mode that’s easier and simpler and the full fat version.

There’s a lot of other stuff that could be added, like new side quests (the original doesn’t actually have many), more monsters everywhere (again, there’s not many, which is probably because of the limitations of the N64), and maybe even a new dungeon (a lot of fans think there should’ve been a Light Temple).

On a story note, I’d also like some clarification on what happens to Navi at the end, hopefully leading into a tease about a Majora’s Mask remake. I never liked that her fate was never revealed.

Considering how beloved the game is and how many later ones copied it, especially Twilight Princess, I don’t envy whoever gets the job of doing the remake but I can definitely say that I will be there day one.

By reader Onibee

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A reader offers up his own personal list of the best male protagonists in gaming, from Super Mario to Resident Evil’s Leon S. Kennedy.

Video game characters are often discussed in terms of which is the best, most iconic, most memorable, and most favoured.

They range from characters who have appeared in only one title (Arthur Morgan) or legendary characters such as Samus Aran and Marcus Fenix, who have their own established franchises.

I’d like to take this time to list my own 10 favourite male gaming characters. I will list my favourite female characters in a future feature.

10. Mario

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Super Mario

The face of Nintendo itself. A plumber with a moustache and an unmatchable presence. Mario is without a shadow of a doubt the greatest and bravest plumber who ever lived and a bona fide legend of gaming.

9. Jin Sakai

Ghost Of Tsushima

One title to his name and what a beautiful story it was. Trained as a samurai and a journey to becoming the first shinobi. To visit his grave in Ghost Of Yōtei and claim his mask as Atsu was truly a heartwarming moment.

8. Nathan Drake

Uncharted

The character that I can relate to more than anyone on my list. I truly adore Nathan as a protagonist. Endless charisma and impeccable charm. A testament to the genius of Naughty Dog and a perfect series of performances by Nolan North. Nate is truly a special character.

7. Cloud Strife

Final Fantasy 7

It will be 30 years since his debut in 2027 and his presence still remains legendary. With a giant sword and spiky hair, Cloud remains a fantastic character and it’ll be a boon to see the third title in the remake trilogy and the continuation of Cloud’s journey

6. Ezio Auditore da Firenze

Assassin’s Creed 2

The man who remains untouched in Ubisoft’s long-running series. Charismatic, skilled and loyal to no end. Ezio will always remain the best of them all.

5. Leon S. Kennedy

Resident Evil

Where’s everyone going? Bingo? How could I not include my favourite Resident Evil character on my list? The master of one-liners and a guy who always puts others ahead of himself. Leon is the definition of a role model. Ada is a lucky woman indeed.

4. Master Chief

Halo

Prominently known as John 117. The single most badass soldier who ever lived and the face of the original generation of Xbox. Chief is the embodiment of a super warrior and it’ll be amazing to see his debut on PlayStation 5 this year.

3. Solid Snake

Metal Gear

Kept you waiting, huh? The greatest stealth protagonist of all time. The perfect weapon and a marvel at going prone. Snake is certainly an example to follow and is the reason why we have stealth focused characters such as Sam Fisher, Ezio, and Corvo Attano. He truly began it all.

2. Link

The Legend Of Zelda

A hero without fail. A perfect knight in shining armour. Link is yet another Nintendo legend and if it wasn’t for his continuing heroics, Zelda would have been long dead. He’s truly a perfect fighter and more than deserving to be on my list.

1. Kratos

God Of War

The epitome of character development and personal growth. A warrior. A father. A champion. Kratos’s journey is one of exceptional writing and a truly memorable story. From a vengeful killer without equal and a revenge tale spanning an entire journey to a hardened father, raising Atreus through a harsh and brutal Norse world.

To see where he began from and where we left him it’s, in my opinion, the best written character ever in gaming and my personal favourite male character. I could have given Arthur Morgan that honour, but I’ve yet to play through Red Dead Redemption 2 and for now I’ll say that Kratos is my all-time guy in gaming.

I cannot wait for the next evolution of his story and that will be the remake trilogy. I can’t wait to return to Greece and take vengeance once more on the pantheon.

By reader Shahzaib Sadiq



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With Resident Evil Requiem confirmed as a critical and commerical hit, a reader offers some spoiler free suggestions for what he thinks should come next.

I’m not sure when this will be shown, if it is shown, but it’s the 30th anniversary of Resident Evil on Sunday and I don’t think anyone could have asked for a better celebration. Not only is Resident Evil Requiem a great game but it’s done incredibly well in terms of sales, virtually guaranteeing we’ll get at least another 30 years of zombie blasting in the future.

I’m not going to try and predict what the Resident Evil of 2056 is going to be like but having played and enjoyed Requiem I do feel we can make some predictions and request for the next game, which I think will almost certainly be called Resident Evil X.

Who will be the lead is a bit hard to say but while it’s certainly Jill’s turn I do think they will start to move towards the Young Avengers line-up that they seem to be preparing, with characters like Rose and Grace. Perhaps it’ll be like Requiem, but with Jill in the Leon role and then Grace and her super friends as the alternative.

Not only am I happy to keep multiple playable characters but I’d also be fine with there being co-op. The difference is I’d keep the two players separate as much as possible. So like Resident Evil 0, but as if it had co-op. The problem with co-op in Resident Evil is that you can’t get scared if you’re not on own, but if you technically are, but you have another person helping you out, you’d hopefully get the best of both worlds.

So you’d have all the usual running out of ammo and getting menaced by Lickers, but there’d be some way for the other player to pass you items and then occasionally you’d meet up for more action style parts. It wouldn’t be an easy thing to design but with Capcom on fire at the moment I feel they could do it.

The best thing is, they could keep the two styles of gameplay from Requiem and just give it to one person, depending on what they preferred. Or they could let you tag team at certain points, so you get a taste of both worlds. I really do think it’s an idea that has a lot of promise.

In terms of what they could improve on from Requiem, I think one clear problem is the boss battles. I’d never really thought about it much until now, but Resident Evil has never been good at them. They’re fine in terms of the set-up and everything but the actual battles just make all the enemies bullet sponges and that’s it. Both the Resident Evil 4 and Requiem final bosses are really bad, and that’s a weird mistake to keep making.

The only good one that comes to mind is Krauser and that’s because you were fighting him like a relatively normal human, which is kind of cheating for Resident Evil (also, I still don’t really understand who Krauser is, even after all these years).

The obvious options are to either get in someone to design some proper boss battles, which should be easy enough for a Japanese company like Capcom, or just stick with something more puzzle-based. The final face-off with Nemesis in Resident Evil 3 (the original, not the remake) is still my favourite and it’s not really a traditional boss fight at all, Jill just flips a switch.

In terms of other issues from Requiem it’s really very minor. I’d like to have seen more puzzles; I know they’re silly but they’re part of the formula and they’re a good change of pace. I’d also like to see them iron out the storytelling unevenness a bit more. Requiem had serious parts and absolutely ridiculous parts full of jokes and it didn’t work for me.

You can still have some heartfelt moments in amongst all the cheese, but I think taking anything in Resident Evil completely seriously is pointless and potentially tasteless. The only other thing I’d say is don’t lean too much on nostalgia. There was quite a bit in Requiem but since it was the 30th anniversary I think that’s fine, and they didn’t go overboard.

But now is the time to try some new ideas and I think Requiem is actually a good springboard for that. New ideas, new characters, new monsters, and new locations. That’s what we need, after all there’s another 30 years of gaming to get through!

By reader Symbal

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Worried that many long running franchises are running out of new ideas, a reader suggests that pastiche is the best way to keep them interesting.

Is your favourite game series at risk of exhaustion and irrelevance? Are you worried about a dearth of new ideas? Do your favourite developers seem to struggle to figure out what’s next for their valuable properties?
‘’There’s got to be a better way!’’

I’m here to tell you that pastiches are the solution.

Pastiche (n)
1. a work of art that mixes styles, materials, etc.
2. a work of art that imitates the style of another artist or period.
(Collins definition)

I’m not talking about licensed spin-offs into different genres but the application of well-established, genre-defining ideas to properties and genres not historically associated with them.

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Here are some of my favourite examples.

Castlevania but it’s a role-playing game
Symphony Of The Night is closing in on 30 years of age but it’s still a top example of how to breathe new life into a series (and a scrolling action genre) that was potentially beginning to struggle in terms of relevance and ideas.

We’ve since seen the RPG-ification of pretty much all genres in one way or another, and there’s a reason for that. I’d consider Symphony Of The Night to be an early pioneer.

Prince of Persia but it’s a Metroidvania
Sticking with a theme for a minute, Prince Of Persia: The Lost Crown has probably been the best in the series over at least the past two decades. It demonstrates how even something that’s now as oversaturated as the 2D Metroidvania can still be fresh and compelling when applied to a series known for its fluid mechanics and satisfying challenges (or at least The Sands Of Time gave the Prince that reputation).

Shout out to Yoku’s Island Express as another pastiche in this genre. That, of course, representing the Metroidvania and the enduringly popular dung beetle simulator…

Pokémon but it’s Dragon Quest Builders
Builders was already a mix of Minecraft and Dragon Quest so Pokopia is worth bringing up if only to show you can nest your pastiches within pastiches.

But here we also have the most recent successful rejuvenation of an increasingly exhausted series as a result of looking more outwards in terms of both developer and premise. One well-executed mix and match has resulted in the most highly praised Pokémon game ever.

Zelda but it’s a rhythm action game
I won’t claim Cadence Of Hyrule: Crypt Of The NecroDancer was the pinnacle of Zelda but it was very worthwhile. Once again, this is the exact sort of approach Nintendo should be taking to keep its biggest and oldest properties fresh, and to attract development resources that’ll do them justice while we wait for the next killer app instalment.

Also worth mentioning is ‘Zelda but it’s a twin stick shooter’. I’ve yet to play Minishoot’ Adventures but there’s a reason it’s celebrated as more than just another Zelda or Geometry Wars clone.

Final Fantasy but it’s a Sekiro style parry fest
For those who could never gel with Sekiro: Shadows Die Twice compared to earlier From games, I’ll die (once) on the hill that says getting to grips with its combat is one of the most satisfying experiences available in all of third person action gaming.

Clair Obscur: Expedition 33’s application of that to a turn-based role-playing game was a masterstroke, to the point where someone like myself – who would traditionally try and avoid too many random turn-based encounters – was actively looking for a fight whenever possible.

It sounds like such a basic thing: when the enemy slashes horizontally, jump and attack. When they come at you with their rhythmic pattern, don’t block or dodge, but take the risk of a parry and you’ll eventually be consistently rewarded with counters that represent high-damage cinematic loveliness.

Gears Of War but it’s a bullet hell roguelite
Around these parts it’s probably accepted a bit more than elsewhere, that Returnal is one of the best games of the generation so far. I’m hopeful Saros will help players to draw out its merits more easily, so fewer are put off by certain design decisions.

Clearing a busy room by maximising the benefits of whatever set-up the game serves you felt balletic, psychedelic, empowering and – crucially – always engaging.

XCOM but it’s a deck builder
Speaking of making the most of the hand you’re dealt, when we first learned about Marvel’s Midnight Suns, the deck builder route attracted a lot of complaining, and I’d be lying if I said I wouldn’t want to see a more pure attempt at Marvel’s XCOM.

The apparent impact of Midnight Sun’s reception on key Firaxis talent is a modern industry tragedy but this is a great game in its own right, with the deck building encouraging some very satisfying moment-to-moment improvisation.

I hope these examples get the point across but here are a few suggestions for new genre mixes that I think could be quite powerful.

Mega Man but it’s a 3D Soulslike
I don’t like the idea of everything copying Dark Souls but I feel the genre’s properties could bring a lot to some games. The bosses, the difficulty, the level structure and the non-linearity of Mega Man are already all there in Demon’s Souls.

Start off in some sort of lab-based hub that branches into different zones. But this time Easy mode involves completing those zones in a logical order based on the abilities you earned from earlier bosses (Wood Man after Heat Man, etc). But on top of the abilities you acquire there are Soulslike attributes to level up and customise Mega Man.

To me it sounds like the best way to bring the series into the modern day (and successfully into 3D for the first time).

Titanfall but it’s a battle royale
This is what I sort of hoped Apex Legends would evolve into. To be honest I’m not sure it would really be better than the amazing Titanfall 2 – I’ve only dabbled in battle royale games so far – but it feels like a logical evolution in terms of scope.

Equal shout out to a Splatoon Battle Royale. I love that series, but it needs to branch out a bit now. Maybe the upcoming Splatoon Raiders will successfully borrow from elsewhere too.

Zelda but it’s a full-on survival game
I feel like some of the best parts of Breath Of The Wild were down to the survival lite resource gathering, but I also think some of the backlash against it came from a refusal to recognise that was a fundamental aspect of the game, at least at the start.

Eventide Island, where you’re stranded with barely a twig to your name, is a real series highlight. To double down on what was good about that, I’m thinking Subnautica, whether Zelda goes back to the sea or it just takes spirit of that game but stays on land or in the sky.

Tears Of The Kingdom was criticised a bit for the arguably unfocused applications of its building system. Let’s see that game’s emergent interactivity mixed with Subnautica’s branching craft-based objective systems and settlement building.

I want to see Link (or Zelda) start with nothing and progress to running a fully customised resource rich estate with a permanent fleet of crafted vehicles and powerful weapons. But with the well-designed dungeons and compelling overworld that Subnautica lacked.

Super Mario but it’s Breath of the Wild
Many will no doubt roll their eyes at the suggestion of another tightly designed series moving into the less focused realm of open world but I’m standing my ground.

I’m sure Sonic Frontiers gives a rough idea of what I’m thinking (maybe it’s one of the reasons GC were fans) but I haven’t played that yet. The basic principle for me is nonetheless that Zelda brought as much to the open world format as the series took from it, and I’d have to think the peerless level of invention associated with Mario would make it an equally great contributor to open world design.

I’d like to hear from others regarding existing examples and suggestions for great genre mix-ups. As I’ve tried to show, it’s long proven to be a way to keep things fresh and interesting but I never seem to see it discussed and acknowledged as much as I’d expect, either as a solution to creative stagnation or commercial struggles.

By reader Panda



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With the latest Resident Evil game proving to be a major hit once again, a reader explains why they’ve been a fan of the series for three decades now.

Resident Evil is going to turn 30 this month and that worries me because I remember playing the original as a kid (my parents were very lenient) and, well… time certainly does fly. I’ve played almost every Resident Evil game over the last three decades and I love the series more than any other.

Despite all the brain-eating zombies and disgusting mutations, playing Resident Evil is my comfort food. I’m never happier, when playing a video game, than when I’m being scared and thrilled and grossed out by a new Resi.

As I sit down to write this it’s actually kind of hard to explain the appeal of the games, even to another fan. Since Resident Evil 4 they’ve been great action games, but they didn’t start that way. And while some can be very scary at times, especially Requiem, they’re generally more tense than frightening.

They also have an ongoing story that spans that whole 30 years, but it’s complete nonsense and the scripts are always terrible – which is one of the things I love about it the most.

Resi games can be funny, but not always intentionally and they’re not straight up comedies, like something like Army Of Darkness or Shaun Of The Dead. They’re great third person combat games a lot of the time but that never dominates the games and, strangely for a Japanese franchise, the boss battles are often not that memorable.

Despite how often they’re copied, they’re strangely unique games where even today you don’t know how much of what you enjoy of them is intended, when it comes to the camp and corny dialogue. It has been hit and miss in the more modern games, because it’s hard to be bad on purpose and still be entertaining.

Thanks to Resident Evil 4, Leon S. Kennedy has always been the funniest of the main characters, with his bad jokes and one-liners. He’s also the best looking of the men, with his famous hair and manly stubble. He’s meant to be 50 in Requiem, but he barely looks it and certainly doesn’t move like he’s that old. But I guess the idea is that he’s not just aging with the games, he’s aging with his audience too.

Almost everything that comes out of his mouth in Requiem is hilarious, with dad joke after dad joke, and all delivered with the ultra-confidence that comes from being an invincible video game character.

To my great pleasure, Requiem has been a big hit – the fastest-selling entry for the series – and we’ve still got whatever Capcom might announce for the 30th anniversary itself (on March 22) to look forward to. I’ve seen people saying that it’s proof that big budget single-player games can still be successful and I’m glad of that too. It’s good to see Resi still leading the way after all these years.

For me Resident Evil will always be the perfect video game, in that the gameplay is great, the storytelling is entertaining (bad but in a good way), the graphics are top notch, and the whole thing is weird and fantastical in a way only a video game can be.

The Resident Evil movies are shlock, just like the games, and they do have some of the same DNA in the so good it’s bad sense, but it’s only the dialogue that’s like that in the games. Everything else is the best it can be and that’s certainly not true of the films.

The mix of elements that is Resi only works because it’s a video game, where you’re able to put your own spin on things, and read between the lines, while you’re playing. I love it and with Requiem it feels like the future is looking very bright for my favourite video game series.

By reader Cher

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A reader paints a grim picture of the end game for the video games industry, and how the current financial system is disincentivising innovation.

The video game industry is in crisis, and I don’t see a way out of it. In many ways it is a textbook example of what happens with any industry. As readers often point out, every company is in it for profit. This is a basic truism. But the important thing for any business is that it doesn’t end there. It is essential that to remain in competition and therefore profitable, a proportion of the profits realised must be thrown back into circulation, effectively to enable the company to grow.

Take DMA Design as an example. They started out as a small studio based in Scotland that produced a successful game called Lemmings. As with any company making goods (not, in other words, finance capital which makes profit through interest, or owners of land and intellectual property which make profit from renting them out), an initial investment (startup capital) is required for any idea to get off the ground.

DMA Design would have had a small amount of investment capital (perhaps from a bank or, as often is the case, from wealthy parents) used to purchase means of production (MP) such as computers, offices, and so forth and, crucially, to pay the wages of a labour force (LP or labour power) to make the game.

But the investment is only realised as profit if the game is sold at a sufficient price in sufficient numbers for a return on the investment to be made. In other words, to receive an amount of money that not only recovers the costs but to expand on the original investment. With the additional money now available, they can afford to scale up by purchasing additional MP, hiring more staff, and producing more ambitious games that take longer to make before a return through the sale of the game can be made.

Small companies like DMA Design may be profitable but they’re exceptionally vulnerable to changes in market conditions whereby an unsuccessful product or, as is often the case, changes in the economy that detrimentally impact profit margins make them ripe for acquisition. Even if successful, larger companies viewing them as competitors or wanting an easy way to expand their portfolio, perhaps through ownership of successful IP, have the resources to make a hostile takeover bid or offer enough money to entice the owners to sell.

DMA Design is now known as Rockstar North, a subsidiary of Rockstar Games which in turn is owned by Take-Two Interactive. From video games that took thousands of dollars to make to ones such as GTA 6 which cost many millions and take years to make, the greater the level of investment, the more that is at stake, the larger the market needs to be for profits to be realised. This breeds conservatism. We all want GTA 6 to have vehicles that drive like those in Forza Horizon or gunplay like that in Destiny. Don’t count on it.

Competition does not in itself drive innovation. If anything, as we have seen with Sony’s race to produce the next Fortnite, it tends if anything to lead to conservatism. There is an apparent contradiction here. As we know of Nintendo’s history of (relative) failures, whenever they lose market share, they tend to produce new and innovative products to recover it. Their successes with the Wii and Switch are cases in point.

But rather than leading to more innovative products and cutting-edge software, as we are seeing with the Switch 2, success tends to breed complacency and conservatism. Nintendo is a market leader. By successfully competing against far larger firms, such as Sony and Microsoft, they have a formula that appears to work. So why change it?

In the case of Nintendo, rather than focus on what they do best – make cutting edge software based on innovations in console and controller design – they appear instead to be cashing in on the Switch’s success with more of the same. Worse for gamers, they appear to be shifting focus by cashing in on their brand and IP through movies, theme parks and so forth.

Instead of making what every gamer wants – Half-Life 3, Left4Dead 3, and Portal 3 – Valve, by comparison, have put all their resources into Steam and are seemingly doing well out of it. So why bother making Half-Life 3 if they can turn (more of) a profit with Steam? Or in the case of Nintendo, if they can make huge profits from movies, why bother with video games as it becomes increasingly difficult to make the equivalent profits from them?

These companies are ‘innovating’ but not in the ways that gamers would like them to.

What prompted me to write this piece is the excellent article by Adam Starkey that catalogued all of Microsoft and Sony’s recent acquisitions. This is set to continue. As we have seen with other media industries, there is a tendency towards concentration or monopolisation as the larger companies with vast resources able to withstand broader economic problems buy up competitors. From the perspective of gamers, this would not be such a bad thing if their aim was to inject money into them by supporting the development of software and thereby the labour force that makes it.

But in many instances, it makes economic sense to close the company down, thereby removing a competitor (or the prospect of another company purchasing them), and stripping them of whatever assets they can capitalise on. They may well be able to make a profit on some of that IP, just not as much as they can in the short term in other ways, especially if it increases shareholder value.

If Nintendo are the angel of the big three, it is because they are unable to compete on these terms. As video games are their primary source of income (for now), they need to turn profit on the consoles they make and through their IP, where they do have a competitive advantage, continue to make video games that people will want and can afford to purchase (at least in sufficient quantities to make a profit).

The source of what adds value to their IP, making it cutting edge, is their highly skilled and talented labour force. Unlike Sony and Microsoft, they cannot afford to lose them. If, however, they continue to shift focus towards monetising their IP through movies and such like, and are successful in these regards, they too may go the way of Sony, Microsoft and Valve and shift their focus entirely.

Their business model, which has proven so successful and in many ways is the linchpin of the whole industry, is vulnerable. Ultimately, they, with a market cap of approximately $75 billion, could go the way of their competitors and become ripe for acquisition too, perhaps by Microsoft (with a market cap of $3 trillion) or Disney.

Things are only going to get worse. The combination of tariffs and the rising prices of rare minerals, RAM chips and so forth, is a threat to the entire industry.

It is worth distinguishing here between the mass and rate of profit. To make themselves more competitive than rivals, larger companies can afford to lower their margins. To simplify things, if the cost of MP (machinery, plant, raw materials and so forth) and LP (the cost of employing labour) to produce 1,000 units is $1,000 dollars, it costs $1 per unit – the commodity such as Super Mario.

If each unit is sold on the market for $3, the mass of profit is $2,000 dollars for the 1,000 units sold with a rate of profit (not accounting for other costs such as taxation) three times the cost of production (MP and LP). By reducing the price of the commodity to $2, they still make a profit of $1,000 on 1,000 units sold. The more units that are sold, the easier it is to lower the margins to the point that only a fraction of profits are realised for every unit sold.

So, if 10,000,000 units of Super Mario are sold, even with a rate of profit at a tenth of the cost of production the mass of profits is still relatively high. In other words, larger companies can afford to lower their margins to fractions, thereby undercutting their competitors and still generate healthy profits.

The problem is that their competitors will sooner or later be forced to do the same, lowering margins to the point that any change in the economy, such as an exponential increase in the price of RAM chips affecting the whole industry, quickly turns profit making companies into loss making ones. While Microsoft has access to vast amounts of investment capital to weather such loses, smaller companies don’t. They either go under or get bought out by the larger ones, leading to further concentration. This is happening today.

It gets worse. Trillions of dollars are today being invested in AI (in the US) on the speculation that this will eventually enable companies to cull their labour force and thereby lower the costs of production (although gaining hegemony over China will be driving a lot of this investment). Not only does this create the immediate problem of rising costs of RAM chips and, unable to get a return on the vast investments, the likelihood of the AI bubble bursting, leading to a global depression, but even if ultimately integrated into the productive economy to reduce labour costs (assuming that is an incentive), another problem arises.

As more people are replaced by AI there are fewer consumers to purchase the goods, making it harder for companies making things to realise profits. It is an obvious point that the more naïve investor seems oblivious to, namely that to realise profit consumers with the wage capacity are needed. AI may eventually replace workers (up to a point), but it cannot replace consumers. This is one of the many contradictions that ultimately lead to the kinds of crisis we are now in.

Where does this leave the video game industry? To put it in colloquial terms, up the proverbial creek. While Japan has tighter regulations on acquisition than the US, which may afford some protection to Nintendo, without (further) state regulation and protection of their industries, it is hard to see how the industry in its current form can survive.

Small independent studios struggle enough as it is, but they are exceedingly vulnerable to any change in the economy that increases the cost of production or diminishes the capacity of consumers to purchase their games. Even those that remain profitable are vulnerable to acquisition through the further consolidation of big tech companies whose monopolies have far greater ramifications for society than they do the video game industry. But they too risk becoming victims of their own success as more people are thrown into poverty.

It is human labour that the economy ultimately relies on. More precisely, it relies on productive labour, the sort that makes things like video games. Finance capital does not produce anything. As with rentiers, it leaches on the productive economy. Profit ultimately relies on the sale of things produced by human labour and purchased through the wages they receive which, in the case of video games, needs to be above subsistence levels. In a cost-of-living crisis set only to get worse, something must give. The video game industry is a microcosm of a general crisis and perhaps one of its earlier victims.

I say all this as a wage earner able to afford the hotly anticipated Resident Evil Requiem. But I wonder for how long I will have a job or a wage sufficient to enable me to fund my hobby. Moreover, I wonder for how long there will be games like this or Super Mario when it is becoming harder to realise profit on such vast expenditures (or easier to make quick profits from financial investments and the renting of IP as platforms, such as Steam do).

Those produced for a fraction of the cost by so-called indie developers, which some see as a great white hope, are even more vulnerable to all the things that today make the headlines and is causing so much hardship and grief. Brace yourselves. Nobody is immune.

By reader Ciara

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Cosy games like Stardew Valley are more popular than ever and a reader has an idea for simulating the slowest, and most relaxing, form of water transport.

One of my favourite pastimes beyond the digital world is getting out and about on the waterways by foot. Over the last decade I’ve been walking along the Grand Union Canal and River Thames, appreciating the beauty and solitude of the waterways, imagining ever so briefly giving up the world of banking and a fixed abode and sailing the canals, moving from place to place in a transient lifestyle.

One of my secret guilty pleasures is a niche Amazon series called Travels by Narrowboat, where a recently separated man used the money he had left to buy a narrowboat to explore the canals and rivers around the UK. It’s a series you can switch on and listen to the sounds of the canals and countryside in the background. It felt very familiar – having walked a great deal of one particular canal over the years – and made me consider whether a game based on this pastime could work, or is it entirely too narrow an idea to appeal towards a big enough audience and demographic?

Sailing simulators exist, certainly, but they tend to replicate and recreate the excitement of sailing the seven seas. I can’t imagine there’s a high demand for taking a narrowboat up the Grand Union Canal, from London to Birmingham, through a mixture of the suburbs and countryside.

Recently, I was playing around in the virtual sandbox of Watch Dogs Legion, exploring its virtual depiction of London in the near future, when I suddenly remembered you can ‘hijack’ and sail on its limited waterways on a narrowboat. Admittedly, they are a basic form of a tank on the water, due to their length and limited mobility, but for a few brief moments sailing near the Camden basin, it was fun to experience a slight hint of what I imagine a narrowboat sailing game could be, stripping away the bright lights of the city and placing you onboard your own boat heading out into the countryside.

In recent months I’ve been trying to get into the discipline of walking every day to improve my fitness and health, if only for a couple of miles using the stillness of the waterways around my flat to inspire me to get out and about, even if I’m feeling tired or unmotivated. I love the peace of walking along the towpaths with only the sounds of nature and the smell of wood fires from the narrowboats in the mornings to distract me.

It’s a wonderful space to be in mentally, to tune out a lot of the noise of the outside world, to focus my thoughts and feel more energised for the day ahead. One aspect of the long walks, that tailed off a little towards the start of the year, was the peace of being alone for three or four hours surrounded by the countryside/ I got that feeling again watching the narrowboat series, which inspired me to consider how a game based on that experience would be received by a modern audience?

I envision an open world environment of sorts, that seems relatively easy to bring to the virtual domain. Long stretches of open but relatively narrow canals passing through the countryside, with brief passages through rural and urban environments. From a gaming perspective, the option to customise your narrowboat both on the exterior and interior living spaces came to mind.

You could add a simulation experience in the vein of Sailaway with seasons affecting the natural environment around you. The appeal wouldn’t be in the challenge, it’s in presence. You’d drift slowly between rural calm and urban grit, the canals acting as veins through Britain’s changing landscape. There’s quiet joy in the rhythm of slow travel, managing your floating home, and choosing where to moor next. From a thematic perspective, it could draw upon solitude after change, rediscovery of purpose, and the healing rhythm of movement.

It wouldn’t be a mainstream release, the idea of giving up the trappings of modern life and sailing a slow-moving canal boat through the urban and rural environment is a distinctly British mindset and a relatively niche game to consider. It would fit into that relaxation sim style genre, in the spirit and tonal design and aesthetic of Eastshade and Lake. There would be no traditional motivation to win, the emotional core of the experience would simply be to provide an experience to unwind in a relaxed environment.

That experience is about mindfulness, solitude, and the small pleasures of everyday life on the water. It is a story-less narrative, one told through mood, environment, and rhythm rather than scripted dialogue or quests. Each stretch of canal becomes a space for self-reflection – an unhurried journey where the act of moving forward, no matter how slowly, becomes its own quiet reward.

I imagine a style of soft textures, muted colour palettes, and natural lighting that evoke the gentle melancholy of a Turner landscape or a misty English morning. A game inspired by the seasons, rich autumn golds, pale winter blues, the vivid greens of spring, the environment subtly shifting over time to reflect the passing of the year.

Narrowboats, towpaths, and small towns would be rendered with care and intimacy. Weathered bricks, flaking paint, ivy creeping up an old lock wall. Every detail tells a quiet story, every journey along the canals and waterways a unique tapestry. The early mornings and late afternoons drenched in sunlight, the gentle patter of rain on the rooftop evoking a sense of emotion. Soft lights at nighttime reflecting on the water surface creating a feeling of isolation.

Breaking down the game mechanics, you can easily imagine some of the more obvious concepts, resource management carefully balancing the demands of stopping for fuel, food, and water along the way. Upgrade and customisation: do you stay with your original purchase or invest in solar panels and upgraded wiring to make a more modern experience? You could meet other boaters along the way, creating interpersonal relationships with those you meet on the waterway. You could have seasonal weather impacting on your journey and tonal experience.

The isolation of sailing in the winter contrasts with the spirit of exploration in the summer months. You could have an easy mode, in the spirit of modern day open world adventures, where some of the more challenging aspects of sailing run in the background, or a more challenging experience where you have to navigate the canals and locks with meticulous attention to detail.

In the end, it’s just one man’s idea for a game, something modest in its appeal, perhaps, but heartfelt in its intent. A game for those who find beauty in the slow pace of life, who seek calm amid the noise of the modern world. There are no scores, missions, or achievements here; only the steady, familiar pulse of a diesel engine echoing softly along the waterway. You could expand on the technicalities of steering a boat or navigating the locks, but I feel that would take away from the spirit of a game like this.

In the spirit of farming life simulators like Animal Crossing and Stardew Valley, it offers a space to unwind, to find meaning in small routines and quiet reflections. The concept of a slow, transient lifestyle feels both nostalgic and quietly radical in a culture that moves too fast. Maybe that’s the point. Sometimes, moving slowly is the truest form of progress. And peace, when it comes, is found not in arrival, but just beyond the next bend in the water.

By reader comfortablyadv (Facebook/Instagram/X/WordPress)

The reader’s features do not necessarily represent the views of GameCentral or Metro.

You can submit your own 500 to 600-word reader feature at any time, which if used will be published in the next appropriate weekend slot.

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With hints that both Sony and Microsoft are moving back to focus on single-player console exclusives, a reader is relieved at the idea they’re changing their approach.

It’s not been easy being a PlayStation fan this generation. We’ve had some great games – by the time you read this hopefully I’ll be playing Resident Evil Requiem – but not nearly enough of them have been from Sony. Naughty Dog still hasn’t made a new PlayStation 5 game yet and we’re six years into the console’s lifetime.

These complaints are not new, of course. After all, six years is plenty of time for people with much more insight than me to complain about Sony’s bizarre, self-defeating attitude. Although the story this week, of them managing to schedule betas for both their upcoming live service games at exactly the same time really did take the biscuit for me.

That takes a special level of laziness and indifference and while I don’t care, because I don’t like those sorts of games, it really does sum just how incompetent they’ve been this generation. And yet, to my surprise, there has also been some hope, with talk that Sony is pulling back from their PC support.

This wasn’t just some guy on Reddit but two of the most reliable and respected leakers in the business, so there’s every reason to think it’s true and that Sony is beginning to realise that it was shooting itself in the foot with PC ports, swapping short term games for the long-term health of their console business.

There was an open goal for Sony this gen, where Xbox was in absolute disarray and had no first party games that anyone cared about. Considering how good Sony had been in the PlayStation 4 era this was the chance to deliver a killing blow but instead they did the opposite and essentially started to copy Xbox. Because clearly a Switch port of Patapon and The Last Of Part 1 on PC is going to be the difference between financial success and failure.

The money they make with multiformat releases is relatively miniscule but the amount they lose, in terms of undermining the whole purpose of consoles is enormous. But if these rumours are right they have finally realised what they’re doing is wrong and damaging. One can only hope they feel the same about live service games and that was in fact one of the other rumours this week, albeit from a leaker I’d never heard of before.

And then at the same time essentially the first thing the new boss of Xbox said, in reply to random Twitter fans, was a hint about bringing back exclusives. She didn’t say which ones, and I suspect she has no idea how hard that would be, but I think it’s very interesting that she recognises that it would be a good idea.

So all it’s taken is six years and suddenly the two big console manufacturers have realised that the status quo of the previous 40 years was in fact the best way to do things. What a complete waste of time, with a ridiculous business plan based on nothing but hope and vibes.

Running a console business isn’t hard. You make the console, you let other people make games for your console, but you also set the standard with your own games. First party games get to show off the technical abilities, they take advantage of the console manufacturer putting a lot of money into it, and they provide a specific, exclusive reason for people to buy the console over a rival’s.

It’s not rocket science. It’s also not anti-consumer or whatever other nonsense Microsoft has tried to say over the years (mostly driven by their CEO, I suspect, who constantly proves he knows nothing about games). You don’t like how Sony does business then go buy a PC, nobody’s stopping you.

That’s the way consoles have always worked and there’s never been a problem until now. (I also resent the idea of upgrade consoles like the PS5 Pro. The whole point of a console is everyone has exactly the same hardware).

So please, Sony and Microsoft, admit your mistake and go back to how things used to be. Innovation is needed in hardware and games but not in the way the industry works. That was all going fine until you messed it up for no reason, and now you have to try and put it back together again.

By reader Gollum

The reader’s features do not necessarily represent the views of GameCentral or Metro.

You can submit your own 500 to 600-word reader feature at any time, which if used will be published in the next appropriate weekend slot.

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A reader puts the blame for Xbox’s current problems squarely on Microsoft, blaming management failures, a lack of vision, and unwillingness to take risks.

It was November 2001 when Microsoft entered the gaming console arena. The green, cyberpunk style dashboard was dazzling, and it had one true game-changer: Halo: Combat Evolved. Players could battle grunting aliens across vast landscapes and drive amazing vehicles. Not only did this elevate the game to new heights, but it also drew huge crowds to the console.

In 2004, Microsoft dropped the price of the Xbox to an affordable £149. Sales increased, and Microsoft had established itself as a major player in the industry.

The Xbox 360 followed and held a firm grip on the market, even with the infamous Red Ring of Death incidents. It seemed Microsoft was poised to do for gaming what it had done for operating systems and office software – but that changed. You could blame Nintendo or PlayStation for focusing solely on consoles, rather than trying to turn them into all-singing, all-dancing media hubs.

In 2017, Microsoft launched Game Pass, positioning it as the ‘Netflix of gaming’. But Netflix does not release brand new, unproven films on the platform immediately after production. How can a studio make real profit that way?

Instead, Microsoft thought it clever to release major games like Starfield on Game Pass on day one, rather than waiting at least eight months to a year. With over 10 million players engaging with these titles but only an estimated 1 to 2 million Xbox users purchasing the actual product, out of a 34 million strong userbase, this represents a major shortfall.

Microsoft is not destroying its Xbox base through a lack of games, but through a lack of foresight. Day one releases should not exist on any gaming streaming service. Xbox titles should launch traditionally, for at least eight months to a year before being added to Game Pass.

Xbox is being suffocated by Microsoft, kept afloat only by PlayStation and PC purchases – and perhaps soon by the Nintendo Switch 2 platform. It is sad to see. Within five years, I believe the Xbox platform may cease to exist – not because of its fanbase, but because its owner has never truly learned how to compete in the gaming space.

Look at Sony and Nintendo: gaming consoles are not PCs. Streaming should give players choice, but it should not starve production studios of the glory – and profitability – of successful launches. You may disagree with this article, but you will likely agree that Microsoft is losing with Xbox; not because of the fanbase, but because Microsoft itself is no longer a fan of the Xbox.

Maybe I sound harsh, but I remember the original Xbox. Microsoft promised a multiplayer experience. One example was a game called Brute Force, a brilliant title where you control four characters on a mission. It had four-player local support, but everyone was waiting for the Xbox Live add-on. Microsoft again underdelivered, not realising that adding this component would have boosted sales and expanded its catalogue of exclusive titles. Instead, they prioritised the Halo explosion.

Look at Nintendo and Sony: they protect exclusives because good products sell consoles. Consider No Man’s Sky – not exclusive to any platform – but the studio persisted despite a rough launch. Their belief in the project created growth in a small but talented production team. I mention this because Microsoft has repeatedly given up on gaming projects, stifling the growth of Xbox exclusives.

Perfect Dark was cancelled – a perfect example of Microsoft destroying its own platform. With over a million units sold on the original Xbox, cancelling a sequel makes little sense. A return on DLC and season passes could have bolstered profits and helped sell the Xbox Series X in solid numbers.

Microsoft owns Activision, which promised exclusive games for Xbox, but instead the company cancelled titles as the new owner. Did you know Microsoft lost $300 million putting Call of Duty on Game Pass? Someone should have been held accountable for that decision.

Microsoft is destroying the Xbox – not because it can, but because it lacks vision. Leaders like Steve Jobs, Tim Cook, Elon Musk (yes, I said it), and Bill Gates understood customer needs and delivered great products that were also profitable. Xbox, unfortunately, will fade because no one at Microsoft is taking bold enough risks.

Goodbye, Xbox. It’s sad to see the Chief Master lose the fight.

By reader S.D.E Wilson

The reader’s features do not necessarily represent the views of GameCentral or Metro.

You can submit your own 500 to 600-word reader feature at any time, which if used will be published in the next appropriate weekend slot.

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