Netflix might have started (or is at least looking to start) testing games for TV, based on code within its app that developer Steve Moser has shared with Bloomberg. Moser reportedly found hidden code referencing games played on television, as well as additional code that indicates the possibility of being able to use phones as controllers to play them. One line from within the app apparently reads: "A game on your TV needs a controller to play. Do you want to use this phone as a game controller?" Moser also previously found hints that the service's then-upcoming ad-supported plan might not come with offline viewing. He turned out to be spot on. 

The streaming giant launched its gaming experience on Android, iPhones and iPads in 2021. It requires mobile users to download games from the App Store or from Google Play due to rules set by Apple and Google. But since the point of these games is to increase engagement and retain users, they can be launched from within the Netflix app and an active subscription is necessary to be able to access them. On the Netflix app for TV, these games are notably absent. 

It remains to be seen how the company intends to implement gaming on TVs and whether it will also require users to download the games before being able to play them. Netflix VP of game development Mike Verdu said last year, though, that the company was "seriously exploring a cloud gaming offering" and that it's looking to launch more than just casual games for television. 

For now, users will have to make do with what's available on mobile. At the moment, Netflix's catalogue has around 55 titles available, though it's rolling out 40 more games throughout 2023. 

Nintendo might be making it harder to play its older games on official hardware, but there are other options if you know where to look. One of them is about to be a lot easier to find: Dolphin, a popular emulator that runs most GameCube and Wii titles, will be launching on Steam later this year. Dolphin is already available for free, but launching on Steam could make using the emulator more straightforward on devices like the Steam Deck, where dropping to desktop mode and manually installing programs can be a little cumbersome. 

That doesn't mean downloading Dolphin from the Steam store will give you instant access to classic Nintendo games, however. Dolphin's store page is quick to point out that the "app does not come with games. You must own an original copy of any game you want to use with Dolphin." If you've dabbled in retro game emulation at all, that should sound pretty familiar — emulating console games is a bit of a legal gray area. 

That's probably why the Dolphin Steam page is reluctant to even identify what, exactly, it does — instead choosing to say it plays "classics from the Big N's cube-shaped and motion-controlled consoles." The emulator's website is a bit more explicit, specifically stating that "downloading commercial games is illegal" and encouraging users use homebrew tools to make backups of game discs they legally own. 

Dolphin is expected to launch on Steam Early Access by the end of Q2 2023, with a full launch planned by the end of the year. 

The Nintendo eShop for the Wii U and 3DS game consoles officially closed for business on March 27th, 2023, permanently disabling all new purchases on the platforms. We knew this was coming. Nintendo quietly announced the eShop's closure over a year ago, asserting that it was the "natural life cycle for any product line as it becomes less used by consumers over time." That's true. It's even a reasonable business justification. That doesn't make it any less of a loss for Nintendo fans, because legally playing some of these console’s best games is now not only harder, but in some cases, nearly impossible.

The time to argue that Nintendo should keep this aging digital storefront open has long since passed (though yes, they should have). The eShop is closed, but it's worth reflecting on what consumers are losing with it: one of the last affordable, convenient and legal options for buying a vast library of games. And not just Nintendo's retro library of "Virtual Console" titles from its classic era, either. Between the 3DS and Wii U eShop's closure, consumers have lost easy access to modern and classic games from a dozen platforms — from more recent systems like the Wii U and 3DS, to the original Wii, the DS and DSi, three flavors of Game Boy handhelds (Advance, Color and original), the Sega Game Gear, the TurboGraphix-16, as well as the Nintendo 64, Super Nintendo and original Nintendo Entertainment System. Losing these libraries now is especially painful, as it's becoming harder than ever to find and play older games.

It used to be easy. Unless you were looking for something rare, building a modest library of classic and recent games was fun and affordable. Recently, that changed. Prices for used games shot up dramatically since March of 2020 — a 2021 analysis from Pricecharting.com found that retro game prices shot up 33% in just a year — and prices have remained high. To make matters worse, the retro market has also been flooded with bootleg cartridges, which often aren't properly labeled as reproductions.

Digital storefronts like the Nintendo eShop offered an affordable alternative. Let's say you wanted to play Metroid Prime, for example. You could pick up Metroid Prime Remastered on the Nintendo Switch for $40 and enjoy the updated visuals and new features, but if you wanted to play the other two games in the series, you'd have to find a copy of Metroid Prime Trilogy for the Wii. According to PriceCharting.com, that'll set you back between $80 and $90 — $117 if you want it in the original case. The Wii U eShop, on the other hand, sold a digital copy for just $19.99.

There are countless similar examples. Game & Wario sells for between $30 and $80 on eBay, but it could have been had for $30 on the eShop. The Legend of Zelda: Wind Waker HD, which still hasn't been ported to the Switch, goes for between $30 and $100 used — but the eShop let you play it for just $20. If you are itching to play the 3DS versions of Dragon Quest VII and VIII, you'd have to pay in the ballpark of $100 each on the secondhand market, but the 3DS eShop sold them for $49.99, their original retail price.

The eShop was also home to a lot of exclusives we may never see again, like Pushmo, Attack of the Friday Monsters, Dr. Luigi and more. All gone, now that consumers no longer have convenient, legal access to the eShop’s library. In the past, Nintendo has pointed to the Nintendo Switch Online subscription as the future home for classic games, but the service's current offerings are a paltry sampling of was available before. Not only is this solution limited, and only available if you’re subscribed to a service, but it offers only a modest selection of nostalgic classics, without the depth of the eShop’s back catalog of retail games. Players looking for affordable ways to play hard to find Wii, Wii U and 3DS games are now just out of luck.

Not that accessing those games was remotely easy. The Wii U and 3DS digital libraries (not to mention Sony’s counterparts for the PS3 and PS Vita) may be vast archives containing multiple generations of playable gaming history, but each of these storefronts is chained to an aging platform. As Nintendo Fans dusted off their old consoles before the eShop’s closure, some found that their Wii U consoles were suffering from memory corruption, potentially the fallout of having sat unused for so long. Even accessing these stores on a healthy device presented a fair share of hurdles: all of these platforms have disabled native payment options, forcing users to add funds through other consoles, web portals or by redeeming retail points cards.

It’s a frustrating situation, because historically, Nintendo has taken a strong stance against piracy. Now, it's leaving its fans with fewer options than ever. In a now deleted section of a FAQ about the eShop’s closure, Nintendo dodged its own question about having an obligation to preserve its back catalog — stating that it has “no plans to offer classic content” apart from the previously mentioned Nintendo Switch Online subscription service.

In lieu of Nintendo’s discarded ‘obligation,’ independent games preservationists have taken up the task. Jirard Khalil, creator of The Completionist on YouTube, recently bought every piece of content on the 3DS and Wii U eShops. The effort cost $22,791 and took almost a year to complete, due to wallet limits, interface frustrations and the limited storage capacity of the consoles themselves. He’s donating the completed archive of 866 Wii U games and 1,547 3DS games, plus all relevant DLC, to the Video Game History Foundation. That’s a noble endeavor, but that doesn’t help the average consumer that wants to play these games. As VGHF co-founder Kelsey Lewin recently told Ars Technica, even if these games were made available from a preservation entity like VGHF, the only way one could legally play one of them would be to physically visit the library themselves and sign a consent form to play it on-site.

Thanks to the work of games preservationists and the emulation community, almost no game is truly out of reach if someone wants to play it, so long as you’re comfortable exploring the hobby pirate scene. But there's still a big market for those of us who want legal, convenient access to older games. It's why the NES and SNES Classic both sold so well. It's why Sony reversed course on closing the PlayStation 3 and Vita stores in 2021. And it’s why the closure of the 3DS and Wii U eShops is such a loss for keeping video game history accessible to consumers.

We can’t rely on the commercial games industry to preserve its own history. Publishers have proven to us time and time again that these fleeting windows into nostalgia will be closed when they are no longer profitable. Publically mourning the loss of Nintendo’s digital stores, and fearing the eventual end of PlayStation Store support for the PS3 and Vita, won’t likely stop these companies closing them in favor of streaming, subscription services and other, newer trends. Still, I hope one day these companies will realize that while their back catalogs may not be the most lucrative part of their business, they still hold a lot of value for many fans. And we’ll happily pay to access them – if you let us.

It's the end of an era as Nintendo is shutting down its Wii U and 3DS eShops today (March 27th) at 5PM PST (8PM EST). After that, you'll no longer be able to purchase new games for those consoles, though you'll still be able to redownload titles you've already purchased for the time being. 

The company first warned of the eShop closures back in February 2022, and barred users from adding funds to their accounts on August 29th. Nintendo wrote at the time that that the move was "part of the natural lifecycle for any product line as it becomes less used by consumers over time."

That may be true, but a trove of over 1,000 digital games will be lost in the shutdown, including Dr. Luigi, Mini Mario & Friends: Amiibo Challenge, and Pokémon Picross, to name but a few. In total, 450 digital-only Wii U games, 600 digital-only 3DS games and 530 virtual console games will disappear, VGC reported. Of the latter, 335 aren't currently available on Nintendo Switch Online. 

That means the only option for folks who want to play these classic games will be physical copies, which have soared in value. Many other download-exclusive games, meanwhile, will disappear for good. 

Meta's publishing arm for virtual reality games is now officially called Oculus Publishing. It's a completely different division from Oculus Studios, which is the company's label for first-party games. Oculus Publishing will instead support partner developers with conceptualization, funding, technological help, as well as promotion and merchandising. While the name is new, the division itself isn't. It had previously funded and supported over 300 titles, including Among Us VR, Bonelab and The Walking Dead: Saints & Sinners.

The company has also revealed that Oculus Publishing has over 150 titles currently in development, which bodes well for the Quest 3 that's expected to arrive this year. Previous reports suggested that the next-gen Quest will be thinner and more powerful than its predecessor and will have mixed reality capabilities. That could mean that some of these new titles — Meta unfortunately didn't name any of them in its announcement — may have features that weren't possible for older games. 

At the moment, users still have more than 500 titles to choose from in the Meta Quest Store, and they seem to be doing well. Last year, the company said the games and apps on the store had surpassed $1.5 billion in revenue, with 40 titles grossing over $10 million. In addition, the number of titles that had reached $20 million in revenue had doubled year-over-year.

Netflix has no plans to slow down its gaming ambitions any time soon, as it wants to make sure it has at least one game that each of its more than 230 million subscribers can enjoy. The company's library of mobile games now has 55 titles following the recent additions of Valiant Hearts: Coming Home and the spellbindingly dystopian Highwater. There's much more to come in 2023, as Netflix plans to add around 40 more games throughout the year.

The company has revealed a few of those titles, including reverse city-builder Terra Nil (March 28th) and Paper Trail, which will see you folding parts of the world to solve puzzles. Netflix has also struck a deal with Ubisoft for three exclusive games. The second of those, following Valiant Hearts: Coming Home, will arrive on April 18th in the form of Mighty Quest: Rogue Palace. It's a roguelite set in the same universe as The Mighty Quest for Epic Loot. It's said to have an improved formula, a more in-depth story and souped-up gameplay.

Also on the way later this year is a follow-up to one of Netflix's most-played games to date, Too Hot to Handle: Love is a Game, which is based on the hit reality show, Too Hot to Handle. Netflix says weekly content drops have kept players coming back and it's working with developer Nanobit on the follow-up.

Looking further ahead, the Monument Valley series is coming to Netflix Games. Monument Valley and Monument Valley 2 will be available to Netflix subscribers at no extra cost in 2024. 

Versions of the classic mobile puzzle titles are currently available on Apple Arcade. A Netflix spokesperson told Engadget that the games should remain on other services after next year. Meanwhile, developer Ustwo (which is behind last year's Desta: The Memories Between, also available on Netflix) has hinted that another Monument Valley game is on the way as part of its Netflix deal.

Also in the pipeline is a game based on an unannounced upcoming Netflix IP. Vainglory developer Super Evil Megacorp is working on the exclusive title, which it says will build on the studio's expertise in team-based combat. You can expect to learn more about this project later this year. Netflix vice-president of external games Leanne Loombe recently told reporters that this game is part of a "big bet" and a "transmedia play" for the company.

All told, Netflix has 70 games in development with its partners and 16 in the works at its internal studios. Most of the games Netflix's own teams are making are still in the very early stages, though Night School Studio's Oxenfree II: Lost Signals is slated to arrive later this year. Netflix is promising to release new games every month for the rest of 2023, including "indie darlings, award-winning hits, RPGs, narrative adventures [and] puzzle games."

Loombe said that since Netflix started offering games in 2021, it has found that players are largely drawn to three types of experiences: recognizable titles from elsewhere, such as Teenage Mutant Ninja Turtles: Shredder’s Revenge and Immortality; ones that encourage daily play, including Solitaire and Knittens; and games based on its own shows and movies, like Stranger Things.

Given Netflix's designs on becoming a world-class game publisher, I hope it doesn't focus on those areas exclusively. In any case, it's off to a strong start. For instance, Poinpy, a vertical platformer that doesn't fall neatly into any of those three categories, was my favorite game of 2022.

Netflix has said it's looking into cloud gaming, so you may eventually get to play its library on computers, smart TVs and even consoles. But its focus is primarily on mobile. Making sure more people are aware they can play some great games as part of their subscription will be key to Netflix Games' growth plan too.

A new group of Phantom Thieves will be stealing hearts in Tokyo. Black Wings Game Studio, the developer owned by Chinese company Perfect World Games, has unveiled a new mobile game set in the Persona 5 universe. The previous spinoffs of the title, Persona 5 Strikers and Dancing in Starlight, feature the original gang, but this one comes with a brand new cast of characters. While it wasn't created by Atlus itself, Persona: Phantom of the Night (or Persona 5: The Phantom X, shortened as P5X) had SEGA's blessing. It was also developed under the supervision of P-Studio, the team behind the mainline Persona games. 

So far, its trailers show us a red-haired protagonist who's juggling high school life and Metaverse thievery, a brown-haired girl reminiscent of P4's Chie and a talking owl who, like Morgana, can transform into a getaway vehicle. The developer has also released character artwork for another female character with long black hair and another for Igor's new assistant in the Velvet Room. 

According to the game's announcement, franchise character designer Shigenori Soejima created the game's protagonist and exclusive Persona. And if you watch the trailer below, you'll see that Black Wings was able to capture the look and feel of the original Persona 5 game quite well. It uses the same gameplay and battle effects, and it features the same victory close-ups, as well as the popular P5 battle soundtrack Wake Up, Get up, Get Out There.

Unlike the original Persona 5 game, P5X will be free to play, which means it will have in-app purchases. It will be available to beta testers on Android, iOS and Windows (as a port) starting on March 29th, but only in China. The developer has yet to announce if it will be released outside the region. 

The Resident Evil 4 remake starts out strong. Updated aiming mechanics and a fresh infusion of processing power make this the most exciting version of RE4 Capcom has ever delivered, and Leon Kennedy looks better than ever, even with his new chin implant. The remake performs well for the first few hours, as Leon shoots and stabs his way through the misty Spanish village where las plagas has transformed the locals into murderous tentacle monsters. These early scenes, set among crooked wooden buildings and the shores of a twisting cave system, establish the game’s blood-soaked tone and provide a satisfying balance of asset management, puzzle solving and modern third-person shooting.

As the game grows in complexity, it becomes clumsy. Capcom’s approach to modernizing RE4 is to add more enemies, cramped environments and fewer ammo drops – all of which could result in a high-tension action experience, if its controls were consistent. As it stands, the RE4 remake is plagued by sluggish animations and frustrating combat sequences. Leon constantly feels underpowered, unable to evade basic attacks or reliably land a shot.

Resident Evil 4 set the standard for action-horror games when it came out in 2005, and the remake shines when it embraces the innovations of the original: over-the-shoulder precision shooting and an atmosphere blending combat and terror. However, the remake loses focus quickly, and it feels like much of Capcom’s effort was poured into upgrading enemies and environments, leaving Leon in the GameCube-era dust.

The RE4 remake introduces new boss fights and head-bursting enemies, and it also allows Leon to parry powerful attacks. Sometimes. The parry ability is only available if Leon has a knife on standby, and when the prompt does pop up, it’s easily interrupted by environmental nudges, the actions of other enemies, and Leon’s own animations. Like most of Leon’s movements, the parry ability is simply too inconsistent to be satisfying, and it generally does nothing to heighten the tension of combat scenes.

The remake often places Leon at the center of a swarm of enemies, without the option to quickly dodge incoming attacks. He has to shoot or press his way through the horde – but he runs as if he’s knee-deep in sludge, and even a bullet to the head doesn’t always stop a rushing cultist. Meanwhile, enemy attacks always interrupt Leon. Sluggish movement is authentic to the experience of the original four Resident Evil games, and it’s something that the RE2 and RE3 remakes specifically address, offering updated controls and environments that feel at home on modern hardware. In comparison to those games, RE4 feels unfinished, or at least un-finessed.

Capcom

One boss fight that Capcom reimagined for the remake is against Méndez, the mutant priest with the extra long spine. In the original, Méndez slings a repetitive series of attacks from the rafters of a burning slaughterhouse. In the remake, Méndez drops back to hurl flaming logs and explosive oil drums at Leon, before rushing forward for close-quarters fighting and alternating these positions a few times. Even though the environment in the remake is larger, it’s cramped with flames that interrupt Leon’s actions any time he touches them. Méndez moves quickly and so do the objects he throws, while Leon has a sluggish run ability, no way to quickly dodge, and lethargic animations for reloading, retrieving items, touching fire and knifing enemies. Méndez seems like a fully remade character here; Leon, not so much. This results in a frustrating boss fight.

I died a few times while trying to defeat Méndez – and that’s when Capcom pranked me. I was playing on Standard, and during my Méndez death screens, the game started prompting me to turn on Assisted mode, the lowest difficulty setting. I generally don’t do this during reviews, but a dozen infuriating attempts later and I relented, pressing OK without reading the fine print. Assisted mode makes the game incredibly forgiving, and I easily defeated Méndez in the following run.

And then I was unable to change my difficulty settings at all. Keep this in mind: Assisted mode is permanent in RE4.

I played a few more minutes on the lowest difficulty setting, but it truly felt like a different game than the Standard version, devoid of tension or risk. Luckily, I was on PlayStation 5, which only syncs cloud saves when you exit a game. I turned off the console’s internet connection, closed the game and then downloaded the old save file from before I switched settings. Then I defeated Méndez the old-fashioned way, on Standard difficulty, and carried on with a newfound fear of accidentally switching to Assisted mode in my soul.

Permanent downward mode-switching is a standard feature in Resident Evil games, but I find it to be baffling. It’s especially confusing as RE4 actively encourages Standard players to try Assisted mode in loading screens and death menus. I asked Capcom why the team designed RE4 this way, and a spokesperson said, “The difficulty mode a player completes the game on has ramifications for in-game achievements and trophies.” This doesn’t fully answer the question for me: Plenty of action games have dynamic difficulty settings without disrupting achievements, and this response doesn’t address my perception that Capcom is prioritizing trophy integrity over accessibility.

Capcom

While we’re in the complaints department, I also want to encourage all PS5 players to turn off controller sounds in the audio settings. This goes for RE4 and literally every other game with this feature. Why is the volume on the DualSense so loud, all the time? Please, someone, make it stop.

This is what the RE4 remake has reduced me to: a pleading mess of unfulfilled nostalgia and frustration. It’s not a terrible game, but it isn’t seamless, either. It adds enemy variety and fresh environments, but Leon’s bullets routinely hit their targets without dealing damage, his movements are clumsy and his new parry ability is only semi-functional. The game clearly establishes combat strategies for each scene, but then its mechanics get in the way, punishing the player in the process. Overall, the word for the RE4 remake is inconsistent.

After debuting on PlayStation 5 and PC last year, Ghostwire: Tokyo is heading to Xbox Series X/S and Game Pass. Developer Tango Gameworks announced Wednesday that the game will arrive on Microsoft’s current generation consoles on April 12th. That same day, the studio will release the free “Spider’s Thread” update for all platforms.

The DLC adds a new game mode that will challenge players to complete a 30-stage gauntlet. As you progress through the mode, you’ll earn in-game currency you can spend to purchase upgrades for your run. Separately, the update adds new locales and missions within the game’s supernatural take on Tokyo for players to explore and complete. Complementing the new content are extended cutscenes designed to provide more insights into the game’s story. Good thing too because Engadget’s Mat Smith thought the game was begging for DLC to flesh out some of its more ambiguous plot points.

With today’s announcement, Ghostwire: Tokyo becomes the last Bethesda Softworks PS5 exclusive to receive an Xbox release date. Alongside Deathloop, Bethesda, before its acquisition by Microsoft, agreed to make the game a timed PlayStation 5 exclusive.

Microsoft is still hard at work convincing antitrust regulators that its planned Activision Blizzard purchase won’t hurt competition in the gaming industry. Today, the company announced a 10-year agreement with Boosteroid for the cloud gaming provider to stream Activision’s PC titles if the deal goes through.

It’s Microsoft’s latest attempt to demonstrate to EU, UK and US regulators that it won’t use the deal to muscle out competitors and stifle competition. Similarly, it recently struck 10-year deals with Nintendo and Nvidia to bring the Call of Duty franchise to platforms like the Switch and GeForce Now. Microsoft has said it offered Sony a similar agreement for PlayStation licensing (which Sony hasn’t agreed to) and committed to supporting Steam availability at the same time as Xbox. Sony expressed its concerns about the deal earlier this month, including the prospect of Microsoft shipping buggy versions of Call of Duty on PlayStation, diminishing gamers' trust in playing the immensely popular shooter on Sony consoles.

“If the only argument is that Microsoft is going to withhold Call of Duty from other platforms, and we’ve now entered into contracts that are going to bring this to many more devices and many more platforms, that is a pretty hard case to make to a court,” Microsoft President Brad Smith toldThe Wall Street Journal. “The reason we want to buy Activision Blizzard is to round out our titles to have a fuller library, especially to have more mobile titles where we don’t have a strong presence, and build a stronger gaming business.”

Activision Blizzard

Boosteroid is the biggest independent cloud-gaming service in the world. Like GeForce Now, it supports multi-device streaming access but requires purchasing paid games on other platforms (including Steam, Epic Games, Battle.net and Origin). Boosteroid's current library includes Fortnite, Grand Theft Auto V, Red Dead Redemption 2 and Activision’s Call of Duty: Warzone (among many others). It can stream games in web browsers and offers native apps for Windows, macOS, Android, Android TV and Linux. (iOS is missing because it doesn’t allow native cloud-gaming apps without clunky workarounds.) Boosteroid has servers in Romania, Ukraine, Italy, Slovakia, France, Spain, the UK, Sweden, Serbia and the US.

The European Commission, in charge of EU competition regulation, was reported earlier this month to be satisfied enough with Microsoft’s commitments to “likely” give the go-ahead. However, the commission hasn’t said so publicly and has until April 25th to decide. UK regulators’ decision is expected the following day. Meanwhile, the US Federal Trade Commission sued Microsoft to block the deal in December out of concerns it could raise prices or cut off access for non-Microsoft hardware, something Microsoft has denied it would do. The company has until July to satisfy the FTC, or it will need to renegotiate the deal or abandon the purchase, putting it on the line for up to a $3 billion breakup fee.

The UK’s Competition and Markets Authority, which favors structural changes over behavioral promises like licensing deals, recently suggested Microsoft could divest itself of Activision’s publishing unit, which Microsoft has indicated it has no interest in doing; deals like the Boosteroid one are part of its fight to avoid that fate.