The United States government is preparing to launch a trade war that will affect Canada, Mexico, and China, which could cause chaos in international economies and an increase in video game prices. Although Mexico has received a one-month extension before being affected, the Entertainment Software Association (ESA) warns that this measure could have serious consequences for the video game industry and consumers, negatively impacting one of the most prominent entertainment sectors in the country. The ESA points out that, despite video games […]
The United States government is preparing to launch a trade war that will affect Canada, Mexico, and China, which could cause chaos in international economies and an increase in video game prices. Although Mexico has received a one-month extension before being affected, the Entertainment Software Association (ESA) warns that this measure could have serious consequences for the video game industry and consumers, negatively impacting one of the most prominent entertainment sectors in the country.
The ESA points out that, although video games are mainly distributed digitally and are mostly exempt from tariffs, essential hardware –including PCs, consoles, and peripherals– will be subject to taxes that could significantly increase prices for players. This is reflected in a recent projection that places total video game sales at 58.7 billion dollars for 2024, with declines in hardware and console sales, which amounted to only 4.9 billion dollars, compared to 6.5 billion dollars in 2023.
Expectations are not good for the video game under these circumstances
The uncertainty generated by the possible imposition of tariffs has raised concerns about future consumer spending in the industry. Mat Piscatella, executive director of Circana, commented that his initial forecast for spending in 2025 was 61.5 billion dollars, but it will now be revised due to the current circumstances. Although the full scope of this trade war and its impact on the video game sector is uncertain, it is feared that it could negatively influence both production and consumption.
Additionally, the issue of tariffs creates an atmosphere of uncertainty that could hinder the continuous growth of the industry, leaving video game publishers waiting for clarity in an environment marked by economic and commercial volatility.
Video games have been with us for decades. And they have been playable across different devices for decades. That doesn’t change the fact that there has always been a clear division between types of players. Console and PC players are two very different fandoms that, although they have blurred in recent times, still feel clearly differentiated. In part, because there is still a sense that console players are more numerous. That playing on consoles is more common than on computers, especially in Asia and the US. This is not entirely true. Not in Europe. […]
Video games have been with us for decades. And they have been playable across different devices for decades. That doesn’t mean there hasn’t always been a clear division between types of players. Console and PC gamers are two very different fandoms that, although they have blurred in recent times, still feel clearly differentiated. In part, because there is still a sense that console gamers are more numerous. That playing on consoles is more prevalent than on computers, especially in Asia and the USA.
This is not entirely true. Not in Europe. But it is true that, at best, there has always been a certain parity between the two, with mobile devices gaining the upper hand over both in recent years. But it seems that, in the future, the PC might come to dominate over consoles.
According to a recent GDC survey, 80% of developers are currently working on some kind of computer game. The previous year this figure was 66%. This is consistent with the interest shown in the PC as a platform for video games, which has increased from 62% in 2023 to a surprising 74% in 2024 for the developers surveyed.
What is the reason for this interest? There are multiple reasons, but the most evident one is found in the survey itself. And that is because 44% of respondents say that one of the platforms they are interested in developing for is Steam Deck. That is the key. Valve’s hybrid console and computer has opened many doors that were previously closed. Something that developers know and want to exploit.
What has Steam Deck brought to the table? A new way to play. Following the example of the Nintendo Switch, Valve’s proposal was to create a device that allows us to play the same games as on our computer, but away from the monitor. Not necessarily outside the house, but on the sofa, bed, or armchair; a comfortable place where it’s easy to relax. And that is its success. Being portable enough to take it outside the house, but its main use is to use it indoors as a simplified computer. As if it were a console that, if we want, can behave like a computer.
That’s why Steam Deck works so well. Because it’s a Nintendo Switch, but even better. And that has made all the hardcore gamers, those who spend the most money and dedicate the most time to playing, want to have one. Or if it’s not a Steam Deck, at least a similar device like the many that have come out over time copying its idea. Opening up a previously undiscovered market niche.
Consoles are not experiencing their best moment… and that weighs
Now then, why has this niche opened up precisely now? Because of the movements of the two giants: Microsoft and Sony. Moving beyond exclusivities, there are fewer and fewer reasons to own a console. With fewer releases, more spaced out, closed environments, and moreover, that don’t even remain exclusive, the shift towards devices that are as convenient as a console, but more durable, more versatile, and where game prices vary more in favor of the players is a logical move. Especially among the more dedicated gamers.
That is why it is not surprising that, while those who were dedicated to mobile games continue to focus on them, those who had a focus more on consoles are starting to look more towards the PC. A growing market with an audience with a very marked interest in the medium.
What will happen in the future is a mystery, but it is not bold to say that this will surely increase. Consoles are becoming more restrictive and less attractive. The PC, in contrast and by its own nature, remains an open and highly interesting platform. This simplicity in form and substance that the Steam Deck has brought and that others have followed is surely the next logical step in the industry and what Microsoft and Sony will also want to follow. That’s why it shouldn’t surprise us if the industry continues to lean towards the PC, looking eagerly at its possibilities. Because its future may lie in the more open and free realm of the computer.
If you are a fan of Path of Exile 2 and missed something more after finishing the game, you’re in luck. Grinding Gear Games has announced a new patch for Path of Exile 2, which includes a series of improvements focused on the endgame experience, thus addressing the most requested demands by fans of this popular action RPG. Among the new features are new maps, checkpoints in various areas, and adjustments to the monsters inhabiting the game. These modifications are designed to enrich the content and make the […]
If you are a fan of Path of Exile 2 and missed having more to do after finishing the game, you’re in luck. Grinding Gear Games has announced a new patch for Path of Exile 2, which includes a series of improvements focused on the endgame experience, thus addressing the most requested demands by fans of this popular action RPG. Among the new features are new maps, checkpoints in various areas, and adjustments to the monsters inhabiting the game. These modifications are designed to enrich the content and make the experience more accessible for players.
A Truly Tough Game
Despite these improvements, the developers have decided not to modify the harshness of death penalties, an aspect that has generated controversy within the community. Jonathan Rogers, director of Path of Exile 2, emphasized in a recent interview that “death really matters” and is essential to maintain the challenge and importance of the game, especially in the endgame phase. Note that “death really matters” works for a video game and for an indie movie that makes you cry a lot. The loss of experience points upon death is considered vital to balance the player’s progress and ensure they are prepared to advance in the game’s content.
However, some team members acknowledge that the current rigidity of these penalties might be excessive. Mark Rogers, another developer, commented that there are too many axes of penalty and that the initial difficulty of the new maps could create new frustrations for players. The fact that he acknowledges it suggests that, although the philosophy of severity remains, there is an internal debate on how to adjust the level of difficulty without compromising the essence of the game.
Looking to the future, Grinding Gear Games is committed to closely monitoring community reactions and suggestions following the implementation of the new patch. This could open the door to future gameplay adjustments, allowing developers to find a balance between difficulty and player experience in Path of Exile 2. And as a complete klutz, I can only say “Thank you.”
What is the first video game in history? Many will consider it to be Pong, from 1972. Others might say a version of Tic-Tac-Toe called OXO that was made at the University of Cambridge in 1952, which didn’t have moving graphics but did have interaction with the player (the computer that ran it, by the way, took up an entire room, and its controller was… a rotary dial telephone). Or perhaps Tennis for Two, a kind of side-view tennis game that was understood as simple entertainment and never had a commercial vision. In fact, after […]
What is the first video game in history? Many would consider it to be Pong, from 1972. Others might say a version of Tic-Tac-Toe called OXO that was made at the University of Cambridge in 1952, which did not have moving graphics but did have interaction with the player (the computer that ran it, by the way, occupied an entire room, and its controller was… a rotary dial telephone). Or perhaps Tennis for Two, a kind of side-view tennis game that was understood as simple entertainment and never had a commercial vision. In fact, after 1959 it was dismantled to use its components in other projects.
All are valid in one way or another, but it can be said that the first video game, as we know it, was born in 1962: a space battle between ships called SpaceWar! which was not only the first contact for many with programming, but also… the first creative commons game in history, which was tweaked, improved, and re-released across several universities until it had dozens of versions throughout the United States.
There are two places where this story begins. The first, in the offices of Digital Equipment Corporation, a company that in 1959 was just two years old and had been able to create a revolutionary minicomputer, the PDP-1, which cost $120,000 (a little over a million today, considering inflation) and weighed exactly what you are thinking when you hear the word “mini”: 730 kilos of nothing. But of course, it had to house its amazing 9.2 Kb of power somewhere!
Only 53 units of the PDP-1 were made. One of them, in 1961, ended up being donated to MIT (the university of Massachusetts known worldwide as one of the most cutting-edge in the world), where it became the favorite toy of an entire community of hackers. Yes, although now the word has negative connotations, back then it referred to people eager to write code, learn to program, and use the then-novel computers of tomorrow. And if they could have fun along the way, all the better.
It is there where we find the second place that begins the story, the Tech Model Railroad Club. Yes, exactly: a club where they made scale models of trains and locomotives. And the members were divided into two: those who wanted to enjoy the realism of the models and those who wanted to use computing to ensure that the trains ran correctly on the tracks. Gradually, these evolved into the world’s first computer programmers. And it wasn’t easy.
Let the Space War Begin!
When talking about the PDP-1, you might think of a computer like the one you have near you right now: a screen, a keyboard, a mouse… Well, not exactly. The first prototype of a mouse was created in 1964 and the first keyboard in 1973. Those gigantic structures were operated with all kinds of plugs and buttons… and from there they could program things that now seem basic to us, like word processors, but which were incredibly novel at the time. They were even able to reproduce Bach’s fugues, Mozart’s songs, Beethoven’s Symphony No. 9, or even the Ode to Joy! Yes, now we have Spotify, mp3, and wav, but imagine doing that with less than 10 kb of memory and no guide on how to achieve it.
In this situation of limitless creativity, we find a group of kids, the Hingham Institute, who wanted to create the first “computer toy” or, as we know it now, video game. In fact, they believed that was the highest aspiration a computer could achieve. Being fans of space opera thanks to novels like The Secret Planet or The Skylark of Space by E. E. Smith, they decided to pursue their dreams: two ships in space shooting at each other. Sounds easy, right? Now imagine being the first to do it in 1962, without being able to Google “how to program an easy video game” or ask ChatGPT.
Steve Russell became the project leader, a legendary student who didn’t even finish his studies at Dartmouth because he was quickly hired as a professor. And it didn’t take him five years to program it, like current games: in just two months he had written the 2000 lines of code necessary for it to work. Not bad considering he could only use the computer when no one else was using it. That is, in the early hours, when the rest of the university was asleep.
His prototype wasn’t the best in the world, and he was aware of it. Once he finished it, it was time for the other students to add rhythm, dynamism, and what we now know as mods. The code was completely open for anyone to modify and make their own version: one created a multiplayer mode, another altered gravity, yet another allowed the player to flee… And there was even someone who found the ultimate key: a scoring system to compete, continuously try to improve… And make the queue of people waiting to try it at the demonstrations move faster. In short, a classic arcade game.
You can imagine the heightened creativity of twenty-year-olds who have just discovered their vocation (and, incidentally, video games for the first time). SpaceWar! quickly became a hit around universities, especially because the PDP-1 was included as a program in every unit sold since then. Of course, no one made a penny, although it would have been a success. Gradually, students were playing, enjoying, learning, and forming the world’s first group of video game fans. Both playing them and making them. And among them were some of the people who would create the industry just a few years later. And it all started with a computer that didn’t even have a keyboard. Well, minicomputer.
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Few topics are as discussed as AI. Partly because we use this term to refer to many very different things. By not making the distinction, we combine easily justifiable uses with others that are not so much. This makes it necessary to constantly provide explanations. But this is what happens when certain people want to promote certain types of technologies that have unethical uses. They want to muddy the discourse. Something that Hermen Hulst, co-CEO of Sony Interactive Entertainment, seems to understand.
In an interview with the BBC, Hermen Hulst has said that AI has the potential to revolutionize video games. However, he wanted to clarify that he does not believe the human factor will disappear. A crucial part of development will continue to come from the human side.
Specifically, he pointed out that he believes AI-driven experiences can be very innovative. While handcrafted things, with thought behind them, will continue to be what gives substance to video games. This implies that AI can help relieve the burden of more tedious tasks or assist with some things that are technically impossible for humans, but it makes no sense to have AI do what humans can do better by virtue of being human: being creative.
AI is just another tool, and nothing more? That’s what the data says
In fact, it seems that the use of AI is already commonplace among video game studios. According to a study by the research firm CIST, 62% of studios in 2023 were already using AI for their workflow. Especially in everything related to concept, asset creation, and worldbuilding. Although practically none did so with materials that would be used in the final result.
That is why, although it seems that AI is the present, it is not in the sense that many people believe it will be the future. And while it is a useful tool, everything indicates that the human factor will continue to be the most important part of all creative work.
It’s not like we have a shortage of games to play: every week two new must-haves are released, three indie gems you should try, a Humble Bundle full of things you missed… There are more video games than you could play in a hundred lifetimes, and yet we always want more. And it’s inevitable to be curious about those that existed at some point and then ceased to, that for a few months (or a few seconds) could be played before fading into oblivion, into the cloud, into nothingness. Today we’re going to give you a bit of FOMO for six games that probably […]
It’s not as if we have few games to play precisely: every week two new must-haves are released, three indie gems you should try, a Humble Bundle full of things you missed… There are more video games than you could play in a hundred lifetimes, and yet we always want more. And it’s inevitable to be curious about those that once existed and then ceased to do so, that for a few months (or a few seconds) could be played before fading into oblivion, into the cloud, into nothingness.
Today we are going to create a bit of FOMO for you with six games that you will probably never be able to try for one reason or another. And yes, some will hurt you especially because they are pieces of a larger puzzle or simply curiosities that you are dying -we know- to get your hands on. In no particular order, let’s create new impossible needs for you to satisfy!
In 2004, no one was quite sure yet how mobile games should be (and even less how to make money from them), so studios ventured into making versions and spin-offs of their big hits. Square Enix, for example, focused on Final Fantasy VII, and released exclusively for the Japanese FOMA service a two-dimensional RPG called Before Crisis, which took place six years before the main game.
Afterwards, and in view of the good results, it was launched for a couple more mobile services, such as EZweb and Softbank Mobile, but in 2018 it closed without leaving a playable ROM along the way. Yes, you can see what it was like on YouTube and the story was told in Ever Crisis, which is nothing more than a simple gacha, but it’s not the same. At the time, 200,000 people played it, but due to technical problems it never left Japan, not even in the thousand and one compilations there have been of the Final Fantasy spin-offs. We can only mourn its loss.
Final Fantasy 64
No, you did not read wrong. At that time when no one knew what the outcome would be of Sony entering the console battle, Square Enix created a technical demo of Final Fantasy VI in three dimensions for Nintendo 64. And it was fully playable! Known as Final Fantasy 64 (but actually Final Fantasy VI: The Interactive CG Game), it had a huge visual impact and served as a testing ground for Final Fantasy VII.
That does not mean, by any means, that the seventh installment of the franchise was being prepared for Nintendo 64. In fact, as stated years later by Square itself, they had not closed any deal with the Big N and decided that their future was not in cartridges, but in CDs, which is why they made the leap… and left this demo in the limbo of games that no one will ever try again.
The Godfather
I know what you’re thinking: there were already a couple of The Godfather games for Xbox almost twenty years ago. But I’m not referring to those, rather to a SEGA version that was supposed to coincide with the theatrical release of The Godfather III. The lucky one in this case was going to be the Master System, and it was so developed that reviews even came out.
Really, The Godfather was nothing more than a platformer similar to others of the time in which we would control Don Corleone, who had to shoot his enemies. It even had first-person screens, which obviously resembled Francis Ford Coppola’s movie as much as an egg resembles a plant. Fans on the Internet have found the game’s backgrounds and box, but nothing more. However, there is a former tester who claimed to have tried it and -oh surprise- it had absolutely nothing to do with The Godfather. In other words: as much as we want to play it out of curiosity, it’s an offer we can indeed refuse.
Akira
It’s not that there haven’t been Akira video games: there have been, although none are particularly remembered. A text adventure in 1988, a horrible action game for Amiga, and a pinball game, specifically. Isn’t something missing? A good game from one of the most well-known animes in the world? It existed, and we even had demos before THQ canceled it at the last minute. And it’s a shame, because those demos were lost -partially- like tears in the rain.
In fact, at the time, the release on VHS in the United States even included a $5 coupon to redeem for the game, which never came. According to reports, Akira was barely 30% complete, and although we have seen prototypes of the game for Game Boy and Sega Genesis, there is still much to discover. Will any brave group dare to complete it someday?
BS The Legend of Zelda
No, BS is not a diminutive of “Bullshit”: it was the nickname given to SatellaView games, a device for Super Nintendo that launched games via a kind of Internet that were only available for a week. For example, a Zelda in 16 bits where the hero was not Link, but the avatar of the person playing, in the style of Mii.
The game also had orchestral music that was broadcast live and even different voice actors telling you the story. The graphics and music quality were much better, although it had a downside: it was only available one hour a week. Somehow, there are dungeons that have survived, but others have been lost forever in the history of Nintendo. Sadly.
Mario Artist
And since we are talking about Nintendo games that were only released for a limited time thanks to a proto-Internet, let’s talk about the Super Mario game that no one has played in a long time: Mario Artist, a pseudo-sequel to Mario Paint for 64DD, which allowed them to be played with disks and could be shared later over the Internet. There were a total of three Mario Artist: Paint Studio (for painting), Talent Studio (which allowed 3D animation), and Polygon Studio (with which you could almost make a very simple video game, but is more famous for leading to the Wario Ware series).
With them, there was another “game”: Communication Kit, which allowed you to upload your fantastic creations to the Internet via the RandNet network. There was another title in preparation, Sound Studio, but they didn’t even finish it before the system went down the drain. If you want to play them, you’ll need to get a Nintendo 64, the 64DD, and these games, if by chance they work. Spoiler: it seems like it’s not worth the effort.
I think all of us who play video games have the strange feeling that something is wrong. That there is a bubble about to burst that is somehow limping along despite the million-dollar numbers, and it seems like no one is steering in a market increasingly aimed at a consumer and not an active player. If you liked Fortnite, you’ll like these other fifty Fortnites from Hacendado. If you liked Overwatch, we’ve created a hundred identical games without anything that stands out. Have you ever felt this way? Don’t worry: you’re not alone. […]
I think all of us who play video games have the strange feeling that something is wrong. That there is a bubble about to burst that is somehow limping along despite the million-dollar numbers, and it seems that no one is steering in a market increasingly directed at a consumer and not an active player. If you liked Fortnite, you’ll like these other fifty generic Fortnites. If you liked Overwatch, we’ve created a hundred identical games with nothing that stands out. Have you ever felt this way? Don’t worry: you’re not alone.
Do you remember Disco Elysium? It was an amazing game that became a mass phenomenon, and everything seemed to indicate that it was going to give birth to a franchise. Instead, the studio ZA/UM fired almost everyone and they have dispersed into small mini-studios where everyone is waiting to release the spiritual sequel of the game that truly resonates with the audience.
One of them is the screenwriter Dora Klindžić, who, after her experience, is very clear about what is happening: “I think this industry is over. But, luckily for everyone, video games are not.” In fact, the studio she set up afterward, Summer Eternal, aims to fight against the big companies that want to interfere in her art, which is very commendable. We will have to see if she succeeds, because the industry may not be as dead as she claims.
The idea is clear, of course: “I subscribe to the accelerationist view that the only way to achieve better conditions is by entering crises that highlight the contradictions of society and force us to remake the world.” For now, Klindžić has made it clear that his anti-capitalist view of the industry does not necessarily translate into a sequel to Disco Elysium and that, really, no one should expect that as the first game from his studio. But of course, on the other hand… We are all aware that this is exactly what we are going to compare it to, right?
They say that he who steals from a thief has a hundred years of forgiveness, although Pocketpair can’t really be classified as such. At least, not until a judge rules on it. Palworld, which was initially marketed as “Pokémon, but with guns,” has been one of the most successful titles for a year, even after the post-irony of its launch. And now that it’s at the top, it has discovered what the pain of falling is. Our world is dif… well, almost the same. We present to you Miraibo Go, a game that dodges the possible plagiarism of Pokémon and […]
They say that he who steals from a thief has a hundred years of forgiveness, although Pocketpair cannot really be classified as such. At least, until a judge rules it. Palworld, which was initially sold as “Pokémon, but with guns.” has been one of the most successful titles for a year, even after the post-irony of its launch. And now that it is at its peak, it has discovered the pain of the fall.
We present to you Miraibo Go, a game that dodges the possible plagiarism of Pokémon and focuses its objectives precisely on Palworld. In other words, it is getting a dose of its own medicine. Many have pointed out that it is literally the same game with different skins, and as seen in the Google Play description (because, indeed, it is a mobile game, what did you expect?), they haven’t held back in showing that “it is what it is.”
In this case, Dreamcube, the developers of Miraibo Go, indicate that you will be able to play with “more than 100 classic monsters with different abilities” and that will allow you to defeat bosses to enhance your team’s strength. Just like when in The Simpsons, the protagonist of American Dad appeared under the expression “Plagiarism of plagiarism.”
However, according to the first comments, there is a big difference with Palworld: it’s worse and full of bugs. There are even those who give it two stars, arguing that they do so exclusively because they love the original game, but it’s not the same. How will Pocketpair react now? Because it would be, frankly, very amusing if they boasted against plagiarism after a year of Palworld. Like Robin Hood, but taking intellectual properties from successful people instead of money from the rich.
Not so long ago, every movie released in theaters had its corresponding video game. It didn’t matter if it was Catwoman or The Lord of the Rings, nor if the games somehow followed the movie’s plot or completely made it up. They were just another piece of merchandising. The Goonies? Video game. Spider-Man 2? Video game. Fight Club? The Godfather? E.T.? You know it. However, recently, it’s rare for a movie to decide to accompany its release with a more or less mediocre game. And the reason, believe it or not, is technological advancement. […]
Not so long ago, every movie released in theaters had its corresponding video game. It didn’t matter if it was Catwoman or The Lord of the Rings, nor if the games somehow followed the movie’s plot or completely invented it. They were just another piece of merchandising. The Goonies? Video game. Spider-Man 2? Video game. Fight Club? The Godfather? E.T? You know. However, recently, it’s rare for a movie to decide to accompany its release with a more or less mediocre game. And the reason, believe it or not, is technological advancement.
In 1982, Raiders of the Lost Ark achieved a record: being the first video game in history to license a movie. However, before it, there were already several examples of the industry’s eagerness. For example, in 1976, Death Race was very loosely based on Death Race 2000, opening the door to adaptations. After all, anything was possible at Atari. An Alien game that was actually a rip-off of Pac-Man? Of course. And The Empire Strikes Back? It was only a matter of time!
However, we all know what happened with E.T: the game symbolizes the decline of video games (although it was neither the worst nor the only example) in the early 80s, and marked a before and after, as if it were a cautionary tale. Beware, everyone, of movies, because if you don’t play your cards right, they can sink you. However, in 1983, the craziest versions were still appearing.
Porky’s, Dark Crystal, Halloween, Rocky, and even The Texas Chainsaw Massacre had their versions that ended up in the hands of players who were already anticipating the arrival of NES and Sega Genesis. And that’s where the madness began: everything could be a video game, from Back to the Future to Rambo: First Blood, including Attack of the Killer Tomatoes and Top Gun. So, where did it all go wrong?
This smells rotten
Over the years, games based on movies (with honorable exceptions like 007: Goldeneye or Spider-Man) have rightfully earned the label of “shoddy.” They were made in a rush to satisfy fans’ cravings, and often consisted of repetitive screens, subpar graphics, and a storyline that had nothing to do with the movie itself.
There are thousands of examples: versions of Underworld, Van Helsing, or Bad Boys, versions of Mission Impossible without Tom Cruise’s face (due to lack of rights), adaptations of Elf (for some reason), or fighting games with Shrek. Everything goes, at a certain point, to which we must add the TV franchises: The Simpsons, SpongeBob, etc. And of course, the quality suffered because, deep down, the developers knew very well that they didn’t have to spend a lot of money if they wanted to recover their investment in a Nintendo DS game of the Hannah Montana movie. And, unintentionally, they started to saturate the market.
By the time they tried to fix it, it was already too late, and the versions of Chicken Little, Fantastic Four, and Silver Surfer, or even Madagascar 2, caused the system to wobble: it was increasingly necessary to invest more time and resources in making these games, and very few (very, very few) times did they yield profits. It might still have been worth it on consoles like the Nintendo DS, where a tiny team could bring to light a more or less playable and easy-to-monetize title, but it wasn’t worth putting a hundred people to work on the PS3 to make the version of Megamind and Surf’s Up.
In the mid-2000s, anyone who called themselves a “gamer” wouldn’t buy games based on movies, because they were aimed at a very specific target: children. Disney, Pixar, and DreamWorks made versions of practically all their titles, from Up to Flushed Away, until even these stopped being profitable. The competition was high, cinema was no longer the main entertainment and, with the possibility of playing games on Facebook or directly in Flash, it wasn’t worth dusting off the PS4.
What now?
In 2024, not a single game based on a movie has been released. In 2023, only Robocop: Rogue City, Puppet Master, Avatar, and SD Shin Kamen Rider Rumble have reached the public, and the previous year wasn’t much better. The loss of AA games, combined with a much less naive audience, a greater entertainment offering, and the fact that cinema has lost its leadership to the video game industry, make no one want to take risks anymore. Why play the Space Jam: A New Legacy game if there are all kinds of basketball games on the market? What does it offer?
It’s not that cinema has abandoned video games, of course: they are simply now DLC for games like Fortnite. There’s no need to create a story, nor to think about how it might damage the brand, nor to have a hundred people making a game because right now, a very high graphic level is needed, and no one would pay attention to something more amateur. It’s much easier to put your intellectual property as a downloadable character in Fall Guys, so the public doesn’t forget its existence and you can take a break.
Are games based on movies still being released? Yes, of course, but they are usually a passion project, like Alien Isolation, which don’t have the pressure to be released as soon as possible to fit into the release schedule. They are another chapter of the saga, not an adaptation. And deep down it’s a bit of a shame that movies like Barbie or Wild Robot haven’t had their pixel version, because they could be very imaginative and fun (although experience tells us they would be simple platforms without much to explore).
At its core, the lack of movie adaptations is yet another symptom of a disease affecting the entire video game industry, one that indicates you need to constantly copy your neighbor to ensure success, that demands minimal risk, that requires all games to be million-dollar AAA titles, without allowing games with fewer resources, where novice programmers can gain experience and perhaps showcase surprising new ideas, to come to light.
Nobody is saying that we have to keep playing infamous games like Catwoman, The Wizard of Oz, or Home Alone (have you seen its version for PS2? I recommend it for a day when you want to open an unknown door to a black hole), but beyond marketing, these games provided variety in the library of consoles increasingly in need of games. However, it is not understood that no one can expect everything released to be an expensive blockbuster. Sometimes, we simply need a Spider-Man 2. And that has been denied to us.
With nine disastrous months, Sony could not afford to face the rest of the year as it has done so far. This led us to approach the State of Play with certain expectations. They needed to announce things for the rest of the year and also for 2025, demonstrating that they still have strength. That they can compete with a Microsoft that has big promises for next year and a Nintendo that promises a new console. With everything that entails. And Sony has delivered more than we expected. Although perhaps not enough. With around forty minutes of announcements, it has been a […]
With nine disastrous months, Sony could not afford to face the rest of the year as it has so far. This led us to approach the State of Play with certain expectations. They needed to announce things for the rest of the year and also for 2025, demonstrating that they still have strength. That they can compete with a Microsoft making big promises for next year and a Nintendo promising a new console. With everything that entails. And Sony has delivered more than we expected. Although perhaps not enough.
PlayStation app is a free application specially designed for PS4 and PS5. With it, you can download and start your favorite games, customize your profile, see which friends are online, and discover the latest news from the PlayStation Store.
With around forty minutes of announcements, it has been a swift presentation filled with announcements. With something for everyone, without falling into the trap of showing excessively long trailers or sections that monopolize attention for too long, they have managed to keep the audience engaged at all times. Supported by both their usual partners and some unexpected names, as well as being carried by a handful of big names, taking the opportunity to shine.
Perhaps the most surprising thing came from what usually surprises the least. The remakes. Announcing for spring Lunar Remastered Collection for spring 2025 and Legacy of Kain Soul Reaver 1-2 Remastered for the upcoming December 10, both for PlayStation 4 and PlayStation 5, it seems they have had a significant nod to fans of some of the biggest cult games from the company’s first console. A bit less exciting was the announcement of Horizon Zero Dawn Remastered for the upcoming October 31. Upgradable from the base version of PlayStation 4 and PC for 9.99 euros.
Surprisingly, VR has not taken up much space. Although it has occupied a very interesting place. Metro Awakening will arrive next November 7th and Hitman World of Assassination will follow in December. However, the most interesting release in this regard is The Midnight Walk, the first game from Moon Hood Studios, a game developed by veterans who worked on Lost in Random, whose characters and settings are entirely designed in clay, and which will arrive on PlayStation 5 and PSVR2 in 2025.
Something else they have announced are numerous DLCs and updates. Alan Wake 2 will receive its second DLC, The Lake House, next October. Stellar Blade will receive a photo mode, as well as a collaboration with Nier Automata in the form of a DLC throughout 2024. And Astro Bot, as we already knew, will have a DLC that will add new robots and challenge stages, still without a date.
In turn, Teenage Mutant Ninja Turtles: Shredder’s Revenge has received a DLC called Radical Reptiles that introduces two new playable characters, Mondo Gecko and Mona Lisa, in addition to a new soundtrack. Also, today Palworld arrives on PlayStation 5, as has been rumored for some time. Although it may not be with the best timing in the world, considering the current situation with Nintendo.
Going by months, it shows that Sony has wanted to end the narrative that there is nothing to play on their console. To begin with, Fear the Spotlight, a third-person horror game by Cozy Game Pals, and the first game published by Blumhouse Games, will be released on October 22 on PlayStation 5 and PlayStation 4 after appearing on PC with very positive reviews. Similarly, Dragon Age: The Veilguard will be released on October 31, which they have taken advantage of to show a new trailer of an intense boss fight.
PlayStation app is a free application specially designed for PS4 and PS5. With it, you can download and start your favorite games, customize your profile, see which friends are online, and discover the latest news from the PlayStation Store.
For the rest of the year, they have also announced things. Although all already known. We have LEGO Horizon Adventures on the horizon for next November 14, Fantasian Neon Dimension on December 5 and Sonic X Shadow Generations on December 12. All both on PlayStation 4 and PlayStation 5.
The major announcements of the event, in fact, have been for 2025. Practically all with dates. Hell is Us has not been one of them, but this post-apocalyptic soulslike for PlayStation 5 looks spectacular. Just as spectacular are Dynasty Warriors Origins and Monster Hunter Wilds, which had appeared at previous brand events, and finally have release dates: January 17 and February 28 respectively.
Although there has been a major release, it has been Ghost of Yōtei. Developed by Sucker Punch, this is the sequel to Ghost of Tsushima. With a scheduled release date for 2025 and a female protagonist, we have little information beyond a spectacular trailer and a more twilight tone than the previous game, which makes us have faith that, although it still has a lot of work ahead, perhaps Sony still has gas in the tank.
