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The Legend of the Game Boy, 30 Years Later

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Game Boy Review

Forever Changing how we Play Games

Thirty years ago, Nintendo unleashed the Game Boy, forever changing how we play video games.

When the modest gray brick arrived in the late ‘80s, it was an instant sensation and the first internationally successful handheld gaming system. Nintendo sold out its entire first run in Japan in two weeks and in North America it sold a whopping one million units in just under two weeks. To say Nintendo’s miniature was a phenomenon is an understatement. The Game Boy kickstarted the popular handheld gaming trend and without it, portable gaming may have never become what it is today. It paved the way for the world of mobile gaming and hybrid devices like the DS, PS Vita, and the Nintendo Switch – and while the Game Boy doesn’t quite hold up to those modern consoles, it will always have a special place in the hearts of old school gamers.

Game Boy Anniversary

Timing is Everything

The Game Boy wasn’t the first portable gaming device on the market nor was it Nintendo’s first attempt at portable gaming (the company had previously released the hit Game & Watch) but as with many iconic products, the Game Boy was released at the right time for the right price.

Nintendo patiently waited for hardware costs to drop so they could design a system cheap enough for families with tight budgets and when the Game Boy arrived in North America, it was packaged with what some would argue is the greatest launch game of all time.

By the time of the US launch, Nintendo had secured the handheld rights to Tetris, a unique puzzler designed by Russian programmer Alexey Pajitnov. Tetris was attracting a new audience of casual gamers due to its simple yet addictive gameplay and because of that, Tetris would become the centerpiece in Nintendo of America’s marketing plan.

Laying the Bricks for the Foundation of the Handheld Gaming

The Game Boy had a massive collection of 716 games including beloved classics such as Donkey Kong, Kid Dracula, Kirby’s Dreamland, Metroid II, Super Mario Land 2: The Six Golden Coins and Link’s Awakening, but Tetris will always be the game best associated with the Game Boy. Alexey Pajitnov’s famous puzzler took the world by storm, selling 35 million copies while helping Nintendo literally lay the bricks for the foundation of the handheld gaming industry. Nintendo has created some of the best partnerships in the history of the gaming industry but packaging Tetris with their greyscale portable system back in the day is one of the best decisions the company has ever made.

While Tetris helped make the Game Boy a household name, it wasn’t the top selling game on the system – that honour would go to Pokemon Red and Blue, a game inspired by Satoshi Tajiri’s childhood love of collecting insects, coupled with his desire to find new ways to bring people together. Pokemon Red and Blue launched an international craze with its unique blend of exploration, battling and even trading Pokemon thanks to the evolutionary Link Cable.

Long before online gaming, Nintendo would release the Link Cable, an accessory for the Game Boy which allowed players to link their systems together for head-to-head competition and cooperative play. Tetris was one of the key titles to take advantage of the Game Link cable for multiplayer fun but Pokemon was the series that relied on the accessory for years since the Link Cable allowed data transferring between two devices. Trading Pokémon was not only encouraged, but it was also necessary in order to assemble a complete collection of all the Pokémon in the games – and the Link Cable made trading Pokémon possible.

Game Boy Anniversary

The Link Cable wasn’t the only accessory made for the Game boy; it was just the first of many. There was also the rudimentary low-resolution Game Boy Camera and Printer. The camera was used to take grainy, black-and-white digital images via the four-color palette of the system while the printer utilized heat-sensitive paper to save images before making a copy. Among the many other accessories was the Handy Boy, an all in one accessory that features two amplified external speakers to be positioned on each side of the screen, as well as the Game Boy Pocket Sonar, a peripheral used during fishing trips to locate fish up to 20 meters away. While most of these peripherals were considered cheap gimmicks and commercial failures, they did expand the gaming experience in fun and creative new ways and became the spiritual predecessors of features Nintendo would later include in future consoles such as the DS and the Wii. The Game Boy Camera and Printer are especially notable since the printer helped evolve low-cost digital photography while the camera predated Apple’s iPhone by well over a decade.

Nintendo Game Boy

Power Isn’t Everything

The 8-bit handheld video game device was created by Gunpei Yokoi along with Nintendo Research & Development 1—the same staff who had designed the Game & Watch series nearly a decade earlier. As far as the design is concerned, the GameBoy was made simple and devoid of any slick modeling. If rumors are to be believed, Yokoi is said to have been inspired by watching people fiddle with calculators and apart from having a light grey-colored shell with a slight texture, there isn’t much to write home about in terms of how it looks.

The biggest criticism with the original Gameboy however, is the screen, which features four levels of grey to augment the lack of back-lighting. While players could adjust the screen’s contrast, the display quality isn’t very impressive since it is extremely grainy and difficult to see in most lighting conditions. Needless to say, the original Gameboy doesn’t display any bright shiny colors; Instead, it features a 2.6-inch screen with a resolution of 160×144 and a 2-bit color palette and a custom 8-bit Sharp processor running at just 4.19MHz combined with 8KB of RAM and 8KB of video memory. Along with the rudimentary sound system and single speaker, the Game Boy’s specs just aren’t very impressive.

Game Boy Anniversary

The Game Boy may not have been a technical powerhouse but Nintendo proved that power isn’t everything when they released the portable system. Like so many tech companies, Sega (Game Gear), NEC (TurboExpress), and Atari (Lynx) had fallen for the performance trap, opting for faster processors and color screens to compete with Nintendo’s basic black and white system. These other consoles, however, sold for twice as much as the Game Boy’s budget-friendly $89 – not to mention they ate through batteries in a short time. Nintendo recognized that in order for the Game Boy to be a commercial success, they would have to make sacrifices, and chose to compromise certain features in favor of a broader, more utilitarian appeal. Even with such limited hardware, game frame rates on the Game Boy at least ran at 59.7fps and while rival handheld consoles like the Atari Lynx and Sega Game Gear boasted expensive hardware, the Game Boy required only four AA batteries for 30 hours of gameplay.

Only Nintendo would have had the confidence to release a handheld console so deliberately underpowered but truth be told, Nintendo could have priced the Game Boy much higher and it would have still been a success if only for the games and consumer’s familiarity with the Nintendo brand.

Game Boy Magazine Ad

Keep it in Your Pants

For decades now, Nintendo has had a strange and complicated relationship with advertising their products, taking on many forms over the years, some successful and others not so successful. What I do find most interesting about the Game Boy is the system’s marketing. The company promoted its Game Boy line using a modification of the slogan used for the Nintendo Entertainment System, “Now you’re playing with power; PORTABLE POWER!,” Meanwhile, the television ads read, “They said it wasn’t humanly possible. But now you can have all the power and excitement of Nintendo right in the palm of your hands“. It’s funny how a system that wasn’t built with power in mind, had a marketing campaign that focussed heavily on power. Perhaps even more surprising is the customers it attracted. The target audience for the Game Boy was intended to be mostly boys which I guess made sense since according to Nintendo, only 14 percent of the customers who bought and played with the NES were female. Yet, for a marketing campaign aimed mostly at males, the Game Boy was notable for being an early success in crossing the gender divide with 46 percent of their players reported being female.

Yet apart from the clever slogans, costly TV ads, and gorgeous magazine spreads, the greatest contribution to the system’s marketing came with its name. When you think about it, the name is the most important marketing tool a brand and product can have. It needs to tell consumers something about the product and hopefully entice them to take notice. While some of the names of Nintendo’s video game consoles have become cultural icons, others such as the Wii U confused consumers rather than inform them. The Game Boy, however, is a great name for a video game console and decades later, the Game Boy might just be the best-named video game console to date, at least from a marketing point of view.

Game Boy Anniversary

The original Game Boy line-up (including the Light and the Pocket) enjoyed a life span of more than 15 years and sold up more 118 million in sales worldwide before Nintendo began to phase it out in favor of the Game Boy Advance series which would go on to sell an additional 81 million units. During those 15 years, the Game Boy would see numerous successors and peripherals; survive a Gulf war bombing, and even travel to space thanks to Aleksandr A. Serebrov who took his Game Boy along on the Soyuz TM-17 space mission. The Game Boy revolutionized handheld gaming and if you were a young gamer growing up in the ‘80s and ’90s, the Game Boy was pretty much your best friend. It would travel with you wherever you went and the Game Boy would keep you company when nobody was around.

Kids these days may look at the original Game Boy as some ancient artifact from the past and not appreciate how it helped shape and influence the video game industry moving forward, but the Game Boy holds an important role in the video game industry and allowed Nintendo to continuously experiment and push the possibilities of gaming. In the 30 years since its release, only one other portable game system has ever outsold the Game Boy: Its own successor, the Nintendo DS, which once again proved that power isn’t everything.

  • Ricky D

 

Some people take my heart, others take my shoes, and some take me home. I write, I blog, I podcast, I edit, and I design websites. Founder and Editor-in-Chief of Goomba Stomp and the NXpress Nintendo Podcast. Former Editor-In-Chief of Sound On Sight, and host of several podcasts including the Game of Thrones and Walking Dead podcasts, as well as the Sound On Sight and Sordid Cinema shows. There is nothing I like more than basketball, travelling, and animals. You can find me online writing about anime, TV, movies, games and so much more.

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15 Years Later: ‘Metal Gear Solid 3: Snake Eater’ Is Kojima’s Espionage Love Letter

On November 17th, 2004, Metal Gear Solid 3 was released, marking the first entry in what would become a major part of the Metal Gear Saga.

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Metal Gear Solid 3

“After the end of World War II, the world was split into two — East and West. This marked the beginning of the era called the Cold War.”

On November 17th, 2004, Metal Gear Solid 3: Snake Eater released in North America and Japan marking the first entry in what would later become a line of prequel games within the Metal Gear Saga. Big Boss’s story would finally be expanded upon in the Hollywood action game that forever changed the course of video game storytelling.

The legendary mercenary’s journey began in Kojima’s espionage love letter to the ’60s that broke the primordial gaming standards of both interactive design and visual storytelling through immeasurable gameplay depth piled onto a mind-boggling top-notch origin story. Snake Eater was only the beginning of a tale of how one of gaming’s greatest heroes descended into a villain through what is not only arguably the most compact and well-executed Metal Gear story, but Kojima Productions story ever conjured up to date.

Taking the Narrative Back

Metal Gear Solid 3
“Snake, try and remember some of the basics of CQC.”

Snake Eater ditched Solid Snake and Raiden’s current predicaments in a postmodern world to provide audiences with background knowledge and explanations for the previous chapters that came before it in what was intended to be Hideo Kojima’s final Metal Gear game at the time. Cold War political fiction and espionage thrillers from the game’s time period such as the Sean Connery and Roger Moore James Bond 007 films became the foundation for this entry’s story and tone; a balance of both goofiness and seriousness that is simply unmatched when compared to the rest of the series.

Metal Gear Solid 3 marked the beginning of a prequel series of games that would later proceed to continue after Solid Snake’s story had concluded in Metal Gear Solid 4: Guns of the Patriots. Snake Eater threw players back in time to tackle the story of Metal Gear and Metal Gear 2: Solid Snake villain Big Boss, who was formerly referred to as three different names being John, Jack, and of course the iconic codename Naked Snake — the first character to take on the reptilian infiltration name.

Revolver Ocelot’s gun-slinging pre-boss cutscene was completely animated through motion capture footage.

Whereas Metal Gear Solid and Sons of Liberty questioned the fantasy aspects of the story, Snake Eater fully embraced the campiness that it provided. A gun-slinging, cat-growling GRU Major or a man who is able to manipulate bees are never questioned by the game’s characters. Nothing feels out of place due to how accepting everyone is of what is going on in their interpretation of history. The first fantasy aspect that players encounter is during the opening 5 minutes of the game when Naked Snake makes the HALO jump. The location the game takes place, Tselinoyarsk, is not the actual name of the location and isn’t an area of the world that has jungles.

Political fiction often comes into play during the story by incorporating real figures and the game’s characters into events that actually happened during the height of the Cold War. For example, Eva and Ocelot are depicted as the two NSA codebreakers, Martin and Mitchell, who defected to the Soviet Union. Weapons and designs featured in the game such as the hybrid screw-propelled metal gear, the Shagohod, are based on real blueprints for military weapons of the time period. While the story incorporates science fiction and fantasy aspects, the story still remains grounded and has its own limits even in gameplay.

A Whole New Meaning to Survival

When Hideo Kojima and Yoji Shinkawa saw the 1987 movie Predator, one concept from the film that stuck with them was how the technologically advanced alien Predator used camouflage within the jungle setting to stealthily take out a military rescue team lead by Arnold Schwarzenegger. Camouflage became part of the foundation for Snake Eater‘s gameplay that delved into the realism and campy side of the series. Players could swap outfits and face paints at any given moment to adapt to their current surroundings. The top right-hand corner has a camouflage index that constantly keeps track of how well-hidden you are in the environment.

Just as gadgets are a critical part of James Bond’s arsenal of weapons, Snake Eater saw the Metal Gear Solid series expand on the variety and utilization of items. The number of different ways to tackle standard environmental obstacles and boss battles was exponentially increased due to how many ways one could actually use their equipment. Grenades, lethal firearms, night-vision goggles, cigarettes, and even cardboard boxes all inherited a multi-functional philosophy that most players would never even discover unless they had experimented during their playthrough or were told to do a specific action. Even food became a weapon of war that could be used to poison and distract guards if it had gone spoiled.

On the topic of food, alongside the standard health bar, Snake has a stamina meter that must be ministered to constantly by eating foods found on-site and administering proper medical treatment. Animals, fruit, medicinal items, and various packaged resources must be collected and watched over throughout the game. All food items ran on a real-time clock leaving food to go unsanitary and rotten after a matter of real-time days.

The Beginning of Product Placement

Fun Fact: Kojima has gone on record saying that Naked Snake’s favorite CalorieMate Block is the chocolate-flavored line (rightfully for promotional reasons!).

The Metal Gear Solid series kickstarted Hideo Kojima’s constant usage of product placements within his games that are still ongoing today. These products include but are certainly not limited to clothing, accessories, toys, household items, and of course, food. Snake Eater began a trend of future Kojima Production games featuring real-life items that are purchasable in many small scale and large retail stores throughout Japan through the brand of nutritional energy bars and gels, CalorieMate.

The chocolate-flavored CalorieMate Block appeared in the original version of Snake Eater, while the maple-flavored kind replaced it in the HD Collection due to it being the latest flavor release at the time. Advertisements for CalorieMate during the game’s release showed Naked Snake holding a chocolate-flavored Block saying “If you wanna survive in the jungle, your going to need one of these.”

When initiating a Codec call with Paramedic after eating a CalorieMate Block, the character will question the legitimacy of the food. In reality, CalorieMate first released in 1983, contradicting the 1960’s setting of the story, therefore, making its placement in the game an anachronism; an object or person that is displaced in time.

A Legacy Worthy of The Big Boss Rank

At the time of Snake Eater’s release, although the game garnered a completely positive reception from critics with a 91 Metacritic score, it was highly debated whether the sequel-prequel was superior to the entries that came before it. Critics commonly praised the graphics and cinematics the game had to offer but questioned whether the gameplay was too complex for its own good. Snake Eater also had to ride the coattails of unsatisfied audiences originating from the previous entry’s lack of Solid Snake being the protagonist which ultimately lead to sales of the game being significantly lower than the previous Solid entries.

Over time, Snake Eater became the fan-favorite entry of the series and would go on to receive the most re-releases out of all the Metal Gear games to date. Most notably, in 2006 Metal Gear Solid 3: Subsistence expanded upon the online mode in the game and added a completely new third-person controlled camera system that enhanced the overall experience and became the right analog stick standard for future entries. Buyers of this version were also treated with the original two MSX Metal Gear games found on the main menu- the first time the original Metal Gear and Metal Gear 2: Solid Snake had ever been localized outside of Japan.

Snake Eater 3D Limited Edition Bundle included a ‘Snake Skin’ themed standard 3DS (only released in Japan).

2011 saw the release of the Metal Gear Solid HD Collection, a compilation title that included an updated version of Subsistence — arguably the best way to play Snake Eater today. In 2012 the game also saw a release on the Nintendo 3DS dubbed Metal Gear Solid 3D: Snake Eater which included a new real-life camera camouflage system and multiple gameplay changes inherited from Metal Gear Solid: Peace Walker to accommodate the 3DS’s lack of dual analog sticks.

Metal Gear Solid 3: Snake Eater is a true patriot that definitively holds its ground against the rest of the series today due to its creative liberties that the series never quite revisited in complete depth. Hideo Kojima and his team of masterminds behind Kojima Productions are well deserved of a salute for the tremendous efforts they put into creating a groundbreaking title that forever changed what it meant to be a cinematic video game. From its action-packed plot to its cinematic orchestra inspired-score, even after 15 years the pure indigenous nature of creativity from the studio never ceases to amaze audiences.

Metal Gear Solid 3

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‘Castlevania Bloodlines’: The Official Sega Genesis Sequel to Bram Stoker’s Hit Novel, Dracula

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Castlevania Bloodlines

Castlevania isn’t a dialogue-heavy series by any means, but it’s still home to one of gaming’s most compelling narratives. Equipped with only their ancestral weapon, the legendary Vampire Killer, descendants of the Belmont clan face off against Count Dracula every 100 years like clockwork (give or take). His resurrection is inevitable. Just as good will always triumph over evil, evil will rise again. Castlevania was about the cyclical nature of good and evil long before Dracula mused about the nature of humanity in Symphony of the Night. Castlevania chronicled the Belmont family’s centuries-long struggle to keep Count Dracula at bay, game after game. Of course, he wasn’t the Count Dracula– more a representation of evil– but that was as much a given as a Belmont rising up to wield Vampire Killer. Then Castlevania Bloodlines happened. 

Released in 1995 exclusively for the Sega Genesis, Bloodlines may have looked like any other Castlevania game, but it marked a series of eclectic firsts for the franchise. Gone are the Belmonts and the game neither takes place inside of or involves getting to Dracula’s Castle. Bloodlines is even titled Vampire Killer in Japan, creating a bigger divide between it and previous entries, but that hardly compares to Bloodlines’ strangest contribution to the series: making Bram Stoker’s Dracula canon. 

The nature of how Dracula fits into the Castlevania mythos isn’t as plain and simple as just taking the book as writ as canon, but it fits much cleaner than one would expect. Although Bloodlines may lift elements from the novel with its own embellishments, its changes are ultimately inconsequential. Quincey Morris doesn’t have a son in the novel, but he’s the only major character alongside Dracula not to keep a journal, keeping his background relatively obscured. Quincey also doesn’t sport his signature bowie knife in Bloodlines’ backstory, finishing Dracula off with a stake (instead of the Vampire Killer for whatever reason.) 

There’s no mention of Jonathan Harker, Mina, or Abraham Van Helsing– and Dracula’s motives aren’t at all in-line with his novel counterpart’s– but Konami’s references to the novel make it clear that audiences are intended to consider the novel canon even if the details don’t quite match up. It seems a strange choice, especially for a franchise that was pushing its tenth anniversary by the time Bloodlines released in 1995, but it’s not a totally random decision on Konami’s part. Much like how Super Castlevania IV’s tonal maturity gave it a greater layer of depth, Bloodlines thrives off its connection to Bram Stoker’s Dracula

If there’s one immediate benefit to tying Dracula to Castlevania: Bloodlines, it’s grounding the latter in some semblance of reality. Set in 1917, Vampire Killer was the most modern Castlevania to date– not just at its release, but until Aria of Sorrow was released in 2003. The games were never period pieces, but they were set far enough in the past where literal Universal Monsters wouldn’t keep the series from staying narratively grounded. More importantly, the series’ settings were always consistently gothic, creating a unique sense of style around Dracula himself rather than the time period. 

Bloodlines opts for a wildly different approach altogether when it comes to setting, doubling down on the series’ historical elements while keeping Super Castlevania IV’s darker tone intact. Dracula feels a part of the world, rather than the world of Castlevania feeling a part of Dracula. At the same time, Bram Stoker’s Dracula helps ground the very minimal plot by giving John and Eric’s trek across Europe greater scope. John and Eric even have a personal stake in the plot, having witnessed Quincey’s death. It’s all window dressing, but Bloodlines’ assimilation of Bram Stoker’s Dracula gives the series some narrative legitimacy to rub shoulders with its high quality gameplay. 

The connections to Bram Stoker’s Dracula are admittedly loose, but they’re loose enough to work in the game’s benefit. Dracula is structured as an epistolary novel with chapters divided in letters, journal entries, articles, and logs. The story is told coherently, but this approach often results in the point of view & setting changing. While uncertainly a direct reference to the novel, Bloodlines similarly allows players to switch between John & Eric whenever they use a continue on Easy mode, and each stage takes place in a different country rather than just Transylvania. 

Bram Stoker’s Dracula may give Bloodlines its foundation, but it’s that globetrotting that gives the game its identity. Stage 1 opens in Romania, the ruins of Dracula’s Castle left to time after his previous defeat. Where other games would immediately transition into the depths of Castle Dracula, Bloodlines’ Stage 2 instead takes players to the lost city of Atlantis in Greece, while Stage 3 involves scaling the Leaning Tower of Pisa in order to slay a demon at the top. There’s a grandiosity to the stage design simply not present in previous entries. Not just in terms of scope, but in actual structure. 

Only six stages long, Bloodlines is the shortest of the mainline Castlevania games, but it makes up for its lack of length with longer stages overall. The main story falls on the shorter side, but the stage to stage pacing ensures that Bloodlines neither outstays its welcome or goes too soon. While a Stage 7 may have done the game some good, Bloodlines’ six stages offer some of the tightest action-platforming in the franchise. Enemies are by no means infrequent, and Bloodlines requires players to understand both John & Eric’s unique platforming skills by Stage 3, outright preventing progress should players fail to adapt.

John’s unique platforming ability will be familiar to all those who played Super Castlevania IV as, predictably, he can use the Vampire Killer to hang. This time around, however, John can whip onto just about any ceiling. Eric, on the other hand, has a charged jump that thrusts him into the air when released. Eric’s jump ignores platforms entirely, allowing him a degree of verticality Castlevania typically doesn’t give to players. Stage 3 even features a room that’s a bottomless pit for Eric, but easy platforming for John thanks to its whip. Subsequently, there’s a room where John can’t make progress due to the ceiling, but Eric can jump right through.

John and Eric’s abilities are natural extensions & evolutions of Simon’s from Super CV IV, just split between the both of them, but it’s also worth noting how Bloodlines’ more involved platforming helps to further flesh out Castlevania’s world. Bram Stoker’s Dracula coupled with the European setting did more for the series’ world-building at the time than any of its predecessors, save for Rondo of Blood. It’s not often that a video game series absorbs a literary classic into its main plot, but Castlevania handles it surprisingly well. 

It’s fitting that Castlevania Bloodlines is titled Vampire Killer in Japan. At its core, Vampire Killer is a recontextualization of Castlevania. The story is still framed through the Belmonts’ struggle against Dracula, but the scope is wider, extending mediums in the process. Vampire Killer is about the legacy of the Vampire Killer and the vampire killers whose fates are sealed by the whip. Symphony of the Night may be a direct sequel to Rondo of Blood, but Bloodlines set the stage for Symphony to tell a traditional and intimate story.

More important than anything, though, Castlevania taking Bram Stoker’s Dracula and making it a part of its canon is just so outlandish that it makes perfect sense. The series that regularly featured Universal Monsters as bosses was never going to ignore the novel forever. That Bloodlines uses the novel tactfully and in a game where its presence is appropriate– intentional or otherwise– weirdly elevates Castlevania as a franchise. Castlevania isn’t just a Dracula story, it’s the Dracula story. And of all the games to make that declaration with, Bloodlines is a damn good choice. 

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XO19: Top 10 Best Announcements of the Show

Xbox just had their best XO presentation ever, and it wasn’t even close. Here’s a rundown of the best announcements from XO19.

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xo19

Microsoft had a lot to prove going into its fifth annual XO showcase. Console launches are on the horizon, cloud competitor Google Stadia is about to ship to early adopters, and Game Pass subscribers are as hungry as ever for new additions to the lineup. Then there’s the fact that XO has always been looked down upon by the gaming community in general as a lackluster, padded presentation.

All of that changed with XO19. This was, by far, the best XO in the event’s history. In fact, it featured more shocking reveals and genuinely impressive announcements than a good deal of Microsoft’s recent E3 press conferences. From new IP reveals, to first-time looks at gameplay, to a couple “I never would’ve believed you a week ago” shockers, it’s clear that Xbox stepped up its game from years past. Here’s our list of the best announcements of the show.

10. Everwild Reveal

It’s not too often that we get to experience a new IP from Rare. Their last attempt, Sea of Thieves, was a fully multiplayer, always-online affair that gradually garnered a cult following thanks to some of the best community engagement and most consistent content updates in the industry.

We don’t know what type of game Everwild is yet, but it’s certainly oozing that same colorful, ambient charm that made players fall in love with Sea of Thieves all those years ago. Seeing as how we only got a cinematic teaser, though, it might be quite some time before we’re running around these gorgeous environments.


9. ID@Xbox Lineup

The ID@Xbox team has pulled it off again. Despite being stuck with an almost insultingly poor time slot in the presentation, several of the indies shown off in this short montage rivaled some of the show’s AAA spotlights. It had everything from high-profile indies like Streets of Rage 4, Touhou Luna Nights, and the Yacht Club Games-published Cyber Shadow, to more modest beauties like SkateBIRD, Haven, Cris Tales, and she dreams elsewhere.

The best part? All of these are launching on Game Pass day and date. The worst part? No actual dates were announced for anything shown. Regardless, it’s encouraging that so many high quality indies are continuing to come to Xbox (and that relationships with Devolver Digital and Yacht Club are rock-solid).


8. West of Dead Reveal/Open Beta

xo19

Raw Fury has one of the better eyes in the indie publishing scene. Gems like GoNNER, Dandara, and Bad North have all released under their watch, and West of Dead might be their best acquisition yet. It’s a heavily-stylized twin stick shooter that switches things up by making tactical cover a core part of the experience.

The trailer hinted at roguelike elements being present, and the ever-popular procedurally generated levels should significantly up replayability. How it plays, however, remains to be seen…unless you have an Xbox, in which case you can play the exclusive open beta now before the full game comes to all platforms next year.


7. Halo Reach Release Date

xo19

The Master Chief Collection has long been the one golden goose that endlessly eludes those outside of the Xbox ecosystem. Earlier this year, though, Microsoft made waves when it announced that it was bringing the entire collection over to PC. Reach is the first step in that process, and it’s finally making its way to both PC and Xbox One as part of the MCC on December 3rd.

It’s just a date, but the fact that so many new players get to experience one of Halo‘s most beloved outings at last easily made it one of the highlights of the night.


6. Grounded Reveal

xo19

Who woulda thought? Fresh off releasing one of the best RPGs in years with The Outer Worlds, Obsidian decided to show off a passion project from one of its smaller teams: Grounded. The premise? Honey, I Shrunk the Kids: Survival Edition.

Players take control of kids the size of ants as they fight off actual bugs, cook, craft armor and weapon upgrades, and build shelter to survive in the wilderness of someone’s backyard. As silly as it sounds and looks, and as unexpected a project it is for Obsidian to undertake, it genuinely looks rather promising. The cheerful color palette is a welcome contrast to the dark, brooding aesthetic so many other survival games have adopted. There are plenty of details left to be uncovered, but if early impressions are anything to go by, this is one to keep on your radar early next year.


5. Age of Empires IV Gameplay Reveal

xo19

Age of Empires is one of the most esteemed strategy franchises in history. Despite having this beloved IP in their back pocket, however, Microsoft hasn’t published a new mainline game in the series since 2005. Age of Empires IV was originally announced over two years ago, and after buttering everyone up with the release of Age of Empires II Definitive Edition that afternoon, the first glimpse of gameplay was finally shown at XO19.

Simply put, the game looks gorgeous. Every building is full of detail and the countryside looks surprisingly lush and picturesque. Witnessing hundreds of units charging down the valley towards the stronghold in the trailer was mind-blowing as an old-school fan. They didn’t show off any innovations or moment-to-moment gameplay, but it’s looking more and more like the future of the franchise is safe in Relic’s hands.


4. Final Fantasy Blowout

xo19

Xbox’s success in Japanese markets has become something of a running joke over the years. Though inroads were clearly made with Bandai Namco, many more Japanese publishers won’t go within a mile of the platform. Possibly through working with Square Enix’s western division to put the latest Tomb Raider and Just Cause entries on board, it looks like the main branch has finally decided to give Xbox players a chance.

Starting this holiday, Game Pass subscribers will gradually get every single-player Final Fantasy game since Final Fantasy VII. More shocking still, The Verge reported that the Xbox team is working to get the massively popular MMO Final Fantasy XIV over as well. The sheer value of having every post-Super Nintendo Final Fantasy game included in Game Pass (even XV) is ridiculous. It remains to be seen what the rollout cadence of these ten titles will look like, but considering how long each of these are, one per month wouldn’t shock or disappoint.


3. The Reign of Project xCloud

With Stadia launching just next week, Microsoft had been surprisingly quiet on their cloud gaming front up to this point. The service had gone into preview for those lucky enough to get in and, by most accounts, it had been fairly well-received. The real question came down to what Xbox was going to do to make itself stand out from its competition.

The bombs dropped here felt like the equivalent to the thrashing Sony gave to Microsoft back at E3 2013. Microsoft shadow dropped 40+ new games into Preview for players to test (for free) including Devil May Cry 5, Tekken 7, Bloodstained, and Ace Combat 7. Even better, xCloud will support third-party controllers including the DUALSHOCK 4 and will finally show up on Windows 10 PCs in 2020.

Perhaps the most damning announcement, however, is that xCloud will be integrated with Game Pass starting next year. Only having to pay for a Game Pass subscription to access 100+ games and play them in the cloud (including Halo, Forza, The Outer Worlds, and all those Final Fantasy titles) makes xCloud a far better value than Stadia right out of the gate. If this didn’t force Google to adjust its strategy, we might be looking at a very short cloud gaming war.


2. Square Sharing the Kingdom Hearts Love

Kingdom Hearts 3 releasing on Xbox One was somewhat bittersweet. On the one hand, players who had left the PlayStation ecosystem after playing the first games had a chance to see the arc’s conclusion. On the other hand, new players had no options for going back and experiencing the series’ roots.

Kingdom Hearts HD 1.5+2.5 Remix and Kingdom Hearts 2.8 Final Chapter Prologue finally coming to Xbox next year is a godsend for younger players and new players alike. More important, however, is the tearing down of those over 15+ years old exclusivity walls. Just like with many of the Final Fantasys, the main Kingdom Hearts games had been married to PlayStation systems for years. This shift at Square is an exciting one, and it bodes particularly well for the next generation of Xbox hardware.


1. Yakuza Finally Goes Multi-Console

It seems like Phil Spencer’s trips to Japan finally paid off. In what was arguably the most shocking announcement of XO19 (right next to Kingdom Hearts), it was revealed that SEGA is taking the Yakuza series multi-console at last. Not only are Yakuza 0 and Kiwami 1+2 coming to Xbox, but all three are going to Game Pass next year as well.

Does this mean support from Japanese studios will increase across the board? Of course not. But getting big names like Bandai Namco, Square Enix, and SEGA on board is nothing if not encouraging. Xbox is clearly pulling out all the stops to ensure a diverse suite of third-party support come Scarlett’s launch next year, and it’s the healthiest the platform has looked in a very long time.

Honorable Mentions:

Bleeding Edge Release Date

KartRider Drift Reveal/Closed Beta Announcement

Last Stop Reveal

Wasteland 3 Release Date

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