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.

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It was one of the most influential games of the PlayStation 1 era but how does Metal Gear Solid stand up almost three decades later? A reader is surprised to find out.

Alaska – Bering Sea. A submarine cuts through the murky ocean depths. Tonally and in terms of production values the score that plays infers that you’re watching a scene from a Hollywood action movie. But this isn’t a movie, although in many respects you get the impression that it wants to be. What I’ve described is the opening cut scene of Metal Gear Solid, a game that I adored many years ago. Since I still have my original twin disc copy of the game I thought I’d replay it from start to finish on a PlayStation 2 [presumably via The Essential Collection – GC]. Would this much revered classic be as good as I remembered?

You are Solid Snake. Your mission: infiltrate a terrorist stronghold, free a couple of hostages and investigate a possible nuclear threat. Do this with the clothes on your back, a CODEC receiver/transmitter, a scope, and a packet of cigarettes. For this mission weapons and equipment are OSP – on-site procurement. In terms of real-world logic our hero’s initial loadout is ludicrous. However, starting out with close to no items in your inventory does turn the game into a big treasure hunt. And in this case that treasure is military hardware: thermal goggles, chaff grenades, C4 explosive, Stinger missiles…

Replaying Metal Gear Solid it took me a while to adjust to the top-down view that it uses, which when compared to the presentation of modern big budget games seems basic and regressive, but provided that you make use of the radar in the top right corner of the screen the gameplay of Metal Gear Solid still works perfectly. Nearly three decades have passed and yet Shadow Moses Island prevails as a wonderous gaming world to immerse yourself in. Who cares about blocky graphics when the interactive picture those graphics paint is so atmospheric and nuanced?

While you sneak around the overrun military base, patrolling enemies yawn, stretch, fall asleep, and follow any footprints in the snow that Snake makes. The warmth of an enemy’s breath shows up as mist. Make a guard suspicious and a question mark appears above their head. Alert a guard and their heightened awareness is indicated by the now iconic exclamation mark.

On this playthrough I surprised some mice in an air vent. Little exclamation marks appeared above the rodents’ heads when they saw me and scurried off. Half the fun of Metal Gear Solid, and the franchise overall, is discovering these quirky and innovative details.

This time around I had problems defeating each and every boss in this game, I expect due to a substantial lack of practise. But the rogue elements of Foxhound are so atypical and entertaining that even when they kill you it’s hard to resent them. The game certainly wouldn’t be the same without their presence.

For instance, Cyborg Ninja still made an impression on me, or rather his introduction did. Walking down a corridor littered with bleeding corpses flung this way and that you feel like you’ve mistakenly strayed into a survival horror game. This part of Snake’s mission flags up another recognisable trait of the Metal Gear franchise, for better or for worse: tonal inconsistency.

Those melodramatic cries on the cool-looking Game Over screen. SNAAAAKE! Are those outbursts meant to be funny? They made me laugh every time I heard them.

Then you’ll get characters that appear to fall in love over the space of an hour or so, having never met. Otacon and Sniper Wolf. This entirely one-sided romance is so phoney, and yet the game tries to tug on our emotional heart strings when one of them dies.

Snake himself seems like a decent bloke. A moral, modest underdog and so it’s easy to side with him. And then the expert operative tells Meryl that she’s got a great butt. Wow. With chat up lines like that Snake how can any woman resist you?

Predictably, since I haven’t attempted this sneaking mission for at least a couple of decades, I had trouble beating Metal Gear Rex near the end of the game. This boss battle has two phases. In-between the first phase and the second phase there’s a cut scene that you’re forced to watch again and again if you keep losing the fight. I couldn’t skip this moment, which made it seem like a sadistic punishment for dying.

After finishing Metal Gear Solid I wanted to play through the game again. To me that’s clear evidence of its quality. The good parts of Solid Snake’s PlayStation debut certainly outweigh what’s bad. But what’s bad about the game is bad with a capital B or rather misjudged to an extent that these flaws clearly stand out.

Saying that, even after recently experiencing them I can tolerate Metal Gear Solid’s annoyances because they’re counteracted with flashes of genius. The location of Meryl’s CODEC frequency. Homing in on your target in first person view with a Nikita remote-controlled missile. Psycho Mantis breaking down the fourth wall and messing with your game console. Cooling down and heating up the PAL card. What other game allows you to sneak around and fast travel inside a cardboard box?

All of that gaming gold is probably worth having to read your way through line after line of CODEC exposition. And sweet as she is, I wish Mei Ling would learn the value of concise verbal exchanges during an active mission. Yes, Mei Ling, I want to save. That’s kind of why I called you. No, please don’t tell me another Chinese proverb, unless it’s one about the benefits of radio silence.

By reader Michael Veal (@msv858)

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.

Just contact us at gamecentral@metro.co.uk or use our Submit Stuff page and you won’t need to send an email.

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