You are the Destined One. Black Myth: Wukong is coming August 20. Pre-order begins June 18!

Game Science’s long-awaited Xbox Series X/S version of Black Myth: Wukong finally has a release date. It’s launching on August 20th, with pre-orders starting on June 18th at midnight (Beijing Time) at a 20 percent discount. Those who have yet to experience the action RPG on PS5 or PC can avail of its first-ever sale. It runs from June 18th to July 3rd on the PlayStation Store and June 20th to July 11th on Steam and the Epic Games Store, offering the same 20 percent discount. Black Myth: Wukong launched last August and received extensive critical acclaim, including a nomination at The Game Awards 2024 for Game of the Year (it would win Best Action Game and Player Choice). It sold a whopping 18 million units in two weeks and reportedly crossed 25 million as of last February. An expansion is in the works. The Xbox Series X/S version faced its share of delays, with rumors varying between technical issues and an exclusivity deal with PlayStation. While Sony never confirmed this, it did provide “tons of support” to the developer. Game Science’s studio founder also criticized the Series S’s RAM limitations. Dear Destined Ones,The summer sale is almost here, and hey—we're jumping in too. Nothing too big, just two quick things:1. Wondering about an Xbox version? We've got news!#BlackMythWukong will officially launch on Xbox Series X|S on August 20, 2025 (Beijing Time).Starting… pic.twitter.com/4HwFUjRyrN— Black Myth: Wukong (@BlackMythGame) June 6, 2025

If you hang out on hardware subreddits long enough, you’ll hear the joke “Nvidia -$50” tossed around about AMD’s long-held Radeon pricing strategy. Well, AMD managed to buck that trend today, in the mainstream segment where pricing matters most. AMD revealed the Radeon RX 9060 XT during the company’s Computex keynote – and it priced the 16GB model at $349. That not only undercuts Nvidia’s avoid-at-all-costs 8GB RTX 5060 Ti by $30, but it means the 16GB 9060 XT is a whopping $80 cheaper than Nvidia’s actually-pretty-good 16GB 5060 Ti. Hot damn. Competition is back on the menu y’all! A quick peek at the Radeon RX 9060 XT’s high-level specs show that it’s available in both 8GB and 16GB configurations (more on the 8GB version below). With 32 RDNA 4 Compute Units, the 9060 XT’s GPU packs half those found in its bigger brother, the $549+ Radeon 9070 series. By pricing the 16GB Radeon RX 9060 XT so aggressively, it lets AMD show why 8GB of memory isn’t enough in 2025. The only performance-comparison slide shared with press compares the 16GB Radeon against the 8GB RTX 5060 Ti (which, again, costs more). AMD claims the Radeon tested an average of 6 percent faster across a suite of 40 games, with wins in individual games hitting up to 30 percent faster. Closely note that the testing was performed at the more memory-intensive 1440p resolution here – the numbers would no doubt be closer if AMD’s graphics card was compared against Nvidia’s 16GB version. The 9060 XT also hangs tough with the 8GB 5060 Ti in Ultra Raytracing games – typically an Nvidia strength. Here, the expanded memory capacity shines even more, driving up to 62 percent higher performance in its peak example. (Ray tracing gobbles up memory.) Speaking of ray tracing, as we saw with the Radeon RX 9070 series, AMD seriously updated its ray tracing chops this generation – at least on games with basic ray tracing features. In games with more intensive ray tracing features, including path-traced games like Cyberpunk 2077 overdrive mode and Black Myth Wukong, AMD’s RDNA 4 architecture struggled, languishing far behind Nvidia. AMD attacked the problem head-on at Computex, announcing “FSR Redstone” (Minecraft Mumbo Jumbo fans rise up). This technology takes a multi-step approach to improving visuals and performance in AI tasks, as you can see in the slides above. If it proves successful, Nvidia’s undoubted lead in ray tracing could be under assault (though Nvidia’s vaunted DLSS 4 already works in advanced versions of these features). Look for FSR Redstone to arrive sometime in the second half of 2025. It’s not the only new Radeon performance-boosting FSR tech coming: AMD says 40 games will support FSR 4 with frame generation when it launches on June 5, with the Radeon RX 9060 series. Finally, AMD also revealed its RTX 5060 competitor. The 8GB Radeon RX 9060 XT will cost $299 when it launches alongside the 16GB model on June 5. In case you don’t remember, Nvidia buried RTX 5060 reviews because 8GB of memory simply isn’t enough in 2025, even for 1080p gaming. That’s still true, even with the Radeon RX 9060 XT 8GB. That being said, if the 8GB version of AMD’s new graphics card still manages to outpace the RTX 5060 at the same price, it could be a great value proposition for people who focus on esports or don’t mind turning down graphics in the latest games. Hopefully AMD provides press with 8GB versions of the Radeon RX 9060 XT for review – unlike Nvidia. (Seriously, don’t buy the RTX 5060 right now.) If not, avoid the 8GB version until independent reviews arrive.

The Chinese game industry has grown immensely in the past few years. Online free-to-play titles, such as Genshin Impact and Wuthering Waves, have millions of players around the world, while others like Etheria: Restart gear up for their full release. Companies have also marveled at the success of Black Myth: Wukong, which sold 10 million copies in under a week when it launched in August 2024, and subsequently honored as Game of the Year at the 2024 Steam Awards.Indeed, game studios in China are firing on all cylinders, with multiple offerings vying to become the next big global hit. This is further bolstered by rising incomes among consumers, high enthusiasm among developers, and robust support from regional governments. This raises the questions—what's driving growth in the region, and where is this emerging industry headed next?To learn more about the inner workings of the Chinese games industry, Game Developer spoke with several experts like China Independent Game Alliance (CIGA) founder Simon Zhu, Li Shen, former Tencent Games China and Epic Games China chief technology officer, and Siyuan Xia, the co-founder of Chengdu-based Leenzee Technology and director of soulslike action-roleplaying game Wuchang: Fallen Feathers.Single-player game development is becoming sustainable in ChinaRelated:Chinese developers have historically been reluctant to work on single-player games. The challenges of premium single-player production are immense, and the popularity of free-to-play titles makes those kinds of games a better business prospect. Zhu gave us a brief history lesson on how free-to-play offerings became the norm for many decades. "If you recall, 1995 was a landmark year that saw the birth of The Legend of Sword and Fairy series," notes Zhu. The franchise, which combined elements of Chinese mythology and wuxia (Chinese martial arts), was a huge hit for nearly a decade."Unfortunately, even with the series' popularity, piracy was so rampant back then that the single-player market could not truly flourish. It wasn't until the online game boom in the 2000s that China's video games market and history truly began—which was then dominated by free-to-play games. We had to wait until March 2015 when the PlayStation officially entered the Chinese market for single-player console games to be formally introduced to gamers. Even then, single-player games still occupied a small niche until Steam's emergence significantly expanded access."Studios and publishers also have to contend with the disparity in gauging the success of a single-player title compared to a free-to-play offering. "The fate of the former is often determined on launch day—(making those projects riskier ventures)—while the latter has more room for recovery if issues arise on the first day," Xia tells us. It all boils down to how each team adapts, just as how the Wuchang team had adjusted to a new development cycle to make the overall rhythm and work process more manageable.Related:Image via Lenzee/505 Games.Experts are indeed well aware of the opportunities brought about by breakthrough titles opening doors to a wider audience, though these are uncharted waters for many studios in the country.Shen (who now heads his own investment company, Re³ Lab) also adds that Chinese players and developers have always had interest in single-player games, but it wasn't until Black Myth: Wukong sold millions of units globally that publishers became more willing to invest.Other single-player offerings, such as S-Game's Phantom Blade: Zero and Leenzee's Wuchang: Fallen Feathers, also hope to capitalize on Black Myth: Wukong's success. Wuchang, while set during the fall of the Ming Dynasty, even shows a glimpse into the culture and history of the Bronze Age Ancient Kingdom of Shu given that the studio is just an hour away from the archaeological site of Sanxingdui.Related:Wuchang and other games wear their cultural identity proudly on their sleeves, and Xia emphasizes its importance. "I believe Chinese games are gradually forming a distinctive identity in global markets. Cultural outreach isn't an overnight phenomenon but a long-term evolution fueled by collective efforts. For our part, we aspire to contribute foundational work through our endeavors.Shen echoes this sentiment as well. "Black Myth: Wukong was hailed as 'China's first AAA breakthrough' and I believe this instilled pride not just in the developers, but across the industry as well. Many view their work as challenging the Western-dominated games landscape and elevating Asian cultural representation. This collective mission drives innovation and a deeper exploration of local/regional narratives."That said, there's also a balancing act between highlighting cultural uniqueness and navigating geopolitical sensitivities, as Shen points out. "Look at Phantom Blade: Zero, for instance," says Shen. "It garnered nine million views on Bilibili (essentially China's own version of YouTube), but it required rebranding for Western audiences."Challenges and opportunities in a fluctuating marketThe experts we spoke with agreed that Chinese game developers benefit from unique comparative advantages—and struggle with some disadvantages. "Chinese companies, owing to their experience in making online free-to-play games, are global frontrunners in commercial design and operations, excelling at creating monetization models, balancing numerical values, and guiding user behavior," says Zhu. "Sadly, game design and overall quality may fall short, particularly in narrative and script writing. The industry still suffers from limited experience in game design, insufficient market insight, and inadequate industry exchange."Shen agrees that China has achieved world-class capabilities, particularly when it comes to mobile game platforms and substantially profitable products in the domestic market. "Unfortunately, increasing production costs and market competition raise the barrier to entry for commercial games," says Shen. "This has made some developers grow increasingly conservative in genre selection, prioritizing production polish over innovative differentiation."Zhu also shares the stark differences between Western and Chinese industries, particularly when holding events and expos. "To give you an example: The Game Developers Conference (GDC) in the United States has long been established as a key platform for industry exchanges and B2B meetings. The event hosts approximately 1,000 sessions, with an access pass that costs around 10,000 RMB (approximately $1,350), yet it manages to draw attendees from across the globe, fostering an excellent environment for communication and networking.""In contrast, the events I organize in China offer tickets at about 500 RMB (approximately 70 USD), which already includes a one-day access to the WePlay Expo. Despite this, we still face challenges in ticket sales and in engaging local speakers, some of whom are hesitant to share their expertise. I believe that this is due to the general public's understanding of the games industry and culture, especially since China's video game history and cultural integration only span around 20 years. The disparity with overseas markets is notable, but it also indicates substantial growth potential."Crunch culture, too, remains a controversial topic in China. "Long hours are common especially during project deadlines," says Shen. "Some studios adopt a 9-9-6 schedule–i.e. 9 a.m. to 9 p.m., six days a week. While labor reforms are underway, intense competition and a culture of 'dedication' [to your work] tend to normalize overtime as well."Image via CIGA.While government guidelines do exist, enforcement remains inconsistent as it depends on each company or organization. "Our company, Leenzee, does not encourage overtime since we view that as inefficient and counterproductive," notes Xia. "In spite of this, some team members still voluntarily stay late. For them, Wuchang is the first Chinese-developed single-player game that they've worked on, and there's an emotional attachment to it.""In CIGA, we have consistently eschewed the practice of crunch or overtime, even going so far as to avoid rigid clock-in/clock-out times," explains Zhu. "The reality is that crunch, feeling compelled to stay until the boss leaves, or project pressures that lead to mandated overtime—these are all outdated formalities. They do not enhance inefficiency or quality. Instead, they only lead to increased stress and dissatisfaction among team members. Knowing how much the younger generation values work-life balance, I'm optimistic that outdated practices wane as the attitudes of newer generations continue to shift and the work environment evolves."In a period of growth for Chinese game development, one might think there were fewer layoffs going around. That's not true, says Zhu. "I'm based in Shanghai, the city that's at the forefront of the industry," he says. "In the last two years, numerous companies have experienced layoffs, including the termination of entire projects, teams, or subsidiaries. The approach differs from company to company, with some offering compensation to affected employees."Shen points out that unlike many other game development communities, China benefits from a strong social safety net reinforced by unemployment insurance and state-backed retraining programs. "Though specifics depend on regional policies," he clarified, noting it's not a perfect solution.Local governments are investing in game developmentRegional policies that often play a huge role in supporting game development in China. Most games that are set to be published in the country require a license from the National Press and Publication Administration (NPPA), with key steps that include content review (i.e. cultural sensitivity or historical accuracy) and technical compliance. However, each regional administrative district may have additional programs in place to aid companies and studios."The Sichuan Provincial Government has been highly supportive of our work," says Xia. "Since Wuchang: Fallen Feathers takes place in Chengdu and parts of Sichuan Province, the government even helped us locate more cultural heritage locations available for digital preservation through our scanning process.""Depending on the regional policies, the initiatives might include tax breaks for cultural projects or grants for technology/R&D," adds Shen. "Also, games recognized as key to 'digital cultural industries' have mandates to integrate traditional themes, and there might even be state-backed campaigns to export games globally as cultural ambassadors."Zhu, meanwhile, gestured to the 'tech park' we were in, one of several in the city that was built by Shanghai's administrative government. "This entire complex is home to several tech companies, both large conglomerates and startups, and most only pay a small expense for rent," says Zhu. Zhu also adds that local governments across the country have policies that help address game incubation, operations, local releases, and international distribution.There's no denying that China is the largest video games market in the world. While challenges, such as a lack of experience in making single-player games and a reluctance to risk on day-one launch revenue, do exist, experts remain hopeful. Developers, project leads, experts, and the government all contribute toward a collective effort to drive the expansion and global reach of the Chinese games industry."Rising incomes and increased demand for high-quality content will continue to drive growth," says Shen, arguing that there's a brighter future ahead.Zhu, meanwhile, remains steadfast in CIGA's support of the indie games community. "We know that the development of this sector in the country remains a long-term endeavor," notes Zhu. "Transformative change may not be achieved within a single lifetime, but this undertaking demands continued dedication and resilience.""We have a saying in China: 'When everybody adds fuel, the flames rise high'—it's the equivalent of saying that 'there is strength in numbers,'" posits Xia. "Our team hopes that, through our efforts, we can contribute further to the games industry, making it easier for future creators and allowing for more interesting works to emerge."

David Fernandez Remesal took the job of CEO of Sandsoft in 2020 and moved to Saudi Arabia, where his mobile game company is based. He set up a studio in Riyadh and also hired mobile game developers in places like his native Spain, Finland and China. Fernandez Remesal focused on esports at first, but pivoted to mobile games as a more viable business approach. The summers are a lot hotter for sure, but Fernandez has sweated out the hard work of establishing a new studio in a place where game development skills are only just being fostered now for the new generations of game developers. While Brazil is a bigger and more established market, Fernandez Remesal, who worked on games like Candy Crush Saga and Bubble Witch Saga before leading Sandsoft. We talked about mobile game trends at our fireside chat at Gamescom Latam in a talk entitled, “The Mobile Frontier: Big Trends and Smarter Moves for 2025.” We covered a lot of ground in our fireside chat at Gamescom Latam in Sao Paulo, Brazil. We hit topics like Apple’s move to emphasize user privacy over targeted ads as it deprecated the Identifier for Advertises (IDFA). We also covered the antitrust ruling that could bust the floodgates open when it comes to developers being able to advertise their own web shops (where they can charge lower prices and don’t have to pay a 30% commission to Apple and Google) inside their mobile games on the Apple and Google app stores. We explored the consequences if game developers are also able to use their own payment systems — which take around 3% commissions rather than 30% — in mobile game transactions. Sandsoft is focused on taking advantage of these trends by focusing on midcore gamers, which is becoming a bigger part of the overall mobile games market. And Sandsoft is also busy working on AI tools that can help developers work more efficiently. And we looked at other opportunities for mobile to grow as the mobile-first generation grows up and becomes a bigger part of the population of gamers. We also assessed when it’s the right time for local talent to take on local stories and spread them to the global stage with authentic triple-A development. Here’s an edited transcript of our on-stage interview. Sandsoft CEO David Fernandez Remesal GamesBeat: I’m here with David Fernandez Remesal, the CEO of Sandsoft. I’ll have him introduce himself, his career in games, and the origins of Sandsoft. David Fernandez Remesal: I’m pleased to be in Brazil. It’s my first time. I’d like to thank everyone here. You’re doing an incredible show. I’m kind of what I could call mobile native when it comes to game development. I started my career working on mobile games almost 20 years ago. Those of you that were around, that means before smartphone games. I worked at a company called THQ that you may remember. They were one of the pioneers, as a triple-A games company, in doing mobile games as well. I started my career at THQ Juarez, their mobile game division. After that I had the privilege of working with two industry titans at a company called Digital Chocolate. That was Trip Hawkins, the founder of Electronic Arts, and Ilkka Paananen, who happens to be the CEO and founder of Supercell as well. I spent part of my career working on an app store with Nokia. I also worked on the N-Gage handheld device. In that particular case I made the wrong choice. I went for the loser in the smartphone era. But eventually I learned quite a bit about how you need merchandise, games, and apps on an e-commerce platform. After doing something in the mobile advertising space, I also had the honor of joining King, where I worked for almost five years on a couple of franchises. One was Bubble Witch Saga, and then Candy Crush Saga. I was at the King London studio when I left to run Sandsoft five years ago. GamesBeat: Sandsoft is interesting to this market in part because you’re also in an emerging market, albeit a very different part of the world. The company is headquartered in Saudi Arabia. Can you talk about how that happened to come about? Fernandez Remesal: We’re slightly earlier in terms of the game industry in Saudi compared to what we see here in Brazil, particularly toward game development capabilities. But we have a nice consumer market. It’s not as big as Brazil. But let me get started with how Sandsoft was created. For those of you who are not familiar with Saudi Arabia, they have a plan called Saudi Vision 2030. The main proposal is to diversify the economy away from oil and gas. As part of that program, they’re trying to build what we call a knowledge economy. Gaming is a pivotal part of that transition. We’re part of a large Saudi corporation that was founded to support that plan. They decided to diversify their group. Gaming was one of the things they wanted to do. Sandsoft was born in 2019, originally as an esports company. The first thing we did as a company was the PUBG Mobile event in Saudi Arabia. But [we] realized esports was not a business. It was maybe more of a show, rather than proper commercial ongoing activities you can run in a sustainable way. They decided to venture into mobile game development and publishing, which is what we do today. We’re developing games in our own studios, and we’re a global games publisher. We’re supporting game development studios in the mobile space to commercialize their games. Iza’s Supermarket GamesBeat: What are you working on? What is your focus? How big is the team, and where are they? Fernandez Remesal: We now have roughly 100 people. We’re split into four different markets. We have people in Saudi Arabia, where we’re headquartered. We also host a game development studio there. We have satellite offices in Spain, where we also have a development studio. Then we have a couple of publishing operations in China and Finland. We also have a small studio in France. That’s where we have our operations. In terms of focus, as I mentioned to you, we’re focused on mobile platforms. We have a few games with aspirations to become cross-platform, but we’re mobile first. GamesBeat: You moved to Saudi Arabia. Can you talk about what that was like for you? Fernandez Remesal: Yes, I did. I’ve been there for four years now. The weather aside – the summer is really hot – it was a big cultural change for a European to come over to a country that was maybe more conservative, that was more closed than other countries I’ve lived in. But I felt that if you are respectful, if you try to understand the things that are changing, and if you adapt to the pace of change, it’s quite livable. The people are very passionate about games specifically. There’s a young, savvy population. They consider themselves gamers. When you tell them you work in games, they respect you. It’s different from other countries, where people think you play games all day. They don’t realize that this is an art form, that this is something that goes beyond just play. GamesBeat: A reminder that it’s a global industry. Gaming is not what it used to be. It used to be from Japan, the U.S., and Europe. Now it’s a very different world. Fernandez Remesal: Correct. It’s becoming very global. Like we see here. It’s not just about all the people attending to play games, but also all the game companies showcasing their games, which is really exciting. GamesBeat: How far along are your games? Fernandez Remesal: In terms of our game development studios, we’re just starting our first prototypes. Both studios started in 2023, but it took us some time to get the initial core teams that we could trust to develop their game ideas into commercially viable games. We have been in a kind of boot camp at both the studios for a year. Now they’re starting to prototype what we can see as more commercial games. As a publisher we have a few games already in the market. Maybe the first we released was in partnership with Jam City, DC Heroes and Villains. We’re also raising a few other games that–mobile free-to-play games, you don’t have a red button where you hit it and the game is live. It’s more about ongoing progress. You’re keeping them in development and improving the games. Then you try to find ways to scale. In this case through user acquisition. In that sense we’ve had games available in the market for more than three years. We have six games in our portfolio. Two of them are more mature. We expect to scale them in the first half of the year. GamesBeat: Let’s get into some of the trends in the mobile industry. What do you see? What matters to you? What is important to pay attention to in mobile? Fernandez Remesal: Let me start with something that is in many cases not looked into enough. We’re seeing a change in the audience itself. We need to acknowledge that Generation Z is coming in. They bring a completely new way of consuming content. They’re less attracted to deep, engaging experiences. If I could call them, in a way, the digital generation, they’re focused on short-term or short-form entertainment, where they can get their dopamine and adrenaline and then engage further. They’re a generation that doesn’t pay a lot of attention until they get really hooked on the things they’re doing. From that perspective, we see a shift in consumer behavior. We see different session lengths, different ways of engaging with games. The industry is growing by double digits in regions like South America and the Middle East and southeast Asia, while the more western markets aren’t growing as much. That’s linked to the average age in these regions. They have much younger populations in these emerging markets, where they consume games as a native entertainment form. There’s a new consumer coming in from Generation Z, bringing new consumption patterns in their session habits and rates of play. At the same time, there’s an opportunity to propose different kinds of content. Epic Games is still tangling with Google and Apple on antitrust. GamesBeat: One of the interesting trends that’s emerged in mobile is the importance of the relationship between developers and platforms. We saw Apple’s decision a few years ago to prioritize user privacy over targeted advertising. It made targeted advertising much harder. Game companies lost the ability to very precisely target people who favored certain kinds of games. They had to go back to more of a guessing game around how to zero in on which users they wanted to target. This had an impact over years. Do you think we’ve learned how to deal with this change in the market and still be able to find the users that you need? Fernandez Remesal: IDFA is not going to go away. Privacy is going to be with us. It’s going to be something that everyone has to pay attention to. That’s been critical in the mobile space, because of the merchandising problems we see in the app stores. We see a lot of problems in content discoverability. That means most of the growth we’ve seen in these games has been through performance marketing user acquisition. One thing that we’re seeing more and more is game developers trying to build communities everywhere. Trying to expose their games. Trying to create communities through influencers, through Discord and content creation. But eventually IDFA is here to stay. GamesBeat: Speaking of the developer-platform relationship, we’ve had an antitrust case going on for a long time, four and a half years now, between Epic Games and Apple. Yesterday we got a ruling from the judge that held Apple in contempt of court. This has a lot of significance for whether or not mobile game companies can go outside of Apple’s store and advertise lower prices on their web shops or other sites. They can sell the same things at lower prices than the app store because Apple takes a 30% cut. Apple appealed this and had been able to dodge the effects of it, even in Europe, where they had a 27% core technology fee they introduced. Now the judge has said, “No more of that. You can’t evade this ruling anymore. You have to allow game companies to tell their users that there are lower prices elsewhere.” This is a fundamental antitrust protection for consumers. The ruling should affect the whole industry. What’s your view? Fernandez Remesal: We were talking last week, early this week. Eventually, we’ll see some form of platform disruption, especially when you look at mobile platforms. Mobile has been mostly governed by two platform companies, Google and Apple. There have been other app stores in the Android ecosystem, but in the end there are few opportunities for you to get content, and particularly games, on your mobile device. That’s a situation set for disruption. Eventually, particularly in countries that are more protective toward consumers–they’re upset about these oligopolies. They’d like to offer consumers more opportunities to discover content and do so in a way that’s fair for both consumers and game developers. The Digital Markets Act, in the United Kingdom, was one of the first changes we saw trying to open the mobile gaming ecosystem a bit more, trying to ensure that developers have some choice and consumers have some choice. But as you mentioned, that was a segue way for Apple to introduce a new tax, a new fee for game developers if they wanted to go that route. What we saw a few hours ago–it looks really recent. But game developers now have the opportunity to have a direct relationship with consumers. They can build that relationship in a way where they can offer consumers more alternatives and choices. First of all, price points. You can offer different price points compared to what’s available in the app stores. For those of you who are game developers, in the app stores you cannot select any price point you want. They’re fixed. They have ranges you can pick from, but you can’t just select any price point at all. The second factor, as you mentioned, is discounts. Trying to ensure that if you’re proposing this direct to consumer offering, you can adjust your margins and provide more value to consumers. Eventually that ensures that you as a game developer can get a broader part of the value share you’re creating with the consumer, but at the same time give some back as well to the consumer in a way where they can pay less when they’re using a web shop. The thing that we’ll hopefully start to see soon is that it’s not just about you informing consumers that they can have other ways to consume your content and buy content outside of your app, going to the web to buy it. Eventually it will open up the actual app to more real payment methods in games, as you see in other apps in the app stores. GamesBeat: We’re not quite sure what the line will be. Will Apple allow people to use their own payment systems as an alternative to Apple Pay? Fernandez Remesal: Right. But from that perspective, games have been punished compared to other apps. Why are we not able to build that kind of relationship with consumers? Why can’t we propose a specific payment or subscription mechanic that other entertainment options can do in the app stores? Sandsoft’s Potions & Spells. GamesBeat: Assuming that payments are not going to change, the next best thing is web shops. Set up your own store on the web. In the past companies could not advertise that web shop’s existence inside the app, but now they can. They can say that you can get something for cheaper prices elsewhere. Xsolla has been opening a lot of these web shops and operating them for companies. They have more than 500 of them now. But nobody knew about them. They do say that consumers are using them. They’re going back at a 30-40% rate and creating a 10-16% lift in revenues for developers, or in some cases higher. Those sound like fairly promising results relatively early for alternative web shops. Fernandez Remesal: That’s correct. Particularly, if you’re a consumer that pays in mobile free-to-play games, you’re trying to get the best value for money. Eventually this kind of core, engaged audience that makes up the payers in your game, they already know they can go to the shop to get a better offering. For the greater mass of consumers that don’t pay, they’re not really aware they can go to the web shop to buy content and get better deals than going through the app stores, the in-app shops. There are two issues here. One is about consumers getting more value for money here. The second is about developers getting more value from the value chain and delivering more of it back to consumers as well. GamesBeat: The net result is that it’s more money going to the bottom line for developers to reinvest in their business. That’s been sorely needed, especially in the last two and a half years. We’ve seen a real painful downturn in the global game industry. Every penny counts these days. Fernandez Remesal: It’s a better distribution of value in this case, considering what everyone puts on the table. Maybe in the early days of the app stores there were more merchandising options for developers, ways to get value from the app stores. There was less content. Your content could reach more users. There was value in the promotional activity the app store would run for you. Now that’s heavily driven by UA. In that context, the app stores really just become a payment method. From that perspective, developers capturing more value and giving more value back to consumers is good, because that’s reinvested in the game industry. Game developers capture more value and that helps them create better content and engage better with consumers. GamesBeat: We’ve talked about some of these trends. How are you most closely aligning your company to some of these trends, to take advantage of them? Iza’s Supermarket is a game from Sandsoft. Fernandez Remesal: There are a couple of trends we didn’t discuss much. One is about how mobile games in particular are becoming more complex. Three years ago we were talking about hypercasual games, games mostly monetized through in-game advertising. Because of the challenges around privacy, games are becoming more deep now. They have microtransactions. Even casual games are becoming more complex. They have metagames on top. They have deeper economies. Casual games are becoming more mid-core. Mid-core games are going this way as well, to more core game mechanics. You see plenty of games with battle passes, with more core engagement loops that you didn’t see before. And then when you go to really core games, they’re becoming more like casual games. They’re trying to simplify at the core, trying to make themselves more accessible. There are some shifts on the way. Game developers are making games that are in a way more complex, but they’re trying to simplify the core game mechanics to be more accessible. As a company we’re trying to follow these trends. We’re working on a few casual games that we’re releasing with our exterior partners. We’re trying to observe how we can propose these deeper economies in games that feel very accessible, that are easy to play, that are easy to grasp and explain through a simple ad, but that can eventually retain and engage people for a long time. The second trend we didn’t discuss much was generative AI. That’s transforming not just game development, but many industries. It’s a new tool for everyone to use and leverage. Any game company, or any company at all, in the long term needs to have a proper AI strategy. In our case we’re leveraging AI mostly for content creation, mostly for ads at this moment. We’re enriching our NPCs through AI. But I presume that we’ll be adding efficiencies in most of the things we do, like game programming. We’re doing code reviews with AI now. We’re doing some small level designs with AI. That’s one of the tools that’s going to provide superpowers to game developers. David Fernandez Remesal moved to Saudi Arabia to run Sandsoft. Teams that, a few years ago, were considering building an engine of their own, they don’t do that any more. They use Unity or Godot or Unreal. Now there are pipelines for game development that will be transformed by the use of AI. Things that need 10 people to do them nowadays, one developer might be able to do them more efficiently a year from now. GamesBeat: Would you consider bringing mobile ads into the company because of AI advances? Mobile ad optimization now can be done quite well by AI. Fewer people can get much more work done in terms of creating variations on ads to test them in the market and see which particular ad does well. That optimization process was often handled by outsiders. Could that change? Fernandez Remesal: On the go-to-market you’re precisely right. For mobile games, what we call creative optimization is part of the way that you can optimize your growth strategy. But it’s broader than that. When you think about how, particularly in this case, artists work, they work on content production. You create some illustrations of characters and environments, and this is transformed by AI. With one artist you can get 100 different concepts with just a couple of prompts. Before, in the manual world, you’d need to spend probably half a day to just create one. This is about being more open for creativity, to get more options for exploring characters, environments, and art styles. It’s not just on the advertising side, too. It’s on game creation, too, to explore new concepts in a broader way. GamesBeat: In Saudi Arabia you have some parallels to Brazil in some ways, in terms of what you do with the team that you have. The team is relatively new to games. You’re growing a local staff. We saw some very interesting trends in the past year around Black Myth: Wukong. It was a Chinese-made game made for Chinese consumers, the Chinese market. It did spectacularly well on the global stage as well, 25 million copies sold right off the bat. It validated the notion that a country’s local content could be appealing on a global scale. A lot more games are being greenlit in China now with hopes that they’ll reach a global market. Sandosoft’s PocketNecro For you, in Saudi Arabia, do you have a choice to make around whether to make local content or global content? Fernandez Remesal: As a game developer, we’re creating content for global markets. We’re not doing content to be consumed locally. But that doesn’t mean–as in any part of the world, you have local stories, local myths, local themes that you can expose and eventually create connections with consumers and players everywhere in the world. When I think about our talent pool, I won’t deny that we’re quite an international company. We have 100 people on the team who come from 30 different nationalities. We’re still a nascent state in terms of local Saudi talent. We don’t have enough capability to create these local stories in a way where they feel authentic, where they’re told by the right people. But that will come eventually. I think there’s a good analogy when you think about movies and television. There are plenty of stories from this part of the world that have been told. We talked about Aladdin, about Prince of Egypt. There are plenty of stories that resonate with global audiences. But we need to have the real people, the local talent that can tell these stories in a way that eventually attracts a global audience and can become a mass market opportunity, rather than a niche thing for the local market. GamesBeat: A lot of this is maybe a stepping-stone process. You have to level up your team. You have to make sure that they can grow to be veterans of the industry. Then at that point the opportunities change. You can use them to be the central creators of the content. Fernandez Remesal: Correct. When you’re creating games, when you’re creating many kinds of content, it comes from your own passion. There’s some sense of the market involved, understanding whether there’s a commercial opportunity, but it comes from people’s passion. The passion is there, but the skills and capabilities are not there yet to think about a global game opportunity. We’ve seen that in other games. Assassin’s Creed is a good example of that, where they’ve taken worlds and themes that resonate in the region, but not to the extent that it feels like a proper story from that part of the world. But you’re precisely right. We need to wait a few years to have this capability in place so we have a credible story to tell in a commercial way and can meet the quality expectations that global audiences have. GamesBeat: From what you’ve seen, what is your assessment of where talent is? Whether in your region or other regions of the world as well. Where is the best mobile gaming talent now? Sandsoft’s Wizario Fernandez Remesal: The answer for me is quite easy. You just need to look at the games that make the top of the charts. China has definitely become the world leader in game development talent for mobile games. It’s not just about Tencent or Netease or MiHoYo. Plenty of game developers are creating games that are consumed globally. That’s the larger talent pool for mobile games. It’s true as well that the pool is expanding quite broadly. Creating mobile games is more accessible than going for triple-A console games. There are plenty of pockets of excellence in Europe, in the U.S., in Latin America. I’m really impressed by people here in Brazil, in Argentina, in Uruguay, in Chile. That’s becoming more accessible. Talent is developing in many parts of the world. In my region, in Saudi Arabia, it’s very new. I think that’s resonating with people here in Brazil. Maybe we’re Brazil five years ago. There were some pockets of talent that were trying to get their first companies into the market. We’re on the route where we’re importing talent to support game development, but also building local talent, so we can develop the whole industry. Another topic that’s not so much a trend as a reality now, it’s about going cross-platform. There are plenty of mobile first games that are thinking about moving to different platforms. When you think about how you can go to market, how you can prototype, mobile is usually the cheaper platform to do that. We see more and more teams getting their IP into PC and console coming from mobile. We’re observing that more and more. Another trend we see is transmedia. Maybe that was a buzzword at one point, people thinking about migrating IP from games into other art forms, but we definitely see it quite a bit now, particularly the series we’ve seen from Netflix and Amazon and so forth. Rovio is doing movies. Transmedia is becoming a trend for companies with deep pockets and deep budgets. GamesBeat: The biggest thing to watch right now, I would agree, is AI and where it’s going to change things. I believe that mobile gaming is one of the areas where it’s going to have the biggest impact. AI can’t create triple-A games yet, but there are a lot of things related to the business of mobile games that can be automated. We’ll see where that takes hold and gets traction. Fernandez Remesal: Something that we’re seeing quite a bit here in Brazil is the renaissance of web gaming. WebGL has really improved lately. We see amazing experiences on the mobile web. Mobile web will be an opportunity for game developers. It links to what we mentioned before with web shops and how you can monetize. GamesBeat: We have the Nintendo Switch 2 launching very shortly. The interesting thing about now versus years ago is that Nintendo is no longer the first device that kids get their hands on as a gamer. It’s smartphones and tablets now, mobile games. That’s how they learn to play games, which represents a sea change for companies like Nintendo. They have to follow this trend. The youngest gamers are only going to know the brands that they see on mobile. Fernandez Remesal: That’s precisely right. Mobile is the first gaming device for many, many people, particularly kids. That’s where they discover content. It’s not just games. It’s how they find all forms of entertainment – streaming media, music, and games as well. Disclosure: Gamescom Latam paid my way to Brazil. GB Daily Stay in the know! Get the latest news in your inbox daily Read our Privacy Policy Thanks for subscribing. Check out more VB newsletters here. An error occured.

Table of Contents Table of Contents The best selling Atari 2600 game: Pac-Man – 8 million The best selling NES game: Super Mario Bros. – 40 million* The best selling Sega Genesis game: Sonic the Hedgehog – 15 million* The best selling Game Boy game: Pokémon Red & Blue – 31 million The best selling SNES game: Super Mario World – 20.6 million* The best selling PS1 game: Gran Turismo – 10.85 million The best selling N64 game: Super Mario 64 – 11.91 million* The best selling Dreamcast game: Sonic Adventure – 2.5 million The best selling GBA game: Pokémon Ruby and Sapphire – 16.22 million The best selling PS2 game: Grand Theft Auto: San Andreas – 17.33 The best selling Xbox game: Halo 2 – 8.46 million The best selling GameCube game: Super Smash Bros. Melee – 7.41 million The best selling DS game: New Super Mario Bros. – 30.80 million The best selling Xbox 360 game: Kinect Adventures! – 24 million The best selling PS3 game: GTA 5 – 29.52 million The best selling Wii game: Wii Sports – 82.90 million* The best selling Wii U game: Mario Kart 8 – 8.46 million* The best selling PS4 game: Marvel’s Spider-Man – 22.68 million The best selling Xbox One game: PUBG: Battlegrounds – 9 million The best selling Switch game: Mario Kart 8: Deluxe – 68.29 million The best selling Xbox Series X/S game: ???? The best selling PS5 game: Marvel’s Spider-Man 2: 11 million Looking back at the entire video game console timeline lets us get a clear picture of how the industry has evolved. It is fun to rank the best consoles of all time and look at things like the best Nintendo launch games to remember what we were playing when we first got our hands on those new systems. Those kinds of subjective lists are fun, but there are some equally interesting objective things to explore as well. Game sales don’t necessarily represent the best games of all time, but do show what was most popular at the time for one reason or another. There’s typically a disconnect between what sells the best and what is the highest rated, which is fun to see. This isn’t the kind of thing most people know off the top of their head, so we dug through all the financial reports for as far back as we could to find the best selling games on every video game console. Note: We are only covering the major home and handheld consoles and leaving out the more niche systems that few people owned or remember. We are also only able to account for officially released sales data. It is possible some of these numbers have changed or are in the wrong order, but as of 2025, it is as up-to-date as possible based on the latest official data. Recommended Videos Giovanni Colantonio / Digital Trends The early consoles were mainly a way to play the best arcade games at home, so it makes sense that Pac-Man would be the top seller for the Atari 2600. What is a little surprising, though, is just how many copies this game sold in the end. Despite how niche video games were in the early 80s, Pac-Man on the Atari 2600 sold over 8 million copies. Space Invaders comes in at a distant second place with just over 6 million with Donkey Kong rounding out the top three with a little over 4 million. Related Nintendo We have to put a small asterisk on this entry because, despite being one of the best Mario games and certainly would’ve sold millions on its own, Super Mario Bros. was a pack-in game with the NES. That game was probably why most people bought the console, but we will never know for sure how many copies the game would have sold if it hadn’t been included with the system. However, bundle or not, the sales figure of over 40 million copies is nothing to sneeze at. Even Duck Hunt and Super Mario Bros. 3, which were also included in bundles, only sold 28 million and 18 million copies, respectively. If you don’t count bundles, the top selling NES game would then fall to Tetris with 8 million copies sold. Sega Just like Nintendo’s main mascot topped the charts for the NES, Sega’s own Sonic was easily the best selling Genesis game with 15 million sales. However, we have to put the same asterisk on Sonic as we did with Mario because it, too, was bundled with the console. If we look at second place, it is none other than Sonic the Hedgehog 2 with around 7.5 million copies. These are great numbers, but really goes to show just how dominant Nintendo was at the time over Sega. Adobe Stock / Digital Trends What else could be the best selling Game Boy game than the franchise that took over the world and hasn’t let go? The monster-catching games rocketed the franchise into the stratosphere and gave the handheld a second life almost 10 years after it first game out. Some might think it is a little unfair to bundle the sale of both games together, but that’s how Nintendo has always done it. Besides, the second best selling game is Tetris, but that was a pack-in game, and third place is Pokémon Gold and Silver with 23.7 million, so you have to go pretty far down the list to not have any kind of asterisk. Nintendo Act surprised, but another Mario game is at the top of the list. Again, we have to put a disclaimer on this game’s huge sales milestone for being part of a bundle with the console. Just like with the NES, though, Super Mario World is one of the best SNES games made and would likely have sold about as well regardless. If you want to find the next best selling game that isn’t a bundle, we have to go all the way to ninth place, where we get Street Fighter II Turbo at 4.1 million copies sold. Sony This was a very close race between first, second, and third place, but the first entry in Sony’s own racing game franchise squeaks out the win at 10.85 million copies. Besides just being a great game, Gran Turismo was, and still is, always a graphical showpiece for Sony consoles that draws a huge crowd just to show off what the system can do. Nipping at its heels in second place is Final Fantasy 7 at 10.02 million, followed by Gran Turismo 2 at 9.37 million. Taylor Frint/Digital Trends Graphic / Nintendo Stop us if you’ve heard this one before, but a Mario game was the best selling game on a Nintendo system. Shocking, we know, but this is yet again a pack-in situation. In fact, first through fourth place all have that asterisk attached, including Mario Kart 64, GoldenEye 007, and The Legend of Zelda: Ocarina of Time. Fifth place, however, is Super Smash Bros. with no asterisk at a respectable 5.55 million. While there were tons of great N64 games, this console didn’t sell as well as Nintendo’s others so these are still great numbers considering the install base. Sega It almost isn’t worth it to include the Dreamcast on this list, but we wanted to acknowledge its loyal fans and that it did have some great games. Sadly, not even Sonic could save this system and its premier 3D adventure only managed to sell 2.5 million copies. Soulcalibur was second best with >1.3 million, and Shenmue took third with 1.2 million. Just like Mario will keep showing up at the top of home console sales, Pokémon remains the king of the handheld market. Ruby and Sapphire make perfect sense, but second place belongs to Pokémon FireRed and LeafGreen, remakes of the first generation games with 12 million copies sold. It’s a little surprising how few copies the best PS2 games sold considering it itself is the best selling console. Don’t get us wrong, Grand Theft Auto: San AndreasGran Turismo 3: A-Spec gets the silver medal with 14.89 million, and GTA: Vice City holds bronze with 14.2 million. Micorosft Microsoft’s first console attempt went way better than expected, and that was largely due to launching with a Halo game. The sequel, Halo 2, was one of the most heavily marketed games at the time and revolutionized online play, allowing it to put the original Halo in second place at 6 million. The drop off to third place is huge, with Fable selling a still impressive 3 million copies. Nintendo Sadly, Nintendo’s grip on the console market continued to slip with the GameCube, but Super Smash Bros. Melee played a big part in keeping the system relevant at parties and in competitive scenes. It is also the first system where Mario was shoved to third place, though only technically, since Mario Kart: Double Dash is second with 6.88 million, and then Mario Sunshine comes in with 5.91 million. Photo by Dids from Pexels / Nintendo Meanwhile, the handheld side of things continues to print money and, in a rare twist, sees Mario on top and Pokémon way down at number five. 30.80 million are numbers Nintendo hand’t seen since the original Game Boy, followed by Nintendogs next with 23.96 million and Mario Kart DS only just losing out with 23.60 million. Xbox Be honest, did you see this one coming? You probably would have guessed Halo 3, Call of Duty 4, Skyrim, or one of the other common best Xbox 360 games would be the best seller, but no, 24 million people purchased Kinect Adventures! That sounds even crazier when you see that it sold more than GTA VMinecraft at 22 million. Photo by Nikita Kostrykin on Unsplash This probably looks more like what you were expecting. GTA 5 absolutely crushes all other PS3 games in terms of sales by a huge margin, as one would think. Even Gran Turismo 5 in second place only sold 11.95 million copies, and Uncharted 3 in third at ~9 million. Despite its rough launch, the PS3 did end the generation with a lot of big sellers, but nothing compared to GTA. Nintendo loves to bundle games with its hardware, and no example is more famous than the Wii and Wii Sports. This pack-in game was the only game a huge number of people ever got for the system, which explains its astronomical sales. Mario Kart Wii, which was also a bundle, is second at 37/38 million, and Wii Sports Resort at third with 33.14 million. The first non-bundled game is fifth place’s Wii Play at 28.02 million, which still blows away most other consoles’ best sellers. Nintendo This would be a tough one to talk about if Nintendo didn’t manage one of the greatest turnarounds in video game history right after. 8.46 million copies for a Mario Kart game is abysmal, and this was also a bundle game. In fact, the top nine Wii U games were all part of a bundle at one time or another. The first game you can say sold the most without an asterisk is Mario Party 10 at just 2.27 million copies. Of course, many of these games would end up selling way better when ported to a future system. Sony This is the generation PlayStation really blasted ahead of the competition. Marvel’s Spider-Man was the perfect storm of a massive IP and a perfect development team to hit 22.68 million sales, but it wasn’t a complete blowout. God of War was almost the winner with 21.02 million sales, and GTA 5 somehow managed to sell almost as many copies on the PS4 as PS3 with 20 million. We don’t need to remind anyone how dismal the Xbox One generation was, but seeing PUBG: Battlegrounds as the top seller says it all. No offense to that game, but it selling more than Black Ops III at 7.37 million copies and COD: WWII at 6.23 million shows how small the audience was on this system. Nintendo If you didn’t think the platform could make a big difference, here’s your proof. Despite being an upgraded port of the Wii U game, Mario Kart 8: Deluxe sold more copies on the Switch than the total number of Wii U consoles. And these numbers don’t get any less crazy when you look at Animal Crossing: New Horizons selling 47.82 million, or Super Smash Bros. Ultimate selling 36.81 million. In fact, you have to go to the 22 best selling game on the Switch before sales drop below 10 million. Xbox Microsoft Sadly, there is no official data available for what the best selling Xbox Series X/S game is. Microsoft has stopped reporting a lot of its sales data for hardware and software units in favor of players and engagement, making it impossible to know for sure how many copies of games have actually sold. Sony We’re still in the midst of the PS5 generation, so these numbers are likely to shift, but there’s no doubt that Marvel’s Spider-Man 2 is the clear game to beat with 11 million copies. Second place is a surprise hit: Black Myth: Wukong selling 5 million copies, and then an old familiar franchise taking third place in Ratchet & Clank: Rift Apart, selling 3.97 million copies to date. We’ll keep an eye on this list as things evolve and more sales data comes out.