An increasing tension between players and publishers about ownership of titles could lead to a divestment from the system the big companies are trying to enforce

At the time of press, there is a well-publicised protest taking place in the video games community. PlayStation 5 owners are being encouraged to log off from their consoles between 23 and 30 August – no playing games, no downloading new titles. The motivating factor is Sony’s decision to cease physical game disc production from January 2028. After that, games will only be released as digital products. In an act of poor timing or wilful defiance, Sony chose this week to send out a mass email reminding customers of their PS5 terms and conditions: “The software is licensed to you, not sold,” states the relevant clause. “You are granted a limited, non-exclusive, non-transferable, and personal license to play … ” It knows, of course, that most customers won’t open the email, let alone read it.

There has always been a tension between game players and game publishers – an underlying sense of mutual mistrust. Players are wary of their favourite franchises being canned, or games being delayed or released with bugs. Publishers and manufacturers are wary of piracy and the capricious tastes of consumers. But now the atmosphere among many game players feels more starkly political than ever. Microsoft has been targeted by the Boycott, Divestment, Sanctions movement for its ties to the Israeli military; the consumer advocacy group Stop Killing Games is gaining support; players have protested over the purchase of Electronic Arts by a Saudi-led consortium – boycotts have been proposed in part due to the possible ramifications regarding LGBTQ+ content in titles such as The Sims. As the games industry has grown and globalised, its impact on culture, society and politics has increased. Yet, on an individual level, gamers and consumers are feeling increasingly powerless.

Players will get what they expect from the new CoD title: boots-on-the-ground military action with a slight tactical edge. But what’s with all the distractions?

There’s a lot riding on this year’s Call of Duty, the inescapable first-person shootfest that’s been lobbing a grenade into the autumn release schedule since 2003. Previous instalment, Black Ops 7, performed poorly compared to previous titles, forcing Activision to post a semi-apology to fans. And that’s not the only challenge Modern Warfare 4 is facing: there’s a new indie shooter, Wardogs, promising a feel somewhere between classic CoD and Classic Battlefield. Then, lurking on the horizon, in mirror shades and an exotic sports car, is Grand Theft Auto 6, which is surely going to smash and grab all the attention (and money) from the market in mid-November.

The good news is that, judging by the early access beta test that ran over the penultimate August weekend, we’re definitely getting what we expect from a Modern Warfare title: quasi-authentic boots-on-the-ground military action with a slight tactical edge. The weapons and general gunplay are highly effective, from default assault rifle, the Han 86 – a classic CoD beginner’s gun with decent fire rate and handling – to the bullet-spraying Nightshade SMG and the absolutely lethal KG-7 Vulcan sniper rifle. They all feel good to hold and fire, and there’s enough balance to let you experiment with slightly more offbeat numbers like the burst-fire Hyeon AR and the possibly overpowered Mar-9 marksman rifle.

As gaming’s biggest publishers retreat into safer bets, a new generation of independents are building an alternative from the ground up

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During the 1990s, a new strata of independent film studios and distributors revitalised the Hollywood movie machine. The likes of Miramax, New Line Cinema and October Films challenged the ageing behemoths of the industry and pushed forward offbeat directors such as Quentin Tarantino, Darren Aronofsky and Jane Campion. The decade is widely considered an artistic high point for western cinema after the bloated mainstream excesses of the 1980s. Could something similar now be happening in games?

Certainly, we have a comparable setup. The big players of the games business are in various states of creative disarray: Electronic Arts (EA) has been bought out by a Saudi-led consortium, which is likely to lead to more cautious, hit-driven decisions; Microsoft bought Activision and Bethesda and then ordered waves of redundancies; Ubisoft has cancelled several titles and is posting big losses. Those companies are also facing rising development costs, so they’re circling the wagons, focusing on legacy brands and freezing recruitment. It’s hard to imagine any left-field works of genius emerging from this imaginative quagmire.

Sonic’s creators explain how the speedy scamp has kept on running through generations as an enduring avatar of ‘attitude in the face of adversity’

One day in the early 1990s, I came home from university for the weekend and discovered that my dad had bought himself a Sega Mega Drive, bundled with a copy of Sonic the Hedgehog 2. I knew about Sega’s mascot of course. The launch of the original Sonic the Hedgehog game in 1991 was a landmark moment for the company, massively boosting the sales of its 16bit console in the west, ripping market share from the dominant Super Nintendo. While Mario was the family favourite, Sonic with his speed, attitude and brash visual energy encapsulated the edgy spirit of the early 1990s MTV culture. That weekend, Dad and I did little else but team up for daylong Sonic sessions, the game’s two-player mode letting us play cooperatively as we zoomed through those dense, beautiful play zones.

Thirty-five years later, I am still a Sonic fan. There have been plenty of rough times (Sonic 06, Sonic and the Secret Rings, Sonic Free Riders – sorry, I can’t go on), but there have been plenty of good ones too. (Rush, Mania and Colors, and I have a soft spot for Sonic R, a racer developed by Traveller’s Tales, which went on to make the Lego games). Few people know this rollercoaster better than Takashi Iizuka, who worked on Sonic 3 as a designer and has been series producer for almost 20 years. When he joined Sega in 1992 he wanted to work for the company’s arcade division, but after playing the original Sonic – especially Sonic 2 – he was seduced.

Big developers are discovering that the technical progress of photorealism doesn’t always translate into the creative spark that gives gamers joy – and keeps them playing

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Last week, Asha Sharma, the new head of Xbox, laid out her vision for the future of the console and interestingly, the two titles she picked out as potential areas of growth were Minecraft and Candy Crush Saga – games that don’t exactly scream next-generation entertainment. Neither relies on hyper-realistic visuals, which is the north star that games consoles and gaming PCs have been aiming at for the past 40 years. They are, instead, well-designed, well-loved franchises that you can play and enjoy on almost any PC, console or phone.

The fact is, the quest for visual hyperrealism is breaking the games industry. It’s becoming more and more expensive to put high-end graphics hardware into machines thanks to demand from the AI sector; at the same time, creating superrealistic visuals is an incredibly expensive and complex part of game development, leading to longer development periods. GTA VI, for example, has taken at least eight years to develop and is rumoured to have cost between $1bn and $2bn. By my back-of-an-envelope calculations, that’s around four times more than GTA V. Admittedly, the detail on everything, from the characters’ faces, to the cars, to the cityscapes, is astonishing. But will it be four times better than GTA V? Will it be four times more fun?

Playing as recent arrival Lena, your challenges include learning a new language and uncovering family secrets – its developer hopes it will spread ‘a little more compassion’

The cosy house-sorting sim has become a much-loved staple of the PC indie scene. Titles such as Unpacking, A Little to the Left and Momento charm players with their detailed interiors and quiet narratives of lives lived and shared within the same four walls. For Clean Start, Polish developer Serious Sim has taken a different approach – here you play as domestic cleaner, Lena, an immigrant who has arrived in an unspecified western country with little knowledge of the local language, and a family to support back home.

From here, you’re tasked with cleaning a series of houses and apartments, polishing tables, tidying shelves and scrubbing muddy pawprints from kitchen floors. It seems you’re able to rearrange the rooms, giving them a personal feel, which is after all one of the most pleasing elements of the genre. You can also, we are reassured, pet the dog.

Hidden gems can be unearthed, but you have to dig deep into the bargain bins of countless outdated Fifas, Wii Fits without the controllers and partially finished quizshow games

As an eternally optimistic charity shop fan, I hold on to the fantasy that one day I’ll walk into my local Oxfam and find a pristine copy of the Sega Saturn shooter Burning Rangers for £1.50. Or perhaps a box full of old Neo Geo carts for a quid each. Sadly, this is now unlikely. Charity shops have caught on to the fact that old video games – like old vinyl albums – are highly collectible, and so they’re putting the good stuff on eBay. That’s fine, it’s their job to raise money, not to provide opportunist swine like me with bargains. But what games can you find tucked away in your local branch of Barnardo’s? To find out I visited about 40 charity stores across the country. Here is what I discovered on the shelves … And please do share your own charity shop gaming finds in the comments!

Deep underground the player joins a colony of ruthlessly exploited pit workers who could be taking on the bosses. How things play out will depend on you

It is rare for video games to feature industrial action as a key theme, but it does happen. There’s the shady Dockworker’s Union in Disco Elysium and the Orbital Workers Union in space adventure Tacoma; then there is Lynx, the evil union-bashing corp in Hardspace: Shipbreaker. Soon we can add A Line Held Tight, a visual novel that puts workers’ rights – and workers’ lives – at the very centre of the narrative.

In the distant future, a colony of miners digs far beneath the surface of an isolated planet, searching for veins of some exotic ore, protected from the poisonous atmosphere within giant mech suits. But the working conditions are woeful and as a strike looms, an unpopular employee named the Canary must decide whether or not to stand with colleagues and fight against suppression. The player, of course, takes on the role of the Canary, navigating personal as well as political struggles in a world rendered in stark monochrome.

James Cameron’s high-octane film sequel is a blueprint for modern action space slashers

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It is difficult to believe that James Cameron’s Aliens was released into cinemas 40 years ago. The seminal space shooter took the original Alien – a tense slasher film with a tiny cast and one monster – and transformed it into an intergalactic war movie crammed with wry one-liners, massive guns and an actual boss battle finale. As a 14-year-old, I stood in line at the Tatton Gatley cinema, unsure if I’d be allowed in – I came out three hours later a changed person, my head filled with esoteric military slang and a deep fear of beeping motion detectors. For days afterwards, I slept with my duvet covering my mouth so that no facehuggers could get me. (I was a highly impressionable teenager.)

It’s little wonder that the film has had such a profound effect on video game design. Take the colonial marines, for example. Although the concept of the space soldier had been around in sci-fi novels since the 1930s, most notably in the works of EE “Doc” Smith and Robert Heinlein (the Starship Troopers), Hicks, Hudson, Vasquez and co, were the perfect 80s rendition, combining the witty banter of contemporary buddy cop flicks with awesome weaponry and hi-tech gadgets. Their influence is easy to spot in Doom, where the nameless marine fights ceaseless waves of hellish monsters using a mix of futuristic rifles and good old shotguns. It’s there too in the Halo series, the Spartan soldiers sporting the same armour and mega weapons, cruising about in very similar highly militarised starships and fighting recognisable hive-mind space beasts. Gears of War, Killzone and Marathon all borrow from the same set of costumes and deadly accessories.

An amnesiac loner arrives in a remote town for who knows what reason … this may sound familiar but this time we’re on a remote Scottish island and surprises lie in wait

A man washes up at the harbour of a small coastal village, his memories vague, an eerie sea fog rolling in all around him. As beginnings go, this couldn’t be more Silent Hill – an amnesiac loner drawn to a remote town for who knows what reason. But this time, we’re not in the Pacific Northwest of the original games or the Japan of last year’s excellent Silent Hill f. We’re on an island off the northern coast of Scotland, and it’s 1996. Lead character Simon Ordell knows this place, but isn’t sure how – and why does he have an IV cannula stuck in his hand?

Announced back in 2022, Townfall is the work of Glasgow-based studio Screen Burn, previously responsible for tense horror adventure titles Stories Untold and Observation. Like Silent Hill f, it moves the setting far out of Silent Hill itself: St Amelia is a fishing town, inspired by St Monans and dozens of other seafront towns the team visited and extensively photographed.

As global anxieties multiply, ​v​ideo games from Resident Evil to Mouthwashing are providing rich source material to help decode society’s problems

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Horror is so hot right now. There’s Obsession, Evil Dead Burn and Hokum in the cinema, Widow’s Bay, From and Something Very Bad Is Going to Happen on TV, and, of course, a rotting smorgasbord of horror games including Resident Evil Requiem (pictured top) and Reanimal, soon to be joined by Silent Hill: Townfall, Silver Pines and Dreadmoor. We’re also seeing weird cross-pollinations, with horror movie studio Blumhouse making games, while games themselves become horror films and the whole backrooms genre infects every medium it touches.

So it was fascinating to attend last week’s horror and gaming conference at Falmouth University, in Cornwall: a gathering of students, researchers and lecturers, all engaged in the academic study of horror games. There were brilliant talks on zombies and posthumanism, the gothic in games, and the role of monstrous little girls in survival horror (there are a lot of them!). Subjects as diverse as masculine fragility, disability and ageing came up; Will Doyle, creative director at Supermassive Games, gave a great keynote on the art of creating horror in games using tools such as revulsion, spatial alienation and the human instinct of apophenia. I learned a lot about theorists such as Julia Kristeva and Mark Fisher, and about the technical similarities between indie horror games and film noir (for example, the use of darkness and creative camera techniques to “hide” budget restrictions). It was incredible fun.

Sony’s announcement spells the end of a whole ecosystem built by superfan collectors – and signals a troubling shift in the industry

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Sony’s decision last week to quietly announce the end of physical games production for the PlayStation in 2028 is one of the most perfect PR disasters in recent gaming history – and considering what has been happening with Xbox, that’s saying something.

First, there was the timing. Sony posted the news of its decision on the PlayStation blog, less than a week after admitting that it would be deleting 550 movies from the digital libraries of PlayStation owners due to the end of a licensing deal – thereby perfectly illustrating the dangers of purchasing digital products. (Surprise! You never actually owned them!) The move is in stark contrast with the company’s stance on this very issue back in 2013. When Microsoft was attempting to push Xbox One as a digital-first console with strict controls on the sharing and reselling of its games, Sony brilliantly mocked its rival with a short video on how easy it was to lend physical games to pals on the PS4. Oh dear.

The blockbuster launch is expected to dwarf the box office takings of the year’s biggest movies with one industry analyst predicting it could make $1bn within an hour

It is, quite simply, the most anticipated piece of entertainment since the Star Wars prequels and now, at last, you can reserve a copy. At midnight last night, Rockstar opened preorders on Grand Theft Auto VI, the latest title in the epic open-world gangster adventure series, five months before its 19 November release date on PS5 and Xbox Series S/X.

Prices have also been confirmed, with the standard edition costing $80 in the US, £70 in the UK, and €80 in Europe. An Ultimate Edition (£90/€100/$100) will include exclusive in-game cars, clothes and weapons – the developer has confirmed that there will also be in-game stores that are only open to Ultimate owners. Anyone who pre-orders the game will get a Vintage Vice City pack filled with 80s apparel and other nostalgic items, which look to be straight out of Don Johnson’s Miami Vice wardrobe.

As football fans revel in the real world tournament, its digital counterparts continue to stumble in capturing the ​hyped up ​atmosphere

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I come with a warning to all football fans: if you’ve been enjoying the World Cup enough to think, “I’d like to re-enact this on a football video game”, do not go to Netflix and play Fifa World Cup: Launch Edition, the officially licensed game of the tournament, which streams via your smart TV or computer. Developed by the virtually unknown Delphi Interactive, it’s a juddering, dated calamity, with sluggish controls (via your phone, once you’ve downloaded the app) and commentary courtesy of Clive Tyldesley that delivers all the excitement of a robotic train station announcement.

Until this, it was largely agreed that the worst World Cup football game in history was World Cup Carnival, the first official Fifa tie-in, which was released on various home computers in 1986. Publisher US Gold thought it had a deal with the Manchester studio Ocean Software to repurpose its acclaimed title Match Day, but the agreement fell through. With three months to go before Mexico 86, US Gold was forced to effectively rebadge a dire 1984 sim, World Cup Football, by the fading developer Artic. To add some value to the package, the game was released in a fancy big box complete with a fixtures chart, a World Cup facts poster and some flag stickers. Nobody was fooled – the World Cup Carnival was a critical and commercial disaster.

After the billion-dollar company’s leaders sent staff a memo saying the brand had ‘over-extended’, game studios may be in the firing line

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In March 2000, Bill Gates stood onstage at the Game Developers Conference in San Francisco and, to a packed crowd, officially announced the company’s long-anticipated video game console. “We want Xbox to be the platform of choice for the best and most creative game developers in the world,” he told attenders – and that was indeed the intention of the small, dedicated team who put together the blueprints of that first machine.

The Xbox landscape seems very different 25 years later. Last week, mere days after a bullish summer showcase full of Gears of War revivals and promises of a renewed focus on Xbox’s gaming strengths, new CEO, Asha Sharma, and chief content officer, Matt Booty, wrote a memo to Xbox staff inviting them to brace for “hard truths”. “Excluding Activision Blizzard King, over the past five years, we have spent over $20bn on ongoing investments in our content, platform and hardware subsidy, but our annual revenue has declined nearly half a billion during that time. Going forward, this cannot continue,” it read.

The world’s most successful gamer content creators, many of whom have spent their entire adult life on the platform, have met up at TwitchCon in Rotterdam

Aimee Davies, better known as Aimsey to their fans, is 24 but looks much younger. Sitting in a bland meeting room above the annual TwitchCon event in Rotterdam, they’re a barely contained whirl of energy in a beanie hat and T-shirt, all smiles and lightning-fast chatter. Aimsey (who uses they/them pronouns) is also a Twitch veteran, having started streaming eight years ago at the tender age of 16. A million subscribers tune in every week to see them chaotically play Minecraft and share snippets of their life. They have grown up, from teen to young adult, carrying a vast audience with them into maturity. What is it like to experience that?

“When you’re 16 you want to tell everyone everything about you,” they say as music blares from the event below. “When I came out as a lesbian, I told the world. Every part of my identity, my mental health struggles … I thought if I could help one person feel like they weren’t alone, I wanted to do that.”

If you fancy roaring around Japan’s open roads, scaling impossible mountains and playing with post-apocalyptic Pokémon, this year’s highlights mean you can do so without leaving your chair

Released just before the World Cup kicks off, this upstart football game is positioning itself as a credible alternative to EA Sports FC

This month something extremely unusual happened in the video game world: someone launched a new football game. It used to be that the market could support a vast array of contenders, from arcade kickabouts such as Super Sidekicks and Hat Trick Hero, to serious simulations named Actua Soccer or This Is Football, to eccentric oddities such as Namco’s LiberoGrande which made you experience the whole match as a single onfield player.

For the past decade plus, however, the scene has been dominated EA’s Fifa series, now EA Sports FC. With the exception of Konami’s Pro Evolution Soccer, now eFootball, there have been few competitors – and few plucky upstarts.

Driving sims were overtaken by open world fantasy adventures, but new upgrades show how much joy there is in the genre

I have spent the last week careening around Japan in a Porsche 911, seeing the sights, racing other cars and occasionally veering off the road to plummet through an ancient bamboo forest. You all know what’s coming next … this wasn’t in real life, folks – it was in Forza Horizon 6, the latest instalment in Microsoft’s series of open world driving games set in authentic-looking, real-world locations.

Reviewing this game (which is out now on Xbox and PC, and coming to PS5 later in the year) has reminded me of the sheer fun and exhilaration that driving games can provide. It’s easy to forget, but this was the biggest genre in town from the 1990s to the early 2000s. Consoles were sold on how good their racing games were: the original PlayStation had Ridge Racer, the Sega Saturn had Daytona USA. Later came the dirt-track thrills of Colin McRae Rally, the chaotic destruction of Burnout, the sophisticated realism of Gran Turismo. They were the bestsellers of the era, showcasing the future of real-time 3D visuals.

Microsoft; PC, Xbox Series X/S (PS5 due later)
Dreamy vistas of the country’s natural beauties are stunningly delivered – but won’t distract from thrilling high-end driving adventures

The Forza Horizon games have always been about drama. Not just the tension and excitement of racing, but also the sensory impact of the natural environment – the sun rising over a dense city, rain clouds hovering above a valley floor. There are moments in this game – perhaps after emerging from a dense forest, or coming up from an underpass – where Mount Fuji briefly appears in the distance, hazy yet majestic, the Platonic ideal of a volcano – and it almost takes your breath away. Fans of this series have been waiting years for Japan and now here it is, the whole country, reduced, remixed and repackaged as a driving paradise.

In many ways, Forza Horizon 6 is a continuation of what this series has always been about. You enter a festival-style driving competition then drive around a vast map splattered with various races and challenges, earning reputation by competing well and buying new vehicles for your extensive garage. There are slight changes this time – you start as a rookie not an established legend, so you have to qualify to enter the festival, and Playground has re-introduced the need to unlock successive levels of competition bringing back the sense of progression from the earliest titles in the series. You start out clattering about in slower C-class vehicles on easier circuits and have to work hard to start lining up against super cars such as the Ferrari J50 or Lamborghini Huracán.