Resident Evil imagines that the bogeyman is out there. It's the nefarious pharmaceutical corporation, or the unhinged private military company. Eugenics-obsessed scientists ready to lose their own humanity for monstrous ambitions. Capcom's storied horror franchise also doesn't shy away from a bit of silliness.
"You don't need to put music into words right away, you just listen. Cinema is a lot like music. It can be very abstract, but people have a yearning to make intellectual sense of it, to put it right into words. And when they can't do that, it feels frustrating. But they can come up with an explanation from within, if they just allow it."
Although one could argue that Demon's Souls was first, it was its multiplatform sequel that really introduced players to the genre's pillars that have persisted in the near two decades since. While this is sometimes reduced to just difficulty in some cases, what makes a Soulslike is far more than that, pulling in aspects of exploration, narrative structure, character progressions, and more to create a wholly distinct experience that can cater to a variety of different players depending on what parts are more heavily emphasized.
The best co-op horror games know when to scare you senseless and when to let you experience triumph as a team over whatever spooky peril is waiting around each corner. Shadows that move when they shouldn't, distant footsteps drawing ever closer, and the dread of confronting something unknown--it's all better with company. Instead of facing your fears alone, you're able (although, sometimes forced) to rely on others: sharing resources, comparing clues, calling out directions, and of course screaming over each other when everything goes wrong.
Bluey embodies the talent, heart and character of Australia's creative industries. But unfortunately, until now, the beloved franchise's video games had a track record spottier than her friend Chloe the dalmatian. Some parents treated Budge Studios' 2023 mobile game Bluey: Let's Play! with caution, with its $9.99 monthly subscription and persistent adverts for Budge's other licensed games. Later that same year, Artax Games' Bluey: The Videogame was widely criticised on release for its barely two-hour run time, technical problems and $60 price tag.
I've put maybe five or six hours into , and I spent maybe two of those hours desperately searching for two items: Raichunite X and Raichunite Y. These two Mega Stones would allow Raichu, my favorite Pokémon who has never gotten any respect , to Mega Evolve into one of two forms. I had been begging Game Freak for Mega Raichu for so long, I had honestly given up hope that my boy would get a superpowered transformation in , then they gave him two.
I was afraid to learn the answer. The odds that it was what I wanted to hear were not in my favor. What I wanted is practically unheard of in Western-style action role-playing games. But there were encouraging signs from the first dozen or so hours of my initial playthrough that this time might be a rare exception. I'd made it through Paradise Island, the game's first open area, without sparing a thought about how much loot I was carrying. I couldn't find the genre-typical "infinite home base storage chest" anywhere on my ship. I scoured the game's inventory menu for tiny numbers I might have missed with a more casual glance. Nothing.
I think what underpins our success is the pillars of scale, immersion, and authenticity. The tenants that we develop all our games by, and that level of authenticity we instill. It provides an experience that, for me, is unmatched,
In an interview from his New Zealand home, though, Gilbert noted that his catalog also includes some reflex-based games- Humungous Entertainment's Backyard Sports titles and 2010's Deathspank, for instance. And Gilbert said his return to action-oriented game design today stemmed from his love for modern classics like Binding of Isaac, Nuclear Throne, and Dead Cells. "I mean, I'm certainly mostly known for adventure games, and I have done other stuff, [but] it probably is a little bit of a departure for me," he told Ars. "While I do enjoy playing narrative games as well, it's not the only thing I enjoy, and just the idea of making one of these kind started out as a whim."
Katsura Hashino is the mind behind beloved cult classics like Shin Megami Tensei III, Trauma Center, and , but he's best known as the director of and, which redefined the franchise's identity and pushed the entire genre forward. Now, it seems Hashino isn't content to just keep doing the same thing. The creator has said he wants to fundamentally change the genre's "structure and presentation," and create "JRPG 3.0."
Veteran RPG developer and Fallout co-creator Tim Cain argues that modern games have forgotten some lessons of history--a point he made in a recent YouTube video--you can watch the full video below--responding to a viewer's question about whether older titles contain any supposed lost wisdom. Cain's answer--"Yes, there is. Good question." Looking back at his own early years in the industry, he describes an era with only programmers and some artists, but no narrative designers, and far fewer competing priorities.
Mario Kart is stability - it's that aunt and uncle who live down the street. You have dinner at their house every week, and know you can call them for anything you might need. But Kirby Air Riders is that bizarre uncle that you only see at holidays, who's always got some crazy story about when he went to Burning Man, or a souvenir from his trip to Australia. You don't know him very well, but you always have a good time seeing him.
Nell's Diner, Phasmophobia art director Corey Dixon told me, is full of unique assets, many more interaction points than a typical map in the game, and several Easter eggs. Back when the game was developed by a single person, Daniel Knight, his expertise was in programming, not things like art direction, which is why today Phasmophobia still mostly uses some generic assets for things like furnishings, vehicles, and even the feared ghosts themselves.
There's the obvious challenges of actually achieving success, but once you've created a hit TV show or blockbuster movie, the clock starts ticking on that nefarious "what's next?" question. Now the measurement of success isn't just how something compares to its peers, but how it compares to all prior achievements. This is especially daunting for video games, where a smash hit can define - or destroy - a studio's future.
You aren't supposed to be able to take the Warthog up to steamroll the Hunters. I intentionally placed rocks in the way so you had to fight them on foot. When you can just smash the crates out of the way it wrecks the encounters.But the worst part? They put trees in the landing...
"Bethesda introduced the radio in Fallout 3, which we didn't have in the original Fallout games, and I thought that was really cool. But most of the stuff they did, and in New Vegas, was all off-the-shelf existing music," The Outer Worlds 2 creative director Leonard Boyarsky tells Inverse, "I understand why they had to do that, because it'd be ridiculous to think you would come up with 60 songs from scratch. So even back then, it was in the back of my brain that it'd be cool to hear what music from this place would have sounded like."
According to Shawn Layden, a live-service game "isn't really a game." The former PlayStation executive said in an interview that a live-service game is better described as a "repetitive action engagement device." Then what is a game? Speaking to The Ringer, Layden said a game needs three elements. "I need a story, I need a character, and I need a world," he said.
Over the course of its 26-year history, the Silent Hill series has built up a reputation for offering deep dives into the more psychological side of the survival horror genre and giving players complex stories and experiences that often resonate more deeply than those found in the genre's action-focused contemporaries. This complexity, however, doesn't mean the series is without formula.
There was once a time when having a full-blown computer in your pocket was still a fairly novel concept, and game developers, publishers, and console-makers were all too eager to find ways to work their existing products and franchises into mobile apps. Some of these were terrible, offering cheap imitations of their big siblings and often charging exorbitant prices for microtransactions, but there were also a whole bunch that took a different approach.
After shaking up the Pokémon formula with Pokémon Legends: Arceus, its successor, Legends: Z-A, pushes things even further - and it's a very welcome change of pace. With , Nintendo and Game Freak demonstrated how much more vibrant, weird, and exciting the monster catching series could become with a few key changes to the classic formula. Arceus' historical story and open-ish world made the Pokémon universe feel like a bigger, wilder place, just as the revamped battling and catching mechanics turned the familiar process of filling out your pokédex into a completely different kind of experience.
As one of the longest-running survival horror series, has had somewhat of an identity struggle over its many years. Some entries have been more action-focused, while others prioritized the dread and horror many come to the genre for. The last entry, Resident Evil Village, arguably leaned toward the action side of the equation. But the upcoming ninth entry, Requiem, aims to double down on the series' horror elements.
The best puzzle games are ones that force you to take a moment to consider your next move, the world around you, the rules that you're being forced to operate under, and, sometimes, all of the above. They're delicately balanced experiences, carefully threading the needle between being too easy and satisfying and avoiding being too difficult and frustrating. These are experiences that ask a lot of their players, anticipating a level
Numbers suggest this isn't just nostalgia at work. While the global games market fluctuates, interest in pixel art and retro-inspired titles continues to grow. According to Cognitive Market Research, the pixel‑game games market is projected to expand at around 11.5% (CAGR) between 2024 and 2031. Indie titles, many leaning into 2D or pixel aesthetics, continue to be key drivers of engagement and discovery, even as saturation makes standing out increasingly challenging.
