The interesting thing about console launches is that you never know what unexpected treasures will emerge from the first batch of games. Who could have foretold that the hero of the PlayStation launch would be a fireworks simulation (Fantavision), or that the most joyous title in the initial GameCube lineup would involve simians racing each other in giant transparent globes (Super Monkey Ball)?The latest example could well be Konami’s Survival Kids, the only new third-party game in the Switch 2 opening wave. It’s the latest in the publisher’s cult series of tropical island survival sims, which began on the Game Boy Color and, despite never really attracting vast global success, continued on to the Nintendo DS under a new name, Lost in Blue. Now it’s back as a familyfriendly co-op survival adventure, in which groups of up to four players are shipwrecked on a mysterious archipelago, and must survive by gathering resources, crafting tools, finding food and exploring a series of lush, cartoonish environments. Four people can play online, but the game also supports Switch 2’s game sharing, which lets one person who owns the game connect wirelessly with other consoles to play together.Lush, cartoonish environments … a still from Survival Kids. Photograph: Konami Digital EntertainmentAndrew Dennison, who heads the game’s developer Unity, sees this as one of the Switch 2’s key features. “With splitscreen you have one machine rendering two different versions of the game,” he says. “With GameShare, we can compress one of those views and stream it … we render everything three times and push that out to two other consoles. As much as you can deep dive into tech specs, the benefits of GameShare are delightful. Other players in the same room as you don’t have to own the game, they don’t have to download anything … they can just turn on their Switch or Switch 2, push a button and they’re playing a game.”Unlike survival titles such as Don’t Starve or Project Zomboid (or indeed Lost in Blue), there’s no mortal peril in Survival Kids. Running out of food hampers your progress, but you can’t actually starve; if you die, you just – respawn nearby. “We wanted to make sure the game was enjoyable for people at every skill level,” says Dennison. “It’s a balancing act – we don’t want to bore experienced gamers – but you can streamline gameplay challenge without simplifying to the point of making it irrelevant.” Due to the strict NDAs around the Switch 2 hardware, the developer couldn’t bring in many external testers to fine-tune the difficulty – so Dennison ended up testing the game on his nieces, and on the finance department.All about co-operation … Survival Kids Photograph: Konami Digital EntertainmentBuilding tools is key – combine a vine and a stick and you get a fishing rod with which to lasso useful objects. Construct an umbrella and you can glide across wide canyons. There are no cumbersome item-inventory screens: when you need to build a tool or contraption, you can take what you need and drop it all into a bucket that magically spits it out. Tools are all stored at base camp, not in a menu, so that you can easily take a path home to pick up what you need.As with Overcooked, Survival Kids is all about streamlined cooperation and carefully divvied-out tasks. Chopping wood and breaking rocks is faster with two people, so you need a physical labour team; meanwhile food provides the energy needed to climb cliff faces and carry heavy relics, so you’ll need a chef to gather plants and make dinner. “We really wanted people to go back and eat at the base camp together,” says Richard Jones, creative director for Konami Digital Entertainment. “This way, the base camp becomes a place to return to – a sort of communal kitchen.”skip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotionUnlike most modern survival sims, it’s not totally open-ended: your aim is to discover more and more of the islands, which brings a sort of escape room feel to things. It’s also possible to go back and re-try levels to get a quicker time. Despite the family look and feel, there are some interesting and quite demanding physics-based challenges with multiple solutions. There’s a nice humour and lightness to the game as well, perhaps an inevitability considering that Dennison and many of the development team at Unity’s Stratford-upon-Avon office came from Codemasters and Rare.Will Konami bring more of its classic titles to Switch 2? “We know there are other Konami teams who are interested in this platform – we’ll be able to help them,” says Jones. “So yeah, fingers-crossed we’ll see some more Switch 2 projects from Konami.” For now Survival kids feels like a great test case for the new console’s family oriented game sharing.

Launch week is finally here, and though I would love to be bringing you a proper review of the Nintendo Switch 2 right now, I still don’t have one at the time of writing. In its wisdom, Nintendo has decided not to send review units out until the day before release, so as you read this I will be standing impatiently by the door like a dog anxiously awaiting its owner.I have played the console, though, for a whole day at Nintendo’s offices, so I can give you some first impressions. Hardware-wise, it is the upgrade of my dreams: sturdier JoyCons, a beautiful screen, the graphical muscle to make games look as good as I want them to in 2025 (though still not comparable to the high-end PlayStation 5 Pro or a modern gaming PC). I like the understated pops of colour on the controllers, the refined menu with its soothing chimes and blips. Game sharing, online functionality and other basic stuff is frictionless now. I love that Nintendo Switch Online is so reasonably priced, at £18 a year, as opposed to about the same per month for comparable gaming services, and it gives me access to a treasure trove of Nintendo games from decades past.But here’s the key word in that paragraph: it’s an upgrade. After eight years, an upgrade feels rather belated. I was hoping for something actually new, and aside from the fact that you can now use those controllers as mice by turning them sideways and moving them around on a desk or on your lap, there isn’t much new in the Switch 2. Absorbed in Mario Kart World, the main launch title, it was easy to forget I was even playing a new console. I do wonder – as I did in January – whether many less gaming-literate families who own a Switch will see a reason to upgrade, given the £400 asking price.Brilliant … Mario Kart World. Photograph: NintendoSpeaking of Mario Kart World, though: it’s brilliant. Totally splendid. It will deservedly sell squillions. Alongside the classic competitive grand prix and time trial races, the headline feature is an open, driveable world that you can explore all you like, as any character, picking up characters and costumes and collectibles, and getting into elimination-style races that span the full continent. All the courses are part of one huge map, and they flow right into one another.Your kart transforms helpfully into a boat when you hit water, and I found an island with a really tricky challenge where I had to ride seaplanes up towards a skyscraper in the city, driving over their wings from one to the other. Anyone could lose hours driving aimlessly around the colourful collection of mountains, jungles and winding motorways here. There’s even a space-station themed course that cleverly echoes the original Donkey Kong arcade game, delivering a nostalgia hit as delightful as Super Mario Odyssey’s climactic New Donk City festival.Pushing Buttons correspondent Keith Stuart also had a great time with another launch game, Konami’s Survival Kids, which is a bit like Overcooked except all the players are working together to survive on a desert island. (Be reassured, if you generally find survival games hard work: it’s very much fun over peril.)However: I would steer clear of the Nintendo Switch Welcome Tour, an almost belligerently un-fun interactive tour of the console’s new features … that costs £7.99. Your tiny avatar walks around a gigantic recreation of a Switch 2 console, looking for invisible plaques that point out its different components. There are displays with uninteresting technical information about, say, the quality of the console’s HD rumble. One of the interactive museum displays shows a ball bounding across the screen and asks you to guess how many frames per second it is travelling at. As someone who aggressively does not care about fine technical detail, I was terrible at this. It’s like being on the least interesting school trip of your life.And it felt felt remarkably un-Nintendo, so dry and devoid of personality that it made me a little worried. Nintendo Labo, by contrast, was a super-fun and accessible way of showing off the original Switch’s technical features. I had assumed that Welcome Tour would be made by the same team, but evidently not.I couldn’t wait to get back to Mario Kart World, which, once again, is fantastic. I’m excited to spend the rest of the week playing it for a proper review. And if you’ve pre-ordered a Switch 2, you’ll have it in your hands in the next 24 hours. For those holding off: we’ll have plenty more Switch 2 info and opinions in the next few weeks to help you make a decision.What to playArms akimbo … to a T is funny and weird. Illustration: Annapurna interactive/SteamLast week I played through to a T, the beautifully strange, unexpectedly thoughtful new game from Katamari Damacy creator Keita Takahashi. It is about a young teenager who is forever stuck in a T-pose, arms akimbo. As you might imagine, this makes life rather difficult for them, and they must rely on their fluffy little dog to help them through life. It’s a kid-friendly game about accepting who you are – I played it with my sons – but it is also extremely funny and weird, and features a song about a giraffe who loves to make sandwiches. I love a game where you don’t know what to expect, and I bet that if I asked every single reader of this newsletter to guess how it ends, not one of you would be anywhere close.Available on: PS5, Xbox, PC Estimated playtime: What to readTake chances … Remy Siu (left) and Nhi Do accept the Peabody award for 1000xRESIST. Photograph: Charley Gallay/Getty images 1000xRESIST, last year’s critical darling sci-fi game about the immigrant experience and the cost of political resistance, won a Peabody award this week. From the creators’ acceptance speech: “I want to say to the games industry, resource those on the margins and seek difference. Take chances again and again. This art form is barely unearthed. It’s too early to define it. Fund the indescribable.” Keith Stuart wrote about the largely lost age of midnight launch parties – for the Switch 2 launch, only Smyths Toys is hosting midnight releases. Did you ever go to one of these events? Write in and tell me if so – I remember feeling intensely embarrassed queuing for a Wii on Edinburgh’s Princes Street as a teenager. The developers of OpenAI are very proud that their latest artificial “intelligence” model can play Pokémon Red. It’s terrible at it, and has so far taken more than 80 hours to obtain three gym badges. I’m trying not to think about the environmental cost of proving AI is terrible at video games. When Imran Khan had a stroke last year, he lost the ability to play games. I found this essay about the role that Kaizo Mario (super-difficult hacked Mario levels) played in his recovery extremely moving. skip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotionWhat to clickQuestion BlockSoothing … Unpacking. Illustration: Humble Games/SteamReader Gemma asks:“At this moment I am cuddling my three-month-old as he naps on the sofa while I’m playing Blue Prince. It might be the best postnatal game: it has very little background sound or music; can be paused any time; is very chill with zero jeopardy; but also has a fascinating storyline and incredible puzzles. I also find myself narrating the letters and talking out loud for the maths puzzles. (Do three-month-olds understand algebra?) Your article [about Nintendo at naptime] made me feel less guilty, so thank you. Any other updated tips for similar games that you’ve discovered in the last eight years for postnatal gaming?”In the small-baby years I played two types of games: five-hour ones that I could complete in a couple of evenings, or endless Stardew Valley/Animal Crossing-type games where you could just drop in and zone out for as long as you needed, and it didn’t matter whether you were “achieving” anything. I couldn’t play anything with a linear plot because my brain was often mush and I’d simply forget what had happened an hour ago. It’s different for everyone, though – my friend Sarah was obsessed with Grand Theft Auto when her baby was wee.I became hooked on a couple of exploitative phone games that I won’t recommend – don’t go near those in a vulnerable brain-state, you’ll end up spending hours and £££ on virtual gems to buy dopamine with. Something like Unpacking or A Little to the Left might be soothing for a puzzle-brain like yours (and they’re short). I’ll throw this out there to other gamer mums: what did you play in the early months of parenthood?If you’ve got a question for Question Block – or anything else to say about the newsletter – email us on pushingbuttons@theguardian.com.

Lately I’ve been playing a new job sim game, Crime Scene Cleaner, while also watching BBC’s comedy series The Cleaner, both of which focus on the aftermath of gruesome murders – sometimes you just need some cosy viewing to take the edge off the day. In the TV show, Greg Davies plays Wicky, the acerbic employee of a government-endorsed clean-up company, while Crime Scene Cleaner’s lead character Kovalsky is a lowly janitor, mopping up blood and disposing of trash to cover up for a mob boss named Big Jim.The crime scenes in both are laughably over the top. Or are they? I’ve never actually seen a real-life murder scene, so perhaps copious blood sprayed over walls and ceilings and the masses of broken furniture is completely normal.Take the edge off … Greg Davies as Wicky in the BBC’s The Cleaner. Photograph: Tom Jackson/PAStepping into Kovalsky’s plastic overshoes, the aim is to leave each location exactly as it was prior to the … um … incident. Unlike Wicky, who has to constantly deal with annoying homeowners and neighbours, Kovalsky has no living humans for company; just the dead ones that he hauls over his shoulder before slinging them unceremoniously into the back of his pickup truck. Each scene plays out in silence, save for the occasional brief chat with Big Jim and Kovalsky’s own pithy self-talk. Both Kovalsky and Wicky are world-weary labourers, doing what is necessary to get through each blood-splattered scene. But there are differences between the two men: Kovalsky swipes cash and valuables to boost his bank balance (he’s saving up to pay his daughter’s medical bills) while Wicky just wants to get finished in time for curry night at the pub.Crime Scene Cleaner is a weird concept for a game, the unnatural offspring of PowerWash Simulator and Hitman. But despite the macabre premise, I’ve come to appreciate the quiet, contemplative and satisfying process of cleaning up, as Kovalsky stuffs fragments of glass, pizza slices and broken crockery into his bin bag before hurling it into his truck and getting started on all the blood spatter with a microfibre mop, pushing sofas and tables back and returning ornaments to their rightful spot on the shelves afterwards. It’s immensely satisfying, despite the game’s realistic yet tiresome insistence on continually wringing out your mops and sponges.No living humans for company … Crime Scene Cleaner video game. Photograph: President StudioExploring increasingly bizarre locations is also a common theme between the two: Crime Scene Cleaner has a pizzeria, a museum and a spooky smart house; The Cleaner takes in an ice-cream parlour, theatre and stately home. I love that the game gives me a chance to become a more sedate version of The Cleaner’s Wicky without the interference of coppers, maniacal novelists or even the killer themselves (as brilliantly portrayed by Helena Bonham Carter in the show). With his daughter ensconced in a medical clinic, Kovalsky’s only (living) companion is his playful German shepherd. Its name? Dexter. Of course.At the end of each clean-up, I find myself standing back and admiring the scene, content with a job well done. Crime Scene Cleaner and The Cleaner both tap into the very essence of black comedy, where horror becomes amusingly banall. In both, the crimes have already happened, the worst has been done and all that remains is… the remains.

Formula One aficionados are famously fanatical, but they still need a few good reasons to splash out on the annual instalment of the sport’s officially licensed game. Luckily F1 25 – crafted, as ever, in Birmingham by Codemasters – has many. There’s the return of Braking Point, the game’s story mode; a revamp of My Team, the most popular career mode; a tie-up with the forthcoming F1: The Movie; and perhaps most intriguing of all, the chance to race round three tracks in the reverse direction to normal.F1 25 feels like something of a culmination – last year’s F1 24, for example, introduced a new physics model which required tweaks after launch, but has now been thoroughly fettled, so F1 25’s essential building blocks of car handling (and tyre wear) plus state-of-the-art graphics (this year, Codemasters has moved on from previous-gen consoles) are simply impeccable.Impeccable graphics … F1 25. Photograph: Electronic ArtsThis has freed the company to delve into the sort of fantasy elements that you can find in games but not real life. Chief among those is the aforementioned third instalment of Braking Point, which follows the fortunes of the fictional Konnersport team. Over 15 chapters it knits together a deliciously tortuous soap opera-style storyline with some cleverly varied on-track action.More fundamentally, the most popular of the career modes – My Team, which ramps up the management element by casting you as the owner of a new team – has received the bulk of Codemasters’ attentions. This time around, you stay in your corporate lane and drive instead as either of the two drivers you’ve hired, which makes much more sense than previously. As does separating research and development, meaning you must allocate new parts to specific drivers. Further effective tweaks render My Team 2.0, as Codemasters calls it, much more convincing and realistic.As ever, you can jump online, against various standards of opposition, or on to individual tracks, or play split-screen against a friend. But there’s a new mode called Challenge Career, which lets you play timed scenarios offline, then post them to a global leaderboard. It’s a nice idea, designed to take you out of your driver-aids comfort zone, but the scenarios will only get going properly after launch, so the jury remains out on its merits. A number of scenarios from F1: The Movie will also be delivered as post-launch episodes, but it’s pretty cool to be able to step into a Formula One car as Brad Pitt playing a fictional racer.For diehard Formula One fans, though, the chance to race around Silverstone, Zandvoort and Austria’s Red Bull Ring in the wrong direction (with the tracks remodelled to accommodate new pit lanes and the like) might just be the clincher. Reversing the tracks’ direction completely changes their nature in a deliciously intriguing manner.With a real-life rule-change next year due to change the cars radically, Formula One currently feels like it’s at a generational peak, and F1 25 is so brilliantly crafted and full of elements that generate an irresistible mix of nailed-on realism and fantasy that it, too, feels like the culmination of a generation of officially licensed Formula One games. F1 25? Peak F1.

As long as I can remember, my wife has started each day with 30 minutes of a Candy Crush game. As long as she can remember, I have started each day by telling her it is pointless casual gamer cack. Now I write for the Guardian, I need to find a more eloquent way of putting that, so I thought I would have a go myself. I am begging you: do not do the same. Candy Crush Soda Saga nearly ruined me in a week.I like the game mechanics. As Oscar Wilde said, the man who doesn’t love sliding stuff to form chains of three or more matching shapes does not love life itself. This one is wrapped in a cute candy veneer, all fizzy bottles and gummy bears. And that makes the visuals so alluring. When you slide a Colour Bomb into a Candy Fish all the candies that colour get Candyfished and your eyes are treated to a bazillion of them fizzing around the screen destroying everything, while the firm yet gentle haptic feedback makes it a multisensory burst of pure, effervescent joy.“What’s that clicking noise?” my wife asks.“Don’t you play it with the haptic feedback on?”“Oh, I turned that off because I thought it was hurting my phone.”“In what way?”“I felt it was putting too much … pressure on it.” She says, like her phone is the USS Enterprise and she is Scotty diverting a dangerous amount of power away from the shields.We had many chats about Candy Crush while we both played the game in bed. I’m all for increased interspousal communication, but we used to do this kind of thing with broadsheet newspapers and now we’re matching jelly beans on phones. Luckily, you just need one hand to play, so the other is free to punch yourself repeatedly in the face as you realise how pointless your life has become.skip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotionYou are so hooked by the mechanics you hand over your few quid for some extra virtual bobbins quicker than those kids getting drugs in The WireAnd this game is utterly pointless in the long run. There is no story, no real achievements. It uses a board game path to fake big-time progression, but whether it’s me on level 150 or my wife on level 8,452 (gulp!) the pattern is the same: a few easy levels then a super hard one which, if you haven’t accumulated enough power-ups, is virtually impossible.That’s when the game drops its trousers and flashes its microtransactions. And by that stage you are so hooked by the mechanics and the colour you hand over your few quid for some extra virtual visual bobbins quicker and easier than those crazy kids getting drugs in The Wire. Oh yes! Candy Crush Soda Saga is the game Stringer Bell went to business school to invent. The cigarette was once hailed as the most efficient poison delivery system ever invented. Not now.This game “suggests” moves to you. These are frequently not the best ones. That is no accident. This is a game designed to make you fail. It’s a compulsion loop, sure, but one that encourages you to pay for the pleasure. It’s not gambling per se, because you know what you are buying, but, while gambling company ads now scream about setting limits and walking away, this game screams at you to have one more go.I have been addicted to so many things in my life that I stopped counting. (I became addicted to counting my addictions as well.) But this ranks as one of the worst. It only takes three days until I am dangerously hooked. Last Sunday I played Candy Crush Pop Saga for three solid hours. I nearly missed the Scottish Cup final as a result. Unlike my wife, I was dipping into it during the rest of the day as well, thinking, “Oh it’s been 15 minutes, I may have ended up getting a power-up via the Bake a Cake sub game my Candy Crush team are helping me with.”The self-loathing of the addict envelopes me. I know this is not nurturing me in any way, but I cannot stop. At least cocaine was quick. In terms of time? In one week I wasted what could have been, in Zelda terms, one third of a Breath of the Wild, one half of a Twilight Princess or an entire Majora’s Mask. And at least they tell stories. If the deadline for this article hadn’t made me stop, I would have had to have buried my phone in a lime pit and set it on fire to escape from Candy Crush.The irony is that there’s no real difference between this and the arcade offerings that made me fall in love with gaming as child. Pacman, Frogger, Space Invaders et al were all designed to make you pump another coin in the slot when it winked CONTINUE Y/N at you. They were even more repetitive. So I guess by the definition detailed in this Candy Crush castigation, those games were also a waste of time.But why didn’t they feel like that?Because back then, all I had was time. It wasn’t the dwindling commodity it is in my 50s. Maybe if I played Galaxian now it would feel like playing Candy Crush: a descent into a gaming horror world so uncomfortable it’s like watching that Event Horizon movie on treadmill while wearing Lego pants. A game that offers nothing repeatedly. Waiting for Godot with gummy bears instead of tramps. Nothing happens, nobody comes, nobody goes – it’s awful.

A standalone spin-off from FromSoftware’s incredibly successful yet mostly single-player dark role-playing game Elden Ring, the multiplayer-oriented Elden Ring Nightreign is a curious beast, often feeling like an amalgamation of several different experiences all at once.Each session begins with players, either solo or in teams of three, dropping into a small but dense world, working to urgently gain as much strength as possible as a rapidly closing ring tightens around them – a very Fortnite experience. Rather than other players, they fight a variety of monsters and explore locations lifted directly from the Elden Ring universe. After each match, they also gain upgrade materials to modify future runs and advance the game’s story, similar to a rogue-like game … so it’s a Fortnite/Elden Ring/Hades experience? This is getting complicated.Race against time … Elden Ring Nightreign. Photograph: Bandai NamcoEvery session is an engagingly frantic race against time to craft an on-the-fly strategy that takes you across the whole map. Each match is split into three days: on the first two, you pick areas to rush through, besting local bosses to gain minor buffs to your strength or loot weapons with powerful passive abilities, before escaping the rapidly closing ring that saps your health and is sure to end your run. Each night culminates in a larger and far more challenging fight than you’ve faced thus far, amping up the pressure even further.It’s quite the stressful slog, but day three is what you’re battling towards. As the day dawns, you step into a barren arena, ready to face one of several tough-as-nails mega bosses specifically designed to be tackled by multiple players.Nightreign is overwhelmingly designed for three-person teams. You can choose to head out on your own, but doing so is a severe challenge. There’s no one to get you back up if you accidentally die rolling into a boss’s attack, and many of the enemies designed to be tackled by a team of allies frequently overwhelm you.Best not to tackle this on your own … Elden Ring Nightreign. Photograph: Bandai NamcoUltimately, this is a game all about momentum. The feeling of pressure as you navigate the world is palpable. Every second, you’re constantly questioning yourself: am I wasting too much time by checking what’s around this corner? Can we take down this boss quickly enough to warrant the reward? It’s an incredibly stimulating experience, as you rush to analyse your equipment and make build-defining decisions on the fly, but so much has been modified for the sake of speed that the nuance typical to FromSoftware games is somewhat lost.There’s no choice of stats when levelling up, for example, with levelling now reduced to the mash of a button when you reach a rest point. And while the world has been painstakingly populated with smaller enemies, beyond taking down a couple in the first few seconds of a run to hit level 2, there’s little point engaging with them, since tackling bosses is the main way to get more powerful.This momentum gives Nightreign its “just one more run” feel, but the pace feels more rapid than necessary, reducing much of the world to a distraction that wastes your precious time. It’s also why the bugs present in the review version we played feel particularly frustrating. Spending five minutes tackling a dragon that then flies through a wall and ends up being untargetable feels particularly unfair.One of the more loathed mechanics from the Dark Souls series is the requirement for you to run back to the boss arena every time you die. When this was updated for Elden Ring, allowing you to respawn right outside the arena, fans rejoiced. Yet the Nightreign experience is such an extreme move back in the other direction that it feels almost Sisyphean. Every run requires you to spend around 35 minutes to reach the final boss, but those bosses often have unique mechanics that can wipe out unsuspecting teams in just a couple of hits. Dying to a new move you’ve not seen before, requiring you to spend another 35 minutes rolling that boulder back up the hill, feels grossly disrespectful.Considering the success of Elden Ring in applying FromSoftware’s dense level design ethos to an open world, it’s disappointing that the developer appears to have missed the mark with Nightreign. Where that game iterated, Nightreign takes shortcuts. It is billed as a standalone release, yet so much environmental content is carbon-copied from Elden Ring – often thrown in haphazardly – that the world feels more like a particularly polished fan-created mod than a whole new title.FromSoftware’s experiment in upending its established gameplay formula is admirable, and taking down gargantuan foes alongside friends really adds to the joy you feel at finally besting what at first felt like an insurmountable task. It’s just a shame that the game’s skewed pacing and overreliance on Elden Ring’s pool of assets so greatly mars the experience.

Mount Holly, Blue PrinceThis year’s surprise hit Blue Prince is a proper video game wonder. It’s an architectural puzzler in which you explore a transforming mansion left to you by an eccentric relative. The place is filled with secrets, and whenever you reach a door you get to pick the room on the other side from a handful of options. The whole game is a rumination on houses and how we live in them. Nostalgic and melancholic, it feels designed to make us look harder at what surrounds us.The Edison mansion, Maniac Mansion Photograph: Lucasfilm GamesThis Addams’-style Queen Anne with clapboard facades and dark windows is a classic haunted house, reportedly inspired by the Skywalker Ranch. The great twist of this early LucasArts adventure is that all kinds of spooky things are happening, but the fiends and monsters you meet are often surprisingly charming – the odd hamster-in-a-microwave incident aside. Maybe not a great place to live, but these guys would make memorable neighbours.Spencer mansion, Resident Evil Photograph: CapcomNestled amid the foreboding Arklay mountains outside Raccoon City, the Spencer mansion is what would have happened if the murderer from the Saw movies had become an architect. This vast country pile in the Second Empire style is lusciously adorned with oil paintings, antique furniture and hidden rooms. However, any potential buyers should know it’s essentially a vast trap, filled with puzzles and monsters, designed to kill anyone wanting to investigate the massive bio-research facility beneath it.Finch house, What Remains of Edith Finch Photograph: Giant SparrowBased on Goose Creek Tower in Alaska, Finch house is a monument to the doomed family who once lived there, which explains why the bedrooms are sealed off like museum exhibits. Floors are piled up haphazardly and navigating the interior can feel like moving through the transformations of a pop-up book. Living here would be fascinating, but you’d need good joints, what with all the stairs. On the plus side, the bookcases are filled with works such as Gravity’s Rainbow, Slaughterhouse-Five and House of Leaves, so you’d get to catch up on your postmodernist reading.The mansion, Jet Set Willy Photograph: YouTubeOne of the great video-game homes, this strange mansion is left in disarray after an almighty booze-up. The rooms feel very much like a lurid hangover, incorporating stomping boots, chomping toilet seats and at one point, an entire tree. What makes this classic platformer so haunting is the juxtaposition of domesticity and surreal horror. The bedroom is out of bounds and the refrigerator threatens to extend for miles. Oh, and there’s an entrance to Hades on the floorplan.Island cottage, Animal Crossing: New Horizons Photograph: NintendoNintendo’s dreamy deconstruction of capitalism is so close to being a doll’s house for adults that it makes sense that you get your own home to decorate. Beyond choosing the wallpaper and adding just the right indoor plants, you also have an option to fill the air with recordings of music performed by a local dog. This sounds childlike, but the compulsion to refine layouts feels like a very middle-aged kind of obsession, and in one of many brutal lunges at realism, you don’t even get to enter your house without first being handcuffed to a gigantic mortgage.Snowpeak ruins, Zelda: Twilight Princess Photograph: NintendoWhat’s your favourite Zelda dungeon? Allow us to make the case for Snowpeak ruins, from the slightly under-loved Twilight Princess. There have been better puzzles in Zelda, and better rewards for beating a boss, but this cosy getaway high in the mountains is easily the most warmly domestic space in the entire series. It’s not just down to the warmth radiating from the many hearths or the juxtaposition to the icy chill outside. It’s the presence of two gentle Yetis, wandering around despite your dramatic arrival, tending to bubbling pots of stew.Croft Manor, Tomb Raider Photograph: Square EnixLara Croft’s country house may have started as a place for the games to tuck away a tutorial section, but the Manor quickly evolved into a vital part of the series’ appeal. Croft isn’t just gymnastic and deadly, she’s absolutely minted. Her house is filled with the strangely proportioned rooms you often got when PS1 games ventured indoors, and there’s often a hedge maze alongside a gymnasium. Croft has a room just for her harpsichord! And she has a butler who’s happy to wearily plod along behind her and endure an eternity locked in the freezer.Luigi’s Mansion Photograph: NintendoLuigi’s Mansion was the first game to give either one of Nintendo’s plumbers much in the way of a personality. It’s tempting to argue that’s because Luigi’s thrown in among ordinary domestic clutter here, rather than being let loose to jump and dance through worlds of colourful whimsy. The mansion in question may be filled with ghosts, but it’s also filled with bookshelves, hallway carpeting, light fixtures and a decent-sized kitchen. It’s the perfect place for the ever-roving Marioverse to settle down for a moment and offer a sustained depiction of a single place.The lighthouse, Beyond Good and Evil Photograph: MobygamesJade is a photojournalist rather than a soldier, exploring a fantasy world that’s based on Europe rather than the US or Japan. No wonder, then, that instead of a mansion or hi-tech HQ, she gets to live in a lighthouse on the misty shores of a quiet water world. The lighthouse doubles as a refuge and orphanage, and it’s a delight to spot the little details the designers have included, whether it’s the chummy mess in the living spaces, or the crayon drawings on the woodwork.Botany Manor Photograph: Whitethorn GamesPlayers are drawn to Botany Manor by the puzzles, which revolve around uncovering the conditions required to allow a series of flowers to grow and thrive. But the space itself is arguably the thing that draws everyone back until the game is complete. Here is a version of early 20th-century English elegance pitched somewhere between the worlds of Jeeves and Flora Poste. The colours and sense of expectant stillness, meanwhile, could come from a piece of Clarice Cliff Bizarre Ware pottery.The Carnovasch Estate, Phantasmagoria Photograph: SierraWhen novelist Adrienne Delaney moves into this remote New England property seeking inspiration, she loves the giant fireplaces, labyrinthine corridors and authentic gothic chapel but isn’t so keen on the presence of a wife-murdering demon intent on decapitating, stabbing or squashing residents to death. Heavily inspired by The Shining and the works of Edgar Allen Poe, adventure designer Roberta Williams built this mansion to be the ultimate gore-splattered horror house. Viewing recommended.

The Cannes film festival isn’t typically associated with video games, but this year it’s playing host to an unusual collaboration. Lili is a co-production between the New York-based game studio iNK Stories (creator of 1979 Revolution: Black Friday, about a photojournalist in Iran) and the Royal Shakespeare Company, and it’s been turning heads with its eye-catching translocation of Macbeth to modern-day Iran.“It’s been such an incredible coup to have it as the first video game experience at Cannes,” says iNK Stories co-founder Vassiliki Khonsari. “People have gone in saying, I’m not familiar playing games, so I may just try it out for five minutes. […] But then once they’re in, there is this growing sense of empowerment that people from the film world are feeling.”The Cannes festival’s Immersive Competition began in 2024, although the lineup doesn’t usually feature traditional video games. “VR films and projection mapping is the thrust of it,” says iNK Stories’ other co-founder, Vassiliki’s husband Navid Khonsari. But Lili weaves live-action footage with video game mechanics in a similar way to a game such as Telling Lies or Immortality. Its lead, Zar Amir Ebrahimi, won best actress at Cannes three years ago.Lili focuses on the story of Lady Macbeth, here cast as the ambitious wife of an upwardly mobile officer in the Basij (a paramilitary volunteer militia within the Islamic Revolutionary Guard in Iran). As in the play, she plots a murder to secure her husband’s rise. “I think that the narrative of Lady Macbeth is that she’s manipulative, and that’s exactly what got us interested,” says Navid.“The social limitations based on her gender forced her to try to attain whatever leadership role she can,” he continues. “If she was a man, she would have been one of the greatest kings that country would have ever experienced, but because she was a woman she had to work within the structure that was there for her. And I think this is the same thing that we have with our Lili character: because of society, she’s limited to how high she can rise.”The player is cast as a member of the Hecate Web, a group of hackers who stand in for Macbeth’s witches, and you begin by accessing Lili’s phone and computer, watching her on CCTV cameras inside her home. The oppression of surveillance and censorship is a key theme. At one point Lili tries to access a YouTube makeup tutorial, only to be blocked by the state’s firewall. The fact that the player takes on an uncomfortable voyeuristic role is intentional. “We’re all part of the problem when it comes to surveillance, when it comes to looking at each other, spying on each other,” says Navid.‘She’s suffocating in the various layers of masks that she must put on’ … Zar Amir Ebrahimi in Lili. Photograph: Ellie SmithYou can bypass it to give her access, however, prompting a memorable scene in which she wraps her head in clingfilm before applying eyeliner and lipstick. “That is her ritual, applying makeup in a world that she cannot do that [in], without her husband knowing or anyone else knowing,” says Vassiliki. “We love it as this sort of allegory, that she’s suffocating in the world and in the various layers of masks that she must put on herself … our Lady Macbeth, our Lili, has an awakening, and all of those tools that we’ve used to hack her become tools that we actually give her to help her take the system down from within.”Lili is scheduled for release in late 2026, and the RSC’s Sarah Ellis says that it might well be turned into a play at some point in the future. Navid says there are already plans for a film version, using some of the same footage shot for the game – a reminder that the boundaries between the worlds of gaming, movies and theatre are increasingly porous. This is unlikely to be the last time the RSC is involved in games.“I was always interested in games, and the convergence of games and theatre in particular,” says Ellis, who originally approached iNK with the idea for this collaboration. “We’ve worked with some of the best Shakespeare scholars … Professor Emma Smith from Oxford has been an absolute keystone in the dramaturgy of this work,” says Ellis. Smith has said that if Shakespeare were alive today, he’d be writing for games, and Ellis agrees: “He was an innovator.”

The popular video game Fortnite has returned to the iPhone app store in the US, ending a prolonged exile that was triggered by a legal showdown over the fees that Apple had been collecting for years through a payment system that the tech giant has been forced to change.Fortnite, one of the world’s most popular games, hailed its app’s long-awaited restoration to the iPhone and iPad in a Tuesday post, marking the first time it will be available on those devices since it was ousted in 2020 for trying to avoid the 15% to 30% commissions that Apple collects on in-app transactions.“Fortnite is BACK on the App Store in the U.S. on iPhones and iPads … and on the Epic Games Store and AltStore in the E.U! It’ll show up in Search soon!” read a tweet from the game’s official account. As an upshot of its legal war with Apple, Epic established its own digital store.The video game, which features virtual gunfighting on a digital island, is coming back to the iPhone just a few days after its parent company, Epic Games, filed a motion asking a federal judge to order its return as part of a civil contempt of court finding issued against Apple late last month. Last week, the game went dark on Apple devices the world over, and it remains unavailable on them in many countries.In a brief statement filed in court late on Tuesday, Apple said the dispute that had been keeping Fortnite off its iOS software for the iPhone had been resolved. The Cupertino, California, company did not immediately respond to a request for further comment.The legal wrangling is all part of a bitter feud that is still boiling. Epic filed a lawsuit alleging Apple had turned its app store into an illegal monopoly – a claim that it lost under a 2021 ruling made by a federal judge after a month-long trial.Although she decided Apple was not breaking antitrust laws, US district judge Yvonne Gonzalez Rogers ordered the company to loosen control over in-app payments and allow links to other options that might offer lower prices.After exhausting an appeal that went all the way to the US supreme court, Apple last year introduced a new system that opened the door for links to alternative payment options while still imposing a 27% commission on in-app transactions executed outside its own system.Epic fired back by alleging Apple was thumbing its nose at the legal system, reviving another round of court hearings that lasted nearly a year before Gonzalez Rogers delivered her stinging rebuke that included a ban on collecting any kind of commission on alternative payment options.skip past newsletter promotionSign up to TechScapeFree weekly newsletterA weekly dive in to how technology is shaping our livesPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotionThat appeared to clear the way for Fortnite’s return to the iPhone and iPad, but Epic last week said the video game was still being blocked by Apple. After Apple contended that keeping Fortnite was still permissible while it pursues an appeal of Gonzalez Rogers’s contempt ruling, Epic forced the issue by asking the judge for another order that would make clear the video game should be allowed back on the iPhone and iPad.Gonzalez Rogers on Monday asked why Apple was still blocking Fortnite without an order from the appeals court authorizing that action. She scheduled a 27 May hearing in Oakland, California, to hear Epic’s latest motion while noting “Apple is fully capable of resolving this issue without further briefing or a hearing.”

The lifespan of a games console has extended a lot since I was a child. In the 1990s, this kind of technology would be out of date after just a couple of years. There would be some tantalising new machine out before you knew it, everybody competing to be on the cutting edge: the Game Boy and Sega Genesis/Mega Drive in 1989 were followed by the Game Gear in 1990 and the Super NES in 1991. Five years was a long life for a gaming machine.Now, it’s more like 10. The Nintendo Switch 2 will be released in a couple of weeks, more than eight years since I first picked an original Switch up off its dock and marvelled at the instant transition to portable play. Games consoles often feel like they mark off particular eras in my life: the Nintendo 64 was the defining console of my childhood, the PlayStation 2 of my adolescence, and the Xbox 360 of the first years of my career, the first console launch I ever covered as a (ridiculously young) journalist. The Nintendo Switch came along just a few months after my first child was born, and for me it has become the games machine of that era of harried early parenthood.When I reflect on my experiences with the Switch, I remember snatching moments in Breath of the Wild’s Hyrule while the baby napped beside me; hiding on the veranda of a French villa to play the odd Splatoon match on our first family holiday; and trying to make a mint on my Animal Crossing turnip trades while walking my second baby around the house in his sling, trying to get him to sleep (he never did). When they got old enough, the first games I played with my children were on the Switch. We all played Pokémon Sword and Shield together, and most recently my youngest made his way through the surprisingly entertaining Princess Peach Showtime with only minimal assistance from me.Hello to the moo … The Nintendo Switch created a unique gaming space all of its own. Photograph: Justin Lane/EPAOver the last eight years, my living room TV became dominated by things like Bluey and Moana and most recently (god help me), Alvin and the Chipmunks, and I no longer have the hours of uninterrupted gaming time in the evenings. The Switch gave me some of that that time back, though, letting me dip into games whenever I had a moment – which gave me vital stress relief, a route back to myself during some of the most challenging years of my life. Eight years is a long time, enough for anyone’s life to change beyond recognition. In that time I’ve lost people, moved cities, gained new friends, too. And, of course, we all went through the pandemic. Animal Crossing: New Horizons became perhaps the defining game of that time, and I am not the only person for whom the Switch was a blessed oasis, a way to connect when we were starved of in-person interaction.Things have changed for me since 2017, as they probably have for you. Consoles feel like companions, especially perhaps the portable ones like the Switch and the Game Boy, which we literally carry with us wherever we go. My kids are older now, enjoying all the Switch games that I enjoyed when they were very small – and it does seem as if the Switch 2 will neatly mark another new stage, for me and for them.I recently gathered together all the Switch consoles, games, controllers and accessories in my house and my office for an audit, from the battered day-one unit that serves as the family console to the untouched OLED Zelda special edition my partner got me and the variably functioning spare JoyCons accumulated over time. It’s not quite time for them to join the other old consoles under my bed, each in a clear plastic box with all of its cables, ready to be dusted off when the time comes; the Switch 2 will take its place in my rucksack and in my office, but I won’t be upgrading the family console for some time yet. I don’t really wantA little sentimentality is forgivable at the end of an era. In a couple of weeks all the talk will be about the new console, how it’s selling, whether it’s worth the money, what the best Mario Kart World strategies are, and how it compares to its record-breaking predecessor. For now, I’m not thinking much about what the Nintendo Switch meant for the gaming industry; instead I’m thinking about what it meant to me.What to playBe who you wanna be … there are many lives to choose from in the latest RPG, Fantasy Life i: The Girl Who Steals Time. Illustration: Level5/Have you ever heard of Fantasy Life? It was a bit of a cult hit on the Nintendo 3DS in 2014, a cosy-feeling role-playing game that let you switch between 12 different professions, so you would be blacksmithing one minute, fighting monsters another and cooking things up the next. The sequel – Fantasy Life i: The Girl Who Steals Time – is out today after years of delays.You can now be an artist or a farmer as well as a magician, carpenter, fisherman, alchemist or whatever else you fancy, and also it adds time travel into the mix. It’s an intriguing amalgamation of the Animal Crossing/Harvest Moon style of Japanese life simulator, and the Dragon Quest/Ni no Kuni flavour of unthreatening role-playing game, and I’m looking forward to exploring it. An especial shout-out to the members of one of my group chats who have been eagerly awaiting this for more than a decade.Available on: Switch/2, PS4/5, Xbox, PC Estimated playtime: skip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotionWhat to readBroom broom … the home delivery system in Crescent County. Illustration: Electric Saint A couple of interesting games hitting Kickstarter this week: Crescent County, a colourful witch-delivery game with broom-racing and plenty of small-town drama; and a ghost story set in Paisley just outside Glasgow, named after its Chinese takeaway Crystal Garden. If you have a few minutes, have a go at this satirical simulation text game You Are Generative AI, which casts you as an increasingly self-aware AI large language model answering random questions that people cannot be bothered to research or think through themselves. I got three different endings and one of them made me genuinely quite sad. Developers at Bungie, makers of Destiny and the forthcoming shooter Marathon, have been dealing with an alleged plagiarism scandal after unattributed designs from an artist called Antireal were found in promotional screenshots and art from Marathon. Bungie is blaming the mistake on a former employee. VG247 has a rundown. After half a decade, PlayStation 5 sales are neck and neck with PlayStation 4’s results at this point in its life cycle, at 78m – despite the fact that its price has actually increased, due to the wild times in which we live. Video Game Chronicle gets into the numbers. What to clickQuestion BlockWhat’s in a name? … playing a video game using Nintendo’s Wii U controller. Photograph: Jae C Hong/API’ve had several good suggestions for the name of reader Travis’s book-club style video game club: Select/Start (thanks Alex), Long Play (from Eva), and Doki Doki Videogame Club (niche reference there, Chris). Especial props to Kenny, however, who went hog wild and came up with several, including these three beauts: Go Forth and Multiplay, Concurrent Players and Let’s Console Each Other.Lucas also had a great suggestion for last week’s questioner: “Your bookclubber should look at itch.io for crazy little free games to play and discuss with their friends! The indie folks sharing their games there would probably love the attention/feedback of a games book club.” (You Are Generative AI, which I mentioned earlier, is on Itch, along with just hundreds of other shortform games worthy of discussion.)And we’ve just about got room for another (timely) question, this time from reader Ali:“I’ve always admired Nintendo for coming up with different names for each console, as opposed to Sony going for the sequential naming convention and Microsoft jumping from 360 to One to Series (?). My opinion has somewhat changed now that the successor to the Nintendo Switch is called Switch 2. Do you have any thoughts on console names?”It’s true that Nintendo usually goes for completely new names for each console, except arguably the series of Game Boys, the NES and Super NES, Wii and Wii U, and now Switch and Switch 2. And yes, this is the first time they’ve gone for a number. I’d say this is down to how badly the company did with the Wii U, whose confusing name surely contributed to how badly it flopped. But I think it reflects the more conservative and cautious mood of the games industry as a whole in 2025, as it comes to the end of decades’ worth of unsustainably rapid growth. Or maybe it’s because Nintendo’s president Shuntaro Furukawa used to be an accountant.If you’ve got a question for Question Block – or anything else to say about the newsletter – email us on pushingbuttons@theguardian.com

Hollywood’s actors’ union filed an unfair labor practice charge against Epic Games on Monday, alleging the company replaced actors’ work by using artificial intelligence to generate Darth Vader’s voice in Fortnite without notice.The Screen Actors Guild-American Federation of Television and Radio Artists said Llama Productions, a subsidiary of the gaming giant, “failed and refused to bargain in good faith with the union” in the last six months. The company made unilateral changes to the terms and conditions of employment “without providing notice to the union or the opportunity to bargain” by using AI-generated voices to replace bargaining unit work, Sag-Aftra said. Epic Games did not immediately respond to a request for comment.Sag-Aftra called for a strike against major game companies in July after more than a year of negotiations around the union’s interactive media agreement broke down over concerns around the use of unregulated artificial intelligence. The strike is ongoing.In a statement, Sag-Aftra said the union supports the rights of members and their estates to control the use of their digital replicas.“However, we must protect our right to bargain terms and conditions around uses of voice that replace the work of our members, including those who previously did the work of matching Darth Vader’s iconic rhythm and tone in video games,” the union said.skip past newsletter promotionSign up to TechScapeFree weekly newsletterA weekly dive in to how technology is shaping our livesPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotionEpic is engaged in a separate major legal battle at the same time it faces the ire of the actors’ union. Late last week, Fortnite became unavailable on iPhones and iPads the world over after Apple rejected the resubmission of the game to the App Store. The game had been unavailable as the two fought a lengthy court case, in which Epic scored a major victory last month allowing for in-app purchases to be made without the use of Apple’s systems.

Deliver at All Costs casts you as a delivery driver in the late 1950s, and it looks fantastic in motion. Almost everything on the map can be destroyed, and there is immediate fun to be had from causing merry mayhem with your truck, clattering through deckchairs on the beach or driving straight through the middle of a diner and watching it collapse spectacularly behind you. But there is a void at the heart of this game where the core hook should have been.We get a glimpse of its potential during a mission that sees you racing to catch up with a rival’s delivery truck before it can reach its destination. The aim is to manoeuvre alongside, and hold down a button so the crane on the back of your own truck can sneakily lift the package off their vehicle and on to yours. All the while, rival trucks are attempting to ram you off the road, and after you grab the package, you then have to deliver it while fending off the attentions of these other drivers. It leads to some wonderfully comic scenes in which a hotel owner thanks you profusely for a consignment while standing in front of the ruins of his newly destroyed establishment: a casualty of the violent act of delivery.Keep on truckin’ … Deliver at All Costs. Photograph: KonamiThis one frantic mission is by far the best part of the game, and if the rest of Deliver at All Costs followed a similar path – a Crazy Taxi-style mad dash against the clock between pickup and delivery, with whole neighbourhoods razed in pursuit of logistical efficiency – then there would no doubt be a few more stars stuck to this review. Instead each mission varies wildly in content and quality. Some are passably enjoyable, including one that involves taking photos of a UFO while avoiding its laser beam. Others are simply dull, such as one in which you deliver balloons tied to the back of your truck, which intermittently cause it to rise into the air: more irritating than entertaining. Zany does not equal fun.If all of that kind of thing had been confined to side missions while the main game was about zipping parcels back and forth as quickly as possible, it might have worked. But these hit and miss escapades are all we get, and by the final third, the concept of delivering things is ditched completely. Instead Deliver at All Costs tells a dim-witted story through relentless dull cut scenes, with writing and acting that veer from passable to downright rotten. Protagonist Winston Green is a man with a murky past who ends up at loggerheads with his boss, Donovan, before the game jumps the shark entirely and veers off into po-faced sci-fi nonsense. It doesn’t help that the permanently angry Winston is one of the most unlikable video game protagonists ever created.As in Grand Theft Auto, you can hop out of your car and explore, but here there’s hardly anything to find, save for a few viewpoints (which are just that) and a tiny handful of side missions. These range from fun (race a parachutist down a mountain) to boring (find a man who looks like the mayor). There is the occasional unique car to discover, but as you have to use your delivery truck for most missions, doing so is largely pointless. The novelty of driving around in, say, a hot dog van wears off in seconds. There are crates full of cash to find too, but there’s little of note worth buying. The shop sells spare parts you can use to assemble gadgets for your truck, but apart from the boost-giving jet engine, they’re mostly superfluous.It’s all so frustrating. Deliver at All Costs offers up a beautiful destructible playground, then barely utilises it, instead focusing on a bizarre, half-baked story that somehow ends in a courtroom drama. It feels like being invited to a glittering champagne reception, then getting collared by a conspiracy theorist who insists on describing the plot of his hokey sci-fi novel for the next eight hours. What a criminal waste.

Epic Games says Fortnite is now unavailable on iPhones and iPads globally because Apple blocked a bid to release the popular video game in the App Store in the US and Europe.“Apple has blocked our Fortnite submission so we cannot release to the US App Store or to the Epic Games Store for iOS in the European Union,” the X account for Fortnite posted early Friday – claiming that Apple’s move would now prevent the game’s iOS availability around the world.“Sadly, Fortnite on iOS will be offline worldwide until Apple unblocks it,” Fortnite said.In a statement sent to the Associated Press, Apple said it had specifically asked Epic Sweden to resubmit the app update “without including the US storefront of the App Store so as not to impact Fortnite in other geographies”. But, the company added, it “did not take any action to remove the live version of Fortnite from alternative distribution marketplaces”.Fortnite’s exile from the iPhone app store is the latest twist in a years-long feud between Apple and Epic. Back in 2020, the video game maker filed an antitrust lawsuit against Apple in the US, alleging the technology trendsetter was illegally using its power to gouge game makers.After a month-long trial in 2021, district judge Yvonne Gonzalez Rogers ruled against most of Epic’s claims, but ordered Apple to loosen its previously exclusive control over the payments made for in-app commerce and allow links to alternative options in the US for the first time – threatening to undercut sizeable commissions that Apple had been collecting from in-app transactions for more than a decade.After exhausting an appeal that went all the way to the US supreme court, Apple last year introduced a new system that opened the door for links to alternative payment options while still imposing a 27% commission on in-app transactions executed outside its own system.skip past newsletter promotionSign up to TechScapeFree weekly newsletterA weekly dive in to how technology is shaping our livesPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotionEpic fired back by alleging Apple was thumbing its nose at the legal system, reviving another round of court hearings that lasted nearly a year before Gonzalez Rogers delivered a stinging rebuke last month – which held Apple in civil contempt and banned the company from collecting any commission on alternative payment systems.That ruling cleared the way for Epic to finally return to the iPhone app store in the US, a reinstatement the video game maker was anticipating before Apple’s latest move.Fortnite’s availability in the EU, meanwhile, was set to go in an alternative store for iPhone users – now called the Epic Games Store. Apple cleared the way for it last year under new regulatory pressures.

When I got my first job in games journalism 30 years ago, I arrived just too late to review games for my favourite ever console: the Sega Mega Drive. Although a few titles were still being released for the machine in 1995, the games magazine world had moved on and all anyone wanted to read about were the Sony PlayStation and Sega Saturn. It was a bitter blow.Fast-forward to 2025 and a resurgent interest in producing new games for vintage home computers and consoles has led to Farming Simulator: 16bit Edition – a Mega Drive instalment in the hugely successful agricultural sim series. The passion project of Renzo Thönen, lead level designer and co-owner of Farming Simulation studio Giants Software, the game has been written using an open-source Mega Drive development kit, and manufactured in a limited run of genuine Mega Drive cartridges. Slotting this brand new release into the cart of my dad’s ancient Mega Drive II console felt ridiculously moving and I thought the game could only be a letdown after that. But I was wrong.The cartridge of Farming Simulator: 16bit Edition. Photograph: Giants SoftwareFarming Simulator: 16bit Edition takes the basic rhythms of its stablemates – sowing, harvesting and selling crops – and puts them in an isometric environment where workable fields are interspersed with useful buildings such as fuel depots, seed stores and garages. You begin with basic tractors and harvesters, but as you carefully work the land, you grow and sell wheat to earn money, thereby opening the prospect of upgrading your machinery and buying more powerful vehicles. Eventually, you make enough money to unlock new farm areas, but the basic game play is always the same: you slowly and carefully drive your tractors over your land, ploughing and sowing and harvesting as the seasons pass.In this reduced format, the sedate pace of the farming simulator games should become a dull repetitive chore; robbed of intricately detailed 3D visuals, real-time weather systems and supplementary activities, all you’re doing is effectively mowing the lawn. Over and over again. Let’s be honest: transferring the complex, multilayered 3D sim into a console that launched at the same time as the world wide web and the first mass manufactured Nokia mobile phone was always going to be a technical challenge.A trip down memory lane … a Sega Mega Drive running Farming Simulator: 16bit Edition. Photograph: Keith Stuart/The GuardianBut somehow, the system still works. Perhaps it’s the nice chug-chug sound effects of the tractors, or the amusingly precarious steering that often sends you crashing into a tree; or maybe it’s the sheer nostalgia of the rugged 2D visuals. I don’t know. I just know that I’ve kept playing. Veteran Mega Drive owners may be reminded of the Desert, Jungle and Urban Strike games or the isometric strategy delights of Populous or General Chaos. But what’s really fascinating is seeing a modern game genre on this old machine and wondering, what score would it have received from contemporary gaming mags such as Sega Power or Mega?Perhaps, this is one for Mega Drive nuts like me who thrill at the idea of running something new on their beloved artefact – like playing a 4K Blu-ray movie on a Toshiba video recorder. It’s also going to be tough to secure one as only 1,000 are being made. However, Giants has previously released a Commodore 64 version of the game, Farming Simulator C64, which is now available to play for PC, and perhaps an emulated version of this one will also find a way to modern machines.And yet, like a deluxe half-speed remaster of some old vinyl album, there is emotional value in the format itself. This is why Giants isn’t alone in producing new carts for the old consoles. The excellent puzzle platformer Tanglewood appeared for the Mega Drive a few years ago and a promising shooter Earthion is coming later this year. Limited Run games has also made a whole range of new SNES carts for classic titles.I wish my dad were around to see me reviewing a new release for the last console we played on together. As someone who spent all his boyhood summers staying on a farm, he certainly would have loved this game. For now, I will keep ploughing these fields and selling wheat, enjoying the tranquil cycle of nature as rendered on a machine as out of date as an ox cart.

Much has been made of the fact that the year’s most recent breakout hit, an idiosyncratic role-playing game called Clair Obscur: Expedition 33, was made by a small team. (It has just sold its two-millionth copy). It’s a tempting narrative in this age of blockbuster mega-flops, live-service games and eye-watering budgets: scrappy team makes a lengthy, unusual and beautiful thing, sells it for £40, and everybody wins. But it’s not quite accurate.The Guardian’s journalism is independent. We will earn a commission if you buy something through an affiliate link. Learn more.Sandfall Interactive, the game’s French developer, comprises around 30 people, but as Rock Paper Shotgun points out, there are many more listed in the game’s credits – from a Korean animation team to the outsourced quality assurance testers, and the localisation and performance staff who give the game and its story heft and emotional believability.Compared to the enormous teams who make the Final Fantasy games – a clear inspiration for Sandfall – Clair Obscur’s team is minuscule. The more interesting achievement isn’t that a small team has made a successful game – it’s that a small team has made the most extravagantly French thing any of us will ever play. Much to my partner’s annoyance, I’ve set the voice language to French with English subtitles, just to enhance the immersion.In Clair Obscur’s belle époque-inspired world, a sinister entity called the Paintress daubs a number on a distant totem every year, descending from 100 – and every person of that age dissolves heartbreakingly into petals and dust, leaving behind devastated partners and orphaned children. (This and Neva are the only games in recent memory to make me shed a tear at their beginning.) The game starts as the Paintress counts down from 34 to 33, and an expedition of brave and slightly magic thirtysomethings from the dwindling population sets out, as they do every year, to sail across to the Paintress’s continent and try to kill her and stop the cycle. I was sad to leave this opening area, because the city was so beautiful, and everyone was impeccably dressed. Also, nothing was trying to kill me every few minutes.The most French thing you’ll ever play … Clair Obscur: Expedition 33. Photograph: Sandfall InteractiveMany expeditions have gone before. You find their grisly remnants all over the place as you explore, their recorded diaries left to help whoever comes next. You start off in a kind of ravaged Paris, the Eiffel Tower distorting towards a distant horizon like a Dalí painting. The game looks like a waltz through a distinguished art museum that’s about to get sucked into a black hole. One early area of the continent is a waterless ocean, the wrecked vessel of one expedition wrapped around a dead leviathan of a sea creature, fronts of seaweed waving in the nonexistent currents. It’s beautiful but extremely dangerous: you quickly have to get the hang of a pretty complicated combat system to survive even the first few boss fights.Clair Obscur’s fighting is inspired by classic and modern Japanese RPGs: rhythmic and flashy, it lets you supercharge a fireball or dodge the fist of a stone automaton with a well-timed button press. Combining your unusually distinctive characters’ abilities is the key. One of them wields a rapier and changes stance every attack, another attacks with an impenetrable system of sun and moon tarot cards, a third mostly with a gun and a sword. If this all sounds needlessly extravagant, it is – and I love it. The combat menus are a tinkerer’s dream, letting you pore over and combine characters’ esoteric powers and skills to create interesting combo attacks.What I enjoy most about this game is that it doesn’t look like everything else or, indeed, anything else. The majority of games riff on the same few predictable references: Star Wars, The Lord of the Rings, Marvel. Instead it draws from completely different aesthetic and thematic sources; this is a baroque fantasy that tells a story about fatalism and love and death and legacy, a European-style tale with Japanese-style action and flair. It plays very differently, but its distinctiveness and determination to actually say something with its story reminds me of last year’s excellent Metaphor: ReFantazio. (There is a strong correlation between intellectually ambitious RPGs and baffling titles, it seems.)Clair Obscur also illustrates just how good game development tools are now: if you’re wondering how a smallish team could create something that looks this high-end, that’s a large part of the answer. This makes me feel pretty optimistic about the future of this middle sector of game development, in between blockbuster and indie. In the 00s and 2010s, that was where many of the most interesting games could be found. I can imagine several large publishers deeming this game simply too French to be marketable, but Sandfall was able to make it anyway. Expedition 33 is an encouraging commercial success that will be cited all year as a counternarrative to the games industry’s prevailing doomsaying, but it’s a creative success, too.What to playA thrill a minute … Doom: The Dark Ages. Photograph: BethesdaA new Doom game is out very shortly and reviews suggest that it is a glorious heavy-metal orgy of violence. It has you massacring hordes of gross demons at once, impaling them with spikes, shredding them with a chainsaw-shield, even punching gigantic hellspawn from within a giant robot or shooting at them from the back of a mecha-dragon. Doom: The Dark Ages is slower than the other modern games in the series, with more up-close combat and (as the title suggests) a vaguely medieval flavour to its aesthetic, but it’s still thrill-a-minute.Available on: Xbox, PS5, PC Estimated playtime: What to readChaos machine … Grand Theft Auto VI. Photograph: Rockstar Games Grand Theft Auto VI, which is delayed until next May, left a crater in the 2025 release schedule that other game companies are scrambling to fill, reports Bloomberg (via Kotaku). Expect some serious rescheduling to be going on behind the scenes before the summer’s glut of game announcements. The Strong National Museum of Play in the US has inducted four new games into its Hall of Fame: Defender, GoldenEye 007, Quake and the (IMO) equally deserving Tamagotchi. They beat contenders from Age of Empires to Angry Birds. After last week’s industry media drama, long-established podcast-video collective Giant Bomb has bought itself out and gone independent, joining a growing stable of worker-owned and reader-supported games outlets. skip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotionWhat to clickQuestion Block‘Read a book, rube’ … Bioshock Infinite’s Elizabeth. Photograph: 2K GamesReader Travis sent in this week’s question:“I’m planning to start a book club-style video game club. Two questions: what should I call it and what game would you love to share and discuss in such a setting?”This is an excellent idea, and you’ve reminded me that I tried to do something like this a million years ago as a podcast on IGN, but I cannot for the life of me remember what we called it. Press Pause? Save Point? LFG? I would pick shorter games for a book club-style group (so that everyone could actually play them through), and I’d want ones that leave room for people’s personal histories to inform how they respond to it. I’d love to hear other people talk about Neva’s environmentalist and parental themes, or any Life Is Strange game’s mix of emerging-adulthood drama and quasi-successful supernatural storytelling, or even a game like While Waiting, what it made them think about. That would surely be more interesting than simply arguing about whether the latest Assassin’s Creed is any good.I asked my partner what he’d call a video game book club, and he suggested Text Adventure, which is annoyingly better than anything I can think of. My pal Tom suggested Pile of Shame, One More Go and Shared Worlds. Readers: can you think of any more?If you’ve got a question for Question Block – or anything else to say about the newsletter – hit reply or email us on pushingbuttons@theguardian.com.

Video games have been simulating football since the 1970s, but they have rarely ever thought about simulating fandom. You can play a whole international tournament in the Fifa titles, but what they never show is the way the competition seeps into the everyday lives of supporters, how whole towns are overtaken, how a World Cup can become a national obsession. The way most of us experience the really big matches is through stolen moments of vicarious glory on televisions and giant pub screens, surrounded by friends and family and the sounds and images of real life.This is the territory of Despelote, a beautiful, utterly transportive game about childhood and memory, set during Ecuador’s historic 2002 World Cup qualifying campaign. Football-mad eight-year-old Julián – a semi-autobiographical version of the game’s co-designer Julián Cordero – has just watched the team beat Peru, but now four more matches stand between Ecuador and the World Cup finals in Japan and Korea. Structured as a series of short, immersive tableaux, Despelote gives us control of Julián as he goes about his life, buffeted by his parents and teachers between shopping trips, car journeys and school lessons.Something of what it was like to be a kid … Despelote. Photograph: Panic GamesThe key scenes are where you are left alone, perhaps in a town square, or at a family get-together – and you experience something of what it was like to be a kid given crucial moments of freedom and agency. You listen in on adult conversations, watch an old man feeding pigeons, say hi to a shopkeeper, have a kickabout with friends – the world is depicted as a series of grainy photos, washed with single colours – a beautiful visual device replicating the haziness of our oldest memories, the background details indistinct behind the personal, emotional events.As the game goes on, depictions of Julián’s childhood merge and interchange with recollections of later teenage parties and responsibilities. We also learn about the sociopolitical background to the World Cup campaign: Ecuador is in the midst of a financial crisis, hyperinflation has bankrupted companies and gobbled up savings – in this context, the potential glory of footballing success becomes vital and talismanic. The tournament is discussed in the streets and at weddings, it permeates everything.But other aspects of Ecuadorian life and culture are drawn in too. You learn about the music, the food and the rebirth of the domestic film industry, via the 1999 crime film Ratas, ratones, rateros directed by Julián Cordero’s father, Sebastián Cordero. In this way, real life impinges on the game world, like a poetic and self-referential Agnès Varda film, and in one lovely sequence, while Julián is engrossed in a footie sim on the family’s console, his onscreen player leaves the pitch and wanders home – to Julián’s own house: a beautiful, subtle comment on embodiment, fantasy and the act of playing.Despelote recalls some of the great works of independent narrative game design – The Unfinished Swan, Gravity Bone, Virginia – yet it is also something thrillingly of itself. Even though it’s a game about one small boy in a specific rendering of Ecuador, it communicates the near-universal power of football as a cohesive social narrative: the way the Dutch team of 74, Maradona’s genius in 1986, and Gascoigne’s goal against Scotland at Euro 96 came to say something about the nations that produced them. At the same time, as we draw closer to the final matches of the qualifying round and the excitement and tension becomes palpable, the camera and narration pull back, beyond the structured world of the game and into a meditation on the creative process itself. This is fascinating, formally daring stuff that, in its two-hour playtime, asks more questions about the nature of memory, simulation and identity than a dozen 100-hour epics.skip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotion

A games console is more than just a dumb box that sits at home these days. With portable versions, sophisticated technology and built-in shops, these entertainment centres are valuable items, costing hundreds. If the worst happens and your Xbox, PlayStation or Nintendo gets stolen, here’s what to do.What to do if your console is stolen Change your Microsoft, Sony or Nintendo account password, which will help keep the thieves out of your entertainment library. Remove your payment information from the digital store built into your console to help prevent anyone running up large bills. Report your console as stolen to the police via 101 in the UK. Give them the make, model and serial number of the console, which you’ll find on the box or in your online Microsoft, Sony or Nintendo account. Don’t forget to include details of any games, joypads or accessories that were taken with the console. Report the theft to the manufacturer through its website or customer service. Contact your insurance company should the console be covered under your household policy. This is usually under “high risk” items but portable consoles may need to be included in specified items for coverage outside of the home. What to do as soon as you get a new oneWhen you get a new or replacement console, there are a few things you can do to help in the event it goes missing again: Unlike phones, tablets and other devices there is no built-in way of tracking most consoles, so consider attaching a Bluetooth tracker such as an Apple AirTag, Tile or Samsung SmartTag so you can locate them with phone or browser. Make sure you use a strong password and two-step authentication for your console’s account to help prevent your details being stolen and items from being bought from any associated stores. Set a pin code on your console’s account or turn on an option to require your password to confirm purchases on the digital store to prevent thieves running up a bill. This setting is either on your profile or part of the parental controls. Backup your game data and settings in the cloud, which should happen automatically if your console is connected to the internet and logged into your online account. Game save syncing is free on Xbox but requires a subscription for Playstation or Nintendo. Some consoles also allow game save backups to external storage. Make note of the serial numbers for your console, controllers and accessories. Take and store photos of each item along with purchase receipts so you can show them to the police or insurance.

Last week was a bad one for video games journalism. Two key contributors to the veteran site Giant Bomb, Jeff Grubb and Mike Minotti, have announced their departure after a recent podcast was taken down. The 888th episode of the Giant Bombcast reportedly featured a section lampooning new brand guidelines issued to staff and is no longer available online. Later this week, it was announced that major US site Polygon was being sold to Valnet, owner of the ScreenRant and GameRant brands, resulting in a swathe of job losses. This follows ReedPop’s sale, in 2024, of four high-profile UK-based sites – Eurogamer, GamesIndustry.biz, Rock Paper Shotgun and VG247 – to IGN Entertainment, owned by Ziff Davis, which also resulted in redundancies.It’s sad how these long-standing sites, each with vast audiences and sturdy reputations, have been traded and chopped up like commodities. On selling Polygon, Vox CEO Jim Bankoff said in a statement: “This transaction will enable us to focus our energies and investment resources in other priority areas of growth across our portfolio.” It felt gross, to be honest, to see this decade-old bastion of progressive video games writing being reduced to an asset ripe for off-loading. Of its purchase Valnet said: “Polygon is poised to reach new editorial heights through focused investment and innovation.” Quite how it will do that with a significantly reduced staff is anyone’s guess.This is, of course, the familiar robotic doublespeak of the corporate press release and industry observers have not held back in their anger and incredulity. Writing on Aftermath, journalist Nathan Grayson said: “None of this was, strictly speaking, necessary, with Polygon an unqualified success in terms of traffic while Giant Bomb boasted a dedicated audience drawn to its unique mix of personalities. But of course, parasitic execs decided to suck the marrow from the bones of both, and now we’re left wondering what comes next.” You do have to wonder if any of the CEOs involved in these sales have ever read a story or listened to a podcast in their lives that wasn’t about maximising shareholder value.Vox Media CEO Jim Bankoff at Code Conference in 2022. Photograph: Jerod Harris/Getty Images for Vox MediaVideo game journalism has always walked a windswept tightrope between competing commercial interests. In the olden days of games magazines, much of the money came from adverts bought by the same companies whose products were being reviewed and often mauled by journalists. Several times during my career as a magazine editor I witnessed adverts pulled from publications I worked on following unfavourable reviews of the advertisers’ products. To bow to those pressures would mean losing the faith of our readers, which was the most important asset we had. Publishers always came round in the end, but once you’ve lost the trust of your audience, you might has well call it quits.Later, those magazines transitioned into websites, where ad space remained a vital income. Nowadays it’s much more complex, and the industry doesn’t need dedicated gaming sites so much, thanks to the rise of influencers on platforms such as Twitch and YouTube. It seems the companies most interested in acquiring gaming sites see only brands, not the creative and experienced staff behind them; in March digital news site the Wrap ran an investigative feature in which Valnet was accused of turning acquired sites into content mills for “mind-numbing SEO bait”. Valnet has since sued the publication. But the pay rates for journalism are stagnating, even falling, as the games themselves transform into live-service megaplexes inhabited by billions of paying customers.There is, it seems, a festering suspicion of human creativity in the modern tech corp landscape. Unquantifiable, expensive and resistant to spreadsheet analysis, it is an annoying barrier in the way of streamlined market penetration and exponential growth. Wouldn’t it be so much easier if AI could write those long, in depth video game walkthroughs that get so many hits, but take so many weeks of work to produce? Wouldn’t it make sense if news and analysis was generated and filed within seconds through some sort of automated content pipeline?There’s just one problem. Writing a game walkthrough is a complex task, relying on skilled play, the ability to interpret and explain a moment of action and the foresight to know what players will be looking for. A review is a subjective human response to an experience; a podcast is a parasocial chat with pals. Vitally, good games journalism also holds the industry to account, investigating and highlighting issues that would otherwise be buried. The people who do this stuff and do it well have been playing, writing and questioning for years. They know what we think about when we think about games.I suppose this is the same argument playing out right now everywhere in the arts, from movies to music. The tech bros want portfolios of brands to swap between each other, expecting the wordless masses to follow behind, consuming whatever slop they’re fed. But it’s not endless dead-eyed content we’re coming for, it’s ideas and craft. What a relief it is that independent sites are springing up at a growing rate. We have the UK games news site VGC and, in the US, there’s Aftermath – both have blossoming audiences. Fandoms can only be fooled for so long. I harbour high hopes that when it becomes clear understaffed machines of digital content can only spew out secondhand ideas, the pathetic ghost burps of dead fandom, authenticity will become the only game in town.What to playScarily good … The Horror at Highrook. Photograph: Nullpointer GamesEvery month sees a dozen new indie video games using the mechanics of collectible card battlers such as Magic the Gathering and Yu-Gi-Oh to interesting but increasingly familiar effect. But don’t let that stop you trying The Horror at Highrook a heady occult mystery in which a group of explorers raid a haunted mansion in order to discover the truth about a missing aristocratic family. The game world is like a highly complex Cluedo board and mysteries are uncovered and solved by combining relevant item and skill cards, while upgrading the abilities of your party. Clearly inspired by the twin forces of Poe and Lovecraft it’s a beautifully constructed challenge, filled with ideas and little arcane treats for fans of both cosmic and gothic horror.Available on: PCEstimated playtime: 10-plus hoursWhat to readLucia Caminos, co-protagonist of Grand Theft Auto VI. Photograph: Rockstar Games Cheating is as old as video games, but it is ruining the experience of many who like online multiplayer shooters. This feature looks at how Riot is taking on cheaters in A League of Legends and Valorant and it’s a great primer on the Red Queen-esque battle between developers and hackers. Most great video games were, at some stage in their development, a fraction of a millimetre away from some disastrous design choice. The highlight of this long interview is how the former Sony president Shuhei Yoshida saved Gran Turismo by suggesting that the team make it actually playable by non-racing drivers. I love that video games, though products of modern technology, still inspire their own legends and folklore. A feature on the BBC site analyses a wonderful example, Ben Drowned – the tale of a haunted N64 cart, a creepypasta that infected games forums in 2010. If you’re done with reading, Rockstar just released a new Grand Theft Auto VI trailer and speedboatload of screenshots and info about protagonists Jason and Lucia (above), days after announcing the game’s delay until May 2026. Go have a look, it’s wild. What to clickskip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotionQuestion BlockVirtually non-existent … games have struggled to break through on VR devices like the Meta Quest. Photograph: Meta Connect/AFP/Getty ImagesThis week’s question comes from Guy Bailey who messaged me on blue BlueSky with the following:“I love sim racing in VR and my son is addicted to VRChat and the camaraderie of the various worlds. Half Life Alyx is incredible, and most people who try VR love it – so why hasn’t it had its gaming mainstream breakthrough yet? Will it ever?”This question has haunted the VR industry since the arrival of the Oculus Quest in 2019, which was supposed to rejuvenate the whole concept of VR for the modern era. And while more than 20m Quest headsets have now been sold, alongside 5m PlayStation VR sets and many other contenders, we’re not all spending vast swathes of time in virtual worlds.There are many, many reasons. Motion sickness is one: a percentage of people (and it is more common in women for reasons that no one can agree on) will feel nauseous after a few minutes of use. No one wants to feel sick, no matter how fun the software is. There’s also the neurological and physiological disparity of being enclosed in a visual environment which does not align with what our bodies and our senses are expecting. We’ve all seen the funny videos of people getting carried away in a VR game and running straight into walls.VR also makes us feel vulnerable and silly. It is weird to be so cut off from external “reality” and it is weird to wear a massive helmet in your living room. These elements are perhaps part of why Apple has been betting big on augmented rather than virtual reality, via is Vision pro headset, which is comparatively inconspicuous and keeps us in touch with our surroundings – but even that has failed so far – at least as a consumer platform.Mostly though, I don’t think the content is compelling enough for a non-tech audience. It’s a cliche, but there’s no killer app. I have an unused PlayStation VR headset and my sons only occasionally play with their Meta Quest 3. The games they like can only be experienced in 20-minute bursts, and I don’t think they grip the heart, soul and intellect the way a traditional screen-based immersive game can.For most of us, VR will need to find a way to give us touch, taste, smell and presence, or at least give us a compelling enough reason to leave the sensual world behind for hours on end.If you’ve got a question for Question Block – or anything else to say about the newsletter – email us on pushingbuttons@theguardian.com

When game designer and entrepreneur Henk Rogers first encountered Tetris at the 1988 Las Vegas Consumer Electronics Show, he immediately knew it was special. “It was just the perfect game,” he recalls. “It looked so simple, so rudimentary, but I wanted to play it again and again and again … There was no other game demo that ever did that to me.”Rogers is now co-owner of the Tetris Company, which manages and licenses the Tetris brand. Over the past 30 years, he has become almost as famous as the game itself. The escapades surrounding his deal to buy its distribution rights from Russian agency Elektronorgtechnica (Elorg) were dramatised in an Apple TV+ film starring Taron Egerton. “I suggested that Johnny Depp or Keanu Reeves should play me, but apparently they were way too old,” Rogers says.The casting wasn’t his only concern when he read the screenplay. “It was terrifying. I didn’t know anything about how a script becomes a movie. I thought: ‘This is a crap movie … a car chase?! There is so much bullshit in there!’”Trance-inducing … Tetris on the Nintendo Game Boy. Photograph: Graeme Robertson/The GuardianStill, it can’t have been more terrifying than the KGB interrogation awaiting Rogers when he made that fateful trip to Russia in 1988. Tetris may now be one of the most successful video games in history, with more than 520m sales, yet it was conceived by Alexey Pajitnov while he was working on artificial intelligence and automatic speech recognition at the state-owned computing centre of the Academy of Sciences in the Soviet Union – and he certainly wasn’t supposed to be coding puzzle games. Those trance-inducing tetrominos were almost sealed away behind the iron curtain, the exclusive property of the Soviet regime.Alexey had never met a game designer before … there were no game designers in the Soviet UnionThankfully, however, a complex series of shaky international rights deals involving several companies, including Robert Maxwell’s Mirrorsoft, finally culminated in the Japan-dwelling Dutchman Rogers snapping up the Japanese computer rights, and then hopping on a plane to Russia hoping to secure a similar deal for handhelds. After he arrived in Moscow on a tourist visa, the KGB watched Rogers’ every move. Sneakily – and very much illegally – he managed to gain entry into Elorg, the state-owned company with a monopoly on all Soviet-made computer software. As he came face to face with the reclusive coder behind this mesmerising game, Rogers swiftly discovered he’d been duped. The Tetris rights Rogers “owned” had been sold without Russian knowledge – and the Soviets weren’t too pleased.“I was in a room with seven people, some of them KGB types, being given the third degree for a couple of hours, like: ‘Who the hell are you coming into the Soviet Union?!’” says Rogers. It was there that he first met Pajitnov. “Alexey was suspicious of me at first, because he’d met other people who had come sniffing for Tetris’s rights. He always felt that they were just slimy capitalists looking to make a dollar.” The film’s retelling of this encounter feels surprisingly faithful, with the tense interrogation scene and resulting paranoia of KGB surveillance matching Rogers’ own descriptions.“When he figured out I was a game designer, Alexey’s demeanour changed completely,” recalls Rogers. “Alexey had never met a game designer before … There were no game designers in the Soviet Union, because there was no game business in the Soviet Union. You had your job, and games would be something that you did on the side.”Pajitnov in 1989. Photograph: Sipa Press/Rex FeaturesIntrigued to meet a fellow nerd, Alexey quietly asked Rogers to find him after the meeting. With the KGB watching their every move, and millions of dollars on the line, Rogers was aware of the danger that they both faced. “As a foreigner, I had to be careful. So I waited downstairs by the door and escorted him to my room in the middle of the night, quietly showing him my version of Tetris.”Rogers and Pajitnov have been friends ever since, and once the Soviet Union was dissolved and Elorg’s stake sold, they formed the Tetris Company together in 1996. Up to that point, Pajitnov had made no money from the game at all.Despite the 2023 film taking some factual liberties (“I cried about things in the movie that never happened, I cried about my daughter singing after I missed her recital – they made that shit up!”), Rogers says that he got a kick out of seeing his story on the big screen. “It premiered at South by Southwest and the audience can be very critical. But they were cheering when I first saw the Game Boy. They were cheering for a device! At the end, we all got to come on stage: Alexey, myself, and Taron. We got the biggest standing ovation from the audience. It felt like I won an Oscar.”However, compelled to share a more grounded retelling of his story, Rogers has just released a book: The Perfect Game: Tetris, from Russia With Love. It’s a fun, if slightly arrogant look at the events that brought the puzzle sensation to the world, littered with endearing, memory-correcting interjections from Pajitnov.Pajitnov, Rogers and Nintendo president Hiroshi Yamauchi at Nintendo HQ in Kyoto, Japan. Photograph: Nintendo Company LimitedWhile the film highlights Rogers’ undeniable charm and business acumen, it buries his contributions as a game developer. While living in Japan in 1983 he founded Bullet-Proof Software and created the influential role-playing game The Black Onyx, which gave the genre the iconic health bar and also introduced RPGs to a Japanese audience. The game’s manual was written by Hisashi Suzuki who would go on to become president of Squaresoft, creator of the Final Fantasy series. The Black Onyx was apparently also a huge influence on legendary Nintendo designer Shigeru Miyamoto: “Miyamoto credited Black Onyx – thereby crediting me – for teaching him about role playing games,” says Rogers. “He said it was what led to him creating Zelda.”Is it strange though, that Rogers’ story has overshadowed that of Tetris’s creator, Pajitnov? “Alexey and I play very different roles,” replies Rogers. “The role that I’m playing right now, telling the story, he would never play that role. He’s more of an introvert. If you give him a chance, he’ll sit in a room and do mathematical proofs. In terms of connecting Tetris to the world, the world would have to search him out and he would come kicking and screaming.”‘We blue-skyed it in the desert’ … Tetris Effect (2019). Photograph: Enhance GamesNew versions of Tetris are released every few years, a recent highlight being 2019’s psychedelic Tetris Effect, which saw the creator of the Dreamcast classic Rez, Tetsuya Mizuguchi, reimagine the game as a transcendental audiovisual experience complete with VR version – a concept dreamed up during a hedonistic weekend at Burning Man. “Gucci – we call him Gucci – is a good friend,” says Rogers. “We went to Burning Man together, where we blue-skyed in the desert about what Tetris Effect would be – a Tetris in VR – and he built that product.”While Rogers still enjoys games (“Minecraft really did something outside the box.”), his priorities changed after a near fatal heart attack in 2005. “I’m done with game publishing,” he says. “I know how much work it is and how much money it takes and my heart has to be in it. And now, my heart is in fighting climate change.”Rogers now lives in Hawaii, and over the last 20 years his Blue Planet Foundation has successfully lobbied the island nation to commit to clean energy by 2030. He is slowly convincing neighbouring islands to stop purchasing foreign oil and to invest in sustainable alternatives. If anyone can save the planet, it’s the man who outsmarted the Maxwells, escaped the KGB, and got us all dreaming of difficult little blocks blocks endlessly falling into place.