Thanks to today's Nintendo Direct focused on third-party games, we now know the identity of two of the four Xbox titles that Microsoft pledged to release on "the other consoles." One of them is Pentiment, which is coming to Nintendo Switch on February 22 (i.e. tomorrow). The other is multiplayer title Grounded, which will arrive on Switch on April 16.

Pentiment debuted on Xbox, PC and Xbox Cloud Gaming in late 2022, and it was well received by critics. The RPG has an eye-catching historical art style that fits the story a small team at Obsidian wanted to tell. Still, it's a bit of a niche game and one that game director Josh Sawyer admits would never have been possible without Game Pass.

"The old mentality of publishers and developers is generally focused on larger investments with higher [return on investment], and that's not the point in this environment, in this ecosystem," Sawyer told Waypoint Radio, as noted by Eurogamer. "[Game Pass] is the only way in which I conceive of [Pentiment] being viable."

That makes it particularly intriguing that Xbox picked Pentiment as one of the four games it's bringing to other consoles (it's worth noting that the number of Game Pass subscribers hasn't actually grown much over the last couple of years). Microsoft Gaming CEO Phil Spencer said earlier this month the titles in question had all been on Xbox and PC for at least a year and that they had reached their "full potential" on those platforms. 

Two of the games are community-driven (i.e. multiplayer titles), and Grounded is clearly one of those. The Honey, I Shrunk The Kids-inspired survival game has been around for a few years. It debuted in early access in July 2020 before its full release in September 2022.

The other two games crossing the great divide are "smaller games that were never really meant to be built as kind of platform exclusives and all the fanfare that goes around that, but games that our teams really wanted to go build," Spencer said. Pentiment more or less falls into that category and had been rumored as one of the games to hit Switch and/or PlayStation. The other two Xbox games expected to come to other consoles are Hi-Fi Rush and Sea of Thieves.

The Pokémon Company is hosting a morning livestream on February 27 at 9AM ET to share “exciting Pokémon news” on its official YouTube channel. The yearly stream, appropriately named Pokémon Presents, will provide a bunch of info about what’s coming down the pike throughout 2024.

The company does this stream every year, but this one could be special. After all, it happens to fall exactly on the totally not made-up holiday Pokémon Day, which celebrates the original Japanese release of Pokémon Red and Pokémon Green back in 1996.

We don’t know exactly what will be shown, but we have some informed guesses. Given previous Pokémon Presents streams, we’ll likely get updates on live-service hits like Pokémon Go, the MOBA Pokémon Unite and the recently-released tracking app Pokémon Sleep.

Dollars to doughnuts, we’ll also get something more substantial to chew on. Most of these streams feature the announcement of an actual Pokémon RPG. Chronologically speaking, it’s too soon to expect a reveal for the true next-gen Pokémon game, as Scarlet and Violet just launched in 2022. The mainline entries typically follow a three-year release cycle.

That leaves remakes and spinoffs. Pokémon Brilliant Diamond and Shining Pearl released in 2021 so it’s high-time for remakes of the beloved Pokémon Black and White fifth-gen titles. This is just a guess, but it’s not like the Pokémon Company is gonna skip a generation in its remake-a-palooza. It’s Black and White’s turn to shine.

There’s also a chance we’ll get a new Let’s Go title set in another region of the Poké-verse. We could even get a new action RPG like Pokémon Legends: Arceus. There’s always going to be some oddball announcements, like a new Pokémon Mystery Dungeon or even a new Pokémon Art Academy that integrates the Switch’s touchscreen.

You should expect some announcements regarding content set in the Pokémon cinematic universe. The delightfully quirky stop-motion show Pokémon Concierge was just renewed for a second season, so we could see a teaser. There could also be a trailer for a new season of Pokémon Horizons: The Series.

Also, to throw a bit of cold water on expectations, this is a stream conducted by The Pokémon Company, and not Nintendo. You won’t catch a whiff of software planned for the Switch 2, or whatever the new console ends up being called. Rumors swirl that the release of that console has been delayed until 2025. Nintendo’s holding its own Direct livestream tomorrow, but it’ll focus on third-party titles and will likely not include any news on the forthcoming console.

The next Nintendo Direct is scheduled for this Wednesday, the company just announced. It's being billed as a "partner showcase," with Nintendo saying it'll show off Switch games coming in the first half of this year from "our publishing and development partners." It'll kick off on February 21, bright and early at 9AM ET. 

While Nintendo holds these showcases on a regular basis, this one is potentially more significant than usual. Last week, Microsoft made an expected but still surprising announcement that it would begin bringing some of its titles to "other consoles," a phrase that's hard not to interpret as games coming to the Switch (and Sony's PlayStation 5 as well). 

Nintendo says it'll be a 25-minute presentation, so there's a chance we'll hear about some games from other developers, as well. But we're all expecting to see some news about what games Microsoft is going to bring over to the Switch. Microsoft only said that it would be bringing four games to other platforms but didn't name them; the latest rumors cite Hi-Fi Rush, Sea of Thieves, Halo and Gears of War as likely options to make the move.

This comes at a time when Nintendo doesn't have a lot of its own first-party games scheduled for the platform (that we know of, anyway). There's also the looming specter of a Switch 2 console; reports just said that the hardware is getting pushed back to 2025 after an expected launch at some point this year.

After listening to yesterday’s Xbox Podcast, where the company announced it was bringing four older titles to non-Xbox consoles, a question popped into my head: Why does Microsoft, a software and services company, need a console business?

The same question was asked when The Rock announced the original Xbox console in 2001, but the industry has changed a lot in 23 years, and it’s worth asking again. Microsoft, after initially struggling to make an impact with the Xbox, firmly established itself as a top player with the Xbox 360, before settling for second place with the Xbox One and currently finding itself in a distant third with the Xbox Series consoles.

As much as the industry has changed, no company in it has changed more than Microsoft. It is now a mega-publisher of games, with over 30 in-house studios. Many of these development teams are world-renowned, with a rich, multi-platform history. It’s also the operator of one of the largest game subscription services in the world, Game Pass. Microsoft’s plan has been clear for all to see: Sell a console and upsell a subscription service filled with games produced at cost by in-house studios.

There’s just one problem: It doesn’t have the audience.

Blizzard Entertainment

The pandemic years saw rapid growth of Game Pass, which rose from 10 million subscribers in April 2020 to 25 million in January 2022. Since then, it’s added just 9 million subscribers, with the current total standing at 34 million. Any thoughts that Game Pass could emulate Netflix’s decade of growth are long-gone, but there’s a crucial difference between the two services: Netflix doesn’t try to sell its customers $400 boxes to watch Netflix.

Microsoft has struggled with the duality of its gaming strategy: A subscription service requires a constant churn of content to feel worthwhile, but a console requires “system sellers” that attract people to buy it over the competition. Those are very different things, with wildly different budgets and timelines. Game Pass, no matter how attractive, is not a system seller by itself.

While Microsoft has balanced its dual goals of Game Pass growth and console sales, its competitors have stolen its audience. Nintendo and Sony are laser-focused on exclusive experiences for their customers, which they both see as key to selling consoles. Microsoft has once again found its hardware outsold 2:1 by Sony, and the Switch has likely outsold the Xbox One and Xbox Series consoles combined. While Sony is increasingly understanding the power of the PC market, and Nintendo is still maintaining at least a couple of its money-spinning mobile games, there is little chance of either company’s overall console strategy changing.

Microsoft

Microsoft’s pledge to bring four unnamed titles to “other consoles,” then, is intriguing. I subscribe to Game Pass, but I’m not sure I would’ve paid $30 for Hi-Fi Rush or $40 for Grounded, no matter how much I enjoy either of those games. From the way Xbox chief Phil Spencer described the company's cross-platform quartet, there seems a reasonable chance that those games, together with Pentiment and Sea of Thieves, are the subject of this experiment:

“We looked at games that are over a year old … A couple of the games are community-driven games, new games, kind of first iterations of a franchise that have reached their full potential, let's say, on Xbox and PC … Two of the other games are smaller games that were never really meant to be built as kind of platform exclusives and all the fanfare that goes around that, but games that our teams really wanted to go build that we love supporting creative endeavors across our studios regardless of size.”

Porting these four titles to other platforms is not going to do much to change Microsoft’s fortunes. Yes, I’m pleased that more people will get a chance to play Hi-Fi Rush and Pentiment, and I’m sure Microsoft will make some money from Switch and PlayStation owners. But from Microsoft’s perspective, why give your potential audience four fewer reasons to buy an Xbox?

Cloud streaming, and the ability to turn any screen into an Xbox, is clearly the long-term plan for Microsoft. There has been some progress in getting its app on more platforms, but few TVs or streaming boxes support Microsoft’s Game Pass app for cloud streaming, and Xbox Cloud still isn’t close enough to local play to be a viable option for many games. More expensive options like GeForce Now show some promise, but it’s clear that cloud gaming is not going to be a viable primary gaming platform for the masses for many years.

8BitDo

In the meantime, what does Microsoft do? We’re likely approaching the midway point of this console generation, and its current systems have a comparatively tiny audience. Game Pass subscriptions are slowing, and there isn’t a viable way for PlayStation or Switch players who don’t own a gaming PC to play Xbox games. It’s a lot like the Xbox One generation, except Microsoft now owns roughly $76 billion more game studios. In this landscape, it’s easy to understand the rumors of top-tier Xbox games being released on other consoles after a brief exclusivity window.

The economics of making big games for small audiences are tough. 2024 looks set to be a better year for Microsoft, with first-party titles like Hellblade II, Indiana Jones and the Great Circle and Avowed on the way. But even combined, it seems unlikely that these titles will grow Xbox sales or Game Pass subscriptions significantly. Few gamers are willing to commit to a second console, let alone a third.

As a third-tier player in the console market, there’s really no easy road to success. To release AAA titles on PlayStation would increase the sales of Microsoft games massively, but it could also erase the point of owning an Xbox. Microsoft could probably afford to go multiplatform while maintaining a console business if it had some true AAA franchises to hold back, but despite spending $69 billion on Activision Blizzard, it agreed to not make its new-found system seller, Call of Duty, exclusive to Xbox until 2034. Halo and Forza are not enough in 2024.

So… maybe it’s time for Microsoft to stop making consoles, and just focus on becoming the biggest company in gaming. I’d almost suggest that was the plan, were it not for Phil Spencer confirming future hardware was on the way. It’s obviously not viable to abandon this console generation, but it’s definitely viable to begin planning for a graceful exit from hardware by developing for rival platforms.

If Microsoft believes in the transition to cloud gaming, it should not be planning to release a next-generation console. Why keep losing a console war you believe is about to end? Stepping back from its competition with Sony and focusing on making the best games for the largest audience would put the Xbox division in the strongest position to capitalize on the post-console future. Publishers like Ubisoft and EA already sell subscriptions on the PlayStation store, and Microsoft could, too — a subscription with every Call of Duty and Bethesda game would probably go down well with PlayStation gamers.

While Microsoft waits for cloud gaming to become viable for the billions of active players around the world, the best place for its games, and Game Pass, might be PlayStation, Switch and PC.

Jessica Conditt contributed to this report.

Game Pass, Microsoft’s subscription service for games, has 34 million subscribers as of February 2024. Microsoft revealed the number in a blog post where it shared its plan about the future of the Xbox business.

The latest number reveals that Game Pass growth has slowed down drastically. It took Microsoft three years since Game Pass launched in 2017 to get to 10 million subscribers in April 2020. In the next five months, the company added five million subscribers, and hit 18 million subscribers by January 2021, a growth rate of nearly 90 percent per year. A year later, the company announced that Game Pass had 25 million subscribers. Over the last two years, Game Pass has added nine million subscribers, which would be an average annual increase of just 18 percent.

Game Pass lets players pay a monthly fee to Microsoft for unlimited access to an evolving library of games that they can play on their consoles or PCs. In an announcement on Thursday, the brand’s leaders revealed plans to bring Xbox games to more platforms including the PlayStation 5 and the Nintendo Switch, both of which have far more users than Xbox. There are currently no plans to offer Game Pass on either Sony or Nintendo's platforms.

The first Activision Blizzard game to join Xbox Game Pass will be Diablo IV, and it's due to land on March 28. The move means Diablo IV will be playable on Xbox and PC at no extra charge to Game Pass members — of which there are 34 million, Xbox announced today. 

This is just the first step in Xbox's broader plan to offer Activision Blizzard titles in its monthly subscription service, now that Microsoft fully owns the studio.

"There will be even more to play as we begin to fulfill our commitment to offer Activision and Blizzard games with Game Pass, both new releases and classic games from its legendary catalog," the Xbox Wire reads. Xbox plans to share more information about additional Activision Blizzard titles hitting Game Pass "soon."

Microsoft acquired Activision Blizzard in October 2023, after nearly two years of antitrust investigations from authorities in the United States and abroad. The deal was worth nearly $69 billion, the largest in Microsoft's history. As part of negotiations with regulators, Microsoft agreed to offload the streaming rights for Activision Blizzard games onto Ubisoft, opening the door for their inclusion in Game Pass, Ubisoft+ and other cloud services.

In the US, the FTC is continuing to investigate the acquisition and recently accused Microsoft of misrepresenting its plans for Activision Blizzard following a round of layoffs in January that affected 1,900 employees across the company's gaming segments.

There aren't enough games with queer characters and themes — and GLAAD, the world's largest LGBTQ media advocacy group, has the statistics to prove it. GLAAD's first annual report on the video game industry found that nearly 20 percent of all players in the United States identify as LGBTQ, yet just 2 percent of games contain characters and storylines relevant to this community. The report highlights three critical truths: Representation matters a lot to LGBTQ players, the remaining gaming audience largely welcomes these themes, and new generations of gamers are only becoming more open to queer content.

GLAAD has the numbers, so let's take a deeper look alongside a few bits of gaming news from the past week:

This week's stories

Xbox rumor mill

Xbox is preparing to address a bunch of rumors on Thursday about the company’s plans to bring its exclusive games to PlayStation, Switch and other platforms. The rumors have centered on major releases like Indiana Jones and the Great Circle and Starfield, but according to The Verge’s Tom Warren, the first titles scheduled to make the leap are Hi-Fi Rush and Pentiment. Nothing has been confirmed yet, but Xbox’s top gaming executives, Phil Spencer, Sarah Bond and Matt Booty, will chat about all of it on the next installment of the Official Xbox Podcast, which drops at 3PM ET on Thursday.

Ubisoft pledges to be good again

Ubisoft CEO Yves Guillemot said on an investor call last week that the studio is officially going to make good games again. Talking about the company’s positive third quarter, Guillemot said it “marks the beginning of our turnaround to consistently creating and delivering high-quality, long-lasting games,” which sounds like a tacit admission that Ubisoft hasn’t been producing great games recently. This is something I’ve talked about a lot — it feels like the studio has been coasting on NFTs and free-to-play mobile titles since a period of financial turmoil in 2015, and I’m actually excited to see a return to its weird, more focused roots. Assassin’s Creed Mirage and Prince of Persia: The Lost Crown were great first steps. Ubisoft plans to reveal more details about Star Wars Outlaws, the new Assassin’s Creed set in Japan and its mobile lineup in May.

Gaming has never been gayer

“The game industry is out of step with contemporary media in terms of LGBTQ representation, and it is failing its LGBTQ customers.” That’s one of the breakout lines from GLAAD’s first annual gaming report, which analyzes the state of the video game industry from the perspective of lesbian, gay, bisexual and transgender players in the United States.

In its survey, GLAAD — the world’s largest LGBTQ media advocacy group — found that 17 percent of the total gaming audience identifies as LGBTQ, or about one in every five players. This figure falls in line with statistics for Gen Z. Still, just 2 percent of all games on the market contain LGBTQ content, a saturation level that falls miserably short of those in film, TV and other forms of media.

GLAAD ran the numbers itself: In November 2023, the Xbox store had 146 games with LGBTQ content, while PlayStation offered a list of 90 titles with these themes, and the Switch eShop had 50 games tagged LGBT. Steam had 2,302 English-language games under its LGBTQ+ tag, but that figure dropped to 1,506 when filtering out “adult only sexual content” titles. All told, queer games composed roughly 2 percent of the stores’ libraries.

In contrast, GLAAD found that almost one in three films from the top distributors in 2022 contained an LGBTQ character, and LGBTQ characters appeared as series regulars in 10 percent of primetime scripted broadcast shows in 2022 and 2023. GLAAD Associate Director of Gaming Blair Durkee said that, with queer representation at just 2 percent, gaming remains woefully behind other entertainment industries.

The report also tried to identify why this gap exists. It suggested some developers simply don’t think about including LGBTQ people, or they worry about pushing away a core audience that they assume is hostile toward LGBTQ content. However, the report says, “This imagined core audience is a myth,” considering LGBTQ people compose nearly 20 percent of the market on their own. Critically, GLAAD found that more than 60 percent of non-LGBTQ players weren’t bothered by queer protagonists in their games, and 70 percent said they were fine with titles that presented the option to play as an LGBTQ character.

So this type of representation doesn’t bother most straight, cisgender people, but it means a lot to LGBTQ players. 72 percent of LGBTQ players said that seeing characters of their gender identity or sexual orientation portrayed well made them feel better about themselves, and this number was even higher among younger players. Overall, 36 percent of LGBTQ players reported that video games helped them discover their sexual orientation or gender identity, and this percentage rose to 41 percent among LGBTQ players of color. More than 40 percent of queer players said video games helped them cope with a lack of acceptance in the real world. These issues are more prominent than ever amid an avalanche of anti-LGBTQ legislation: Already in the first few weeks of 2024, more than 500 anti-LGBTQ bills have been proposed or passed in the US, a majority of which target transgender youth.

While GLAAD found that 66 percent of all LGBTQ gamers said they use gaming to express themselves in ways they don’t feel comfortable doing in the real world, this statistic rose to 75 percent for players living in states with proposed or active anti-LGBTQ bills.

The real key is that more gamers identify as LGBTQ than ever before, and resistance toward these themes is waning with each new generation of players. I’m part of the LGBTQ community, and I can say that overall, the GLAAD report rings true. It feels like the industry is saturated with games that weren’t made for me, and there’s an immense joy that comes with discovering a new title that speaks to my own life or lets me play in a world that doesn’t involve traditionally straight-male power fantasies. Queer people have fantasies, too, and the GLAAD report highlights how forgotten these stories have been in games. It’s not a matter of LGBTQ people asking for all games to be gay — we just want proportional access to fantasy and escape. Personally, I’d love to see more LGBTQ people in positions of authority in video games, a recommendation that GLAAD makes in its report as well.

And really quickly because I can already hear the keyboards melting: Woke ideas will not destroy the gaming industry, but stagnation will, and as the GLAAD report points out, we’re much closer to that reality than anything else.

Bonus content

• FromSoftware's parent company has acquired Acquire, the team behind Octopath Traveller.

• The FTC accused Microsoft of lying about its intentions with Activision Blizzard after enacting a huge round of layoffs at the end of January, and the FTC is continuing to investigate potential antitrust issues around the acquisition. Microsoft responded by saying its plans changed, so there.

• Microsoft’s gaming layoffs included 86 jobs at Skylanders developer Toys for Bob, effectively shutting down the studio.

Now playing

Children of the Sun is a dark and trippy puzzle game that makes shooting a mechanic of elegance. Players find an angle, set up the shot and then control the path of a single bullet as it takes out every enemy on-screen. This is my kind of shooter. Children of the Sun is available on Steam as a demo only for now, and it comes from solo developer René Rother, published by Devolver Digital.

I never played the original Mario vs. Donkey Kong, which came out in 2004 for the Game Boy Advance.  So I brought no nostalgia or past experience to the new version coming out this week, which feels thoroughly modern in all ways except the gameplay. Mario is limited — he can’t run quickly, he doesn’t jump very high, you lose a life with a single mistake. Coming from the brand-new Super Mario Bros. Wonder can give you serious whiplash, as there’s no Elephant power or Wonder Stars to be found here. But if you don’t compare Mario vs. Donkey Kong to the plumber’s more modern adventures, it has some charm all of its own to enjoy.

Mario vs. Donkey Kong has a lot more in common with the original Donkey Kong arcade games than your typical Mario platformer. Each level has two parts, but they aren’t expansive side-scrolling adventures. Instead, it’s a puzzle that requires specific steps and clever usage of the enemies and tools littered throughout. First, you need to get a key, and then you need to rescue a cute little Mario toy that Donkey Kong stole and placed in the level. Sometimes, you’ll need to throw a Shy Guy onto a pit of spikes and ride him across the hazard; other times you’re activating switches in a specific order to get platforms to appear where you need them to advance. As with a lot of the best Mario games, nearly every level introduces a new mechanic, enemy or tool that impedes or helps you finish. These levels stretch both horizontally and vertically, but they’re small, self-contained little worlds.

Nintendo

As usual, Nintendo’s polish is on display here. There are plenty of bouncy orchestral music selections; Mario, DK and all the baddies who pop up throughout are lovingly rendered and controls are tight and precise. That is, once you get used to Mario’s limitations. I didn’t have an issue with Mario being a bit less capable, as it’s a totally different style of game, but I definitely forgot that Mario didn’t have the hops to make it across some chasms.

There’s a surprising amount of content in this game, too. There are eight worlds, two of which are brand-new for the 2024 reissue. Each has six stages, plus a bonus stage and a boss battle. And once you beat the main campaign, there’s a remixed “Plus” version of all those levels available that use the same items and overall characteristics as the original but with a new, more challenging goal — you need to lead a vulnerable mini Mario toy to the exit, and those toys are even less capable than big Mario. It’s a good way to mix up the formula that had gotten extremely familiar by the time I completed the first 64 stages.

Nintendo

Finishing the main game also unlocks 16 new expert stages that absolutely live up to that title. They’re quite challenging, and since the game doesn’t continuously feed you 1-Up mushrooms, they’ll take some skill to complete (I have only just started getting into this new challenge). Figuring out the puzzle and executing the solution without making a mistake before is a tall order on some of these later levels, both in the expert stages and the Plus levels.

That’s good, because beating the first eight worlds was so easy I was worried this game wouldn’t have any real value to it. I breezed through the first four worlds, and only hit significant challenges in the last two. The Plus worlds, so far, haven’t been too tough either, though I wager that’ll change. As it is, I got the “perfect” mark on all of world two-plus in 30 minutes (six stages, plus a bonus stage to harvest some 1-Up mushrooms and the final world boss level). It would have been 20 minutes had I not run into a challenge on 2-6 that took some time to work out. I wish there were more levels like that — as it is, the game felt either extremely easy or surprisingly difficult, without as much of a difficulty ramp as I’d like to see. All that said, I am looking forward to seeing how the Plus worlds continue to advance in difficulty.

Nintendo

Given the simplicity of this game, it’s fair to say that its target audience might be younger or less experienced than I am. Nintendo included some features to make the game even more accessible, too. There’s a “casual” mode where you can take six hits before you lose a life in a stage, instead of just one. That also removes the time limit, which didn’t stress me out in earlier levels but definitely posed a challenge as the game went on. If you do like trying to beat the clock, there’s a “time attack” mode where you try and beat a target time in the level. And regardless of which play style you choose, you can always just hit “retry” to start a stage over without losing a life. Finally, Nintendo also included local co-op multiplayer, something experienced and novice players may enjoy.

At first, I felt like Mario vs. Donkey Kong was going to be too slight of a game to recommend people spend $50 on. It started off cute and clever, but very simple and with seemingly little depth. But Nintendo surprised me — while it’s definitely a throwback sort of game, there’s a solid mix of challenge and depth here. And as with many Nintendo games, this one should be fun for players of any age. Just don’t expect Mario to have the moves and tricks he does in Super Mario Wonder.

Some imaginative and resourceful game preservationists have reverse-engineered a long-lost F-Zero game from the mid-90s. Eurogamer reports that faithful recreations of two BS F-Zero Grand Prix games, broadcast exclusively for Nintendo’s long-defunct Satellaview satellite gaming extension for the Super Famicom, are now available to play for free as add-ons for the original ROMs.

The two BS F-Zero Grand Prix games — which added 10 courses, four new vehicles and a ghosting feature unavailable in the SNES / Super Famicom original — were broadcast exclusively for Nintendo’s Satellaview in 1996 and 1997. Satellaview was the Mario maker’s experimental satellite module for the Super Famicom in Japan. It never launched in the US or anywhere else globally.

Titles for the system had an ephemeral nature. First, players in Japan needed the right equipment, including the Super Famicom console, the Satellaview module (attached to the console’s bottom), a dedicated BS-X recording cartridge, a satellite dish and a receiver. They then had to tune in at specific times and download the games onto their special cartridges.

Although the system didn’t last long (Satellaview had shuttered by 2000), the console’s setup was a rough precursor to the downloaded digital gaming content we’re accustomed to today.

Given those strict requirements, it’s no wonder the sci-fi racers’ original ROMs appear (so far) lost to history. Fortunately, someone with the handle kukun kun, with apparent access to the original games, uploaded BS F-Zero gameplay videos (embedded below) to YouTube in 2018. Using those clips as a blueprint, the team of talented developers / archivists — led by a person with the handle ROMHacker GuyPerfect — reconstructed the BS F-Zero courses with a combination of game analysis software, original F-Zero assets and custom art.

The project used a modified version of Graphite, a tool created by FlibidyDibidy (initially built to analyze Super. Mario Bros. speedruns), which can use a gameplay video to determine precise character positions and button inputs. The adapted version of Graphite helped ROMHacker GuyPerfect and their team reproduce the gameplay from the original F-Zero courses as loyally as possible.

Where possible, the developers used existing F-Zero art assets from the ROMs in the (non-satellite) original game for the Super Nintendo / Famicom console. To fill in the blanks for lost assets exclusive to the satellite broadcasts, artists Porthor and PowerPanda chipped in to recreate them.

The past few months have put the F-Zero series back in the news, as Nintendo launched a battle royale version last fall of the original 16-bit game for Switch Online subscribers (in the same vein as Tetris 99 and Super Mario Bros. 35). As for the long-lost original BS F-Zero Grand Prix ROMs, Redditor u/Porthgeidwad put up a $5,000 bounty two years ago, allegedly up for grabs for anyone with the original cartridges. While waiting for someone to step up, you can visit the team’s project page and take the reverse-engineered games for a spin.

“The game industry is out of step with contemporary media in terms of LGBTQ representation, and it is failing its LGBTQ customers.”

This sentiment has felt true for years, and now the statistics in GLAAD’s first annual gaming report prove it. The media watchdog and LGBTQ advocacy group today published GLAAD Gaming: The State of LGBTQ Inclusion in Video Games, offering a comprehensive breakdown of the industry from the perspective of queer players and developers.

According to GLAAD, 17 percent of the total gaming audience identifies as LGBTQ, or about one in every five players. This figure falls in line with statistics for Generation Z. Still, just 2 percent of all games on the market contain LGBTQ content, a saturation level that falls miserably short of those in film, TV and other forms of entertainment media. GLAAD found that 28.5 percent of films from the top 10 distributors in 2022 contained an LGBTQ character, and LGBTQ characters appeared as series regulars at a rate of 10.6 percent on primetime scripted broadcast shows in 2022 and 2023.

For the gaming stats, GLAAD ran the numbers: In November 2023, the Xbox store had 146 games with LGBTQ content, while PlayStation offered a list of 90 titles with LGBTQ themes, and Nintendo’s Switch eShop had 50 games tagged LGBT. Steam had 2,302 English-language games under its LGBTQ+ tag, but that figure dropped to 1,506 when filtering out “adult only sexual content” titles. Together, these games composed less than 2 percent of the Xbox, Playstation and Switch digital libraries, and they made up just 1.7 percent of Steam’s offerings (without the adult-only content). For context, it’s estimated that about 1 percent of all games released in the 2010s included LGBTQ themes.

“Despite the significant progress we’ve seen, gaming remains woefully behind other forms of entertainment media when it comes to representation,” GLAAD Associate Director of Gaming Blair Durkee said.

GLAAD’s report identified the following reasons behind the lack of LGBTQ representation in video games:

“Some reasons for exclusion are passive. Often, game companies have not considered that they should represent LGBTQ people, nor do they see us as a major part of the core gaming audience. Some reasons for exclusion are active. Companies worry about pushing away a core audience that they assume are resistant or hostile to LGBTQ content. This imagined core audience, however, is a myth, and it is one of the reasons it was paramount for GLAAD to create this gaming report. LGBTQ gamers are a significant part of the existing active gamer market and, by and large, non-LGBTQ gamers are not nearly as resistant to this content as many assume.”

More than 60 percent of non-LGBTQ respondents said they weren’t bothered by LGBTQ protagonists and NPCs in their games, and 70 percent said they were fine with titles that presented the option to customize a bisexual, gay or lesbian character. Resistance toward these themes is waning with each new generation of players, GLAAD found.

One of the report’s key takeaways is the idea that developers seem to be building games for an outdated stereotype, rather than the reality of the market. Straight, white, cisgender men definitely play video games, but the actual gaming audience is much more diverse and it’s only become more variable.

“The lack of LGBTQ representation in video games is often explained by the assumption that the stereotypical core video game consumer is a white, heterosexual, cisgender man between the ages 18 and 34,” GLAAD said. “However, our data shows that 17 percent of active gamers are LGBTQ, a 70 percent increase from the 10 percent counted in Neilsen’s 2020 report.”

This figure is even higher for younger players, the next generation of gamers. Roughly 25 percent of players under the age of 35 identify as LGBTQ, a higher concentration than reported in the human population as a whole. This trend drives home another conclusion of GLAAD’s gaming report — the idea that LGBTQ players are drawn to games in particular because they offer an immersive outlet for expression, experimentation and escape.

“The interactive nature of games, the opportunity to build community in gaming, and the long history of LGBTQ game industry professionals makes this medium a uniquely powerful tool for LGBTQ people to safely discover, connect, and express themselves,” GLAAD president and CEO Sarah Kate Ellis said. “Particularly for LGBTQ gamers, gaming can not only be an escape and source of entertainment, but also an important outlet of self-expression.”

In the GLAAD survey, 72 percent of LGBTQ players said that seeing characters of their gender identity or sexual orientation portrayed well made them feel better about themselves, and this number was even higher among younger players. Overall, 36 percent of LGBTQ players reported that video games helped them discover their sexual orientation or gender identity, and this percentage rose to 41 percent among LGBTQ players of color. Notably, GLAAD found that gamers of color are less resistant to titles with queer content than white players.

More than 40 percent of LGBTQ players said video games helped them cope with a lack of acceptance in the real world. At the same time, 51 percent of LGBTQ players said they wanted video games to do more in terms of inclusion, and 74 percent wished for more opportunities to explore and express their true selves in games.

“Games are a medium in which players can be anything, but the game industry has continued to rely on very narrow representational options,” GLAAD said.

Transgender content faced the most resistance among all respondents. Concerning LGBTQ players, 63 percent said they were more likely to buy a game that supports a bisexual, gay or lesbian protagonist, while 46 percent said the same about a transgender main character. However, 94 percent of LGBTQ respondents said they were just as likely or more likely to purchase a game that includes the option to embody a transgender protagonist. Among non-LGBTQ gamers, 80 percent responded the same way.

The importance of representation in video games has only grown amid an avalanche of anti-LGBTQ violence and legislation in the United States. In the first weeks of 2024, more than 500 anti-LGBTQ bills have been proposed or passed in the US, a majority of which target transgender youths. This is already a dramatic spike from 2022 and 2021, both record-setting years in terms of anti-LGBTQ legislation.

Queer players are more likely than their counterparts to use gaming as an escape, according to GLAAD, and this is even more true for people living in states that have proposed or passed anti-LGBTQ legislation. While 66 percent of all LGBTQ gamers said they use gaming to express themselves in ways they don’t feel comfortable doing in the real world, this statistic rose to 75 percent for players living in states with proposed or active anti-LGBTQ bills.

“For these LGBTQ gamers, gaming is necessary to cope with real-world discrimination and targeting,” GLAAD said in its report. “Game developers need to understand the role gaming plays for LGBTQ gamers in the United States and especially LGBTQ gamers in states where they are disproportionately targeted and attacked.”

Researchers offered the following recommendations for increasing LGBTQ representation in games:

• The percentage of games with LGBTQ representation should be proportional to the share of gamers who are LGBTQ.

• Game developers should strive for representation that promotes inclusivity and acceptance.

• The game industry should take responsibility for making their communities more inclusive.

• The game industry should consult LGBTQ media content experts.

• LGBTQ game industry workers should be hired in positions of authority.

Amid all of the percentages, GLAAD identified a clear pattern in its first gaming report: Representation matters a lot to most LGBTQ players, and the majority of the remaining audience isn't too bothered by queer content. Sometimes, it's even preferred.

“We are nearly invisible in game representations, despite being a significant percentage of gamers,” Ellis, GLAAD’s president, said.

The report’s survey data was collected in collaboration with Nielsen Games and includes responses from 1,452 active PC and console players in the US, with a boost sample of LGBTQ gamers to ensure accuracy for the community-specific questions. The survey was distributed between June and August 2023.