It’s been almost a month since Sony announced the end of PlayStation discs for new games starting in 2028, and a loud contingent of angry fans has continued to criticize the company for going all-digital. Asked about the ongoing backlash during its latest earnings call, Sony said it understands why people have strong feelings about physical games, but it’s still going to move forward with getting rid of them.
“There are various reasons we made this decision, the biggest being that the digitalization of content overall has been progressing, that’s the big factor,” Sony chief financial officer Lin Tao said through an interpreter during a Q&A on July 31. “It’s not just for PlayStation, but for all kinds of content, digitalization is progressing.”
No concern for preservation efforts. No concern for the 20% or so customers who still want to buy physical media. No concern for any brick and mortar retail partners and what will happen to them.
It appears Sony is going to listen to anyone but its own customers on this one.
In pure market forces terms, Sony is arguably listening to the overwhelming majority of its customers by moving to a digital-only distribution strategy. Most people will not notice, at least in the short-term, that they can only acquire new games through downloading them and agreeing to some onerous digital rights restrictions. None of that matters until Sony has more licensing disagreements or shuts off some servers. But then it will matter.
We need government agencies that actually take seriously these kinds of power transfers and advocate for consumer rights. There should at least be a time-based limit to how long DRM can protect something, after which it should be possible to keep a wholly local copy to the greatest possible extent.
Sameer Samat, Google’s president of Android Ecosystem:
Today we are announcing substantial updates that evolve our business model and build on our long history of openness globally. We’re doing that in three ways: more billing options, a program for registered app stores, and lower fees and new programs for developers.
Google is opening up Android all the way with robust support for competing stores, competing payments, and a better deal for all developers. So, we’ve settled all of our disputes worldwide. THANKS GOOGLE!
“These changes will evolve Android into a true open platform with competition among stores,” the company stated. “Globally, developers will have choices in how they make payments using Google Play’s payment system and competing payment systems, with reduced fees and the ability to point users outside apps to make purchases.
Epic also said “Google will take steps to support the future open metaverse,” a probable reference to the deal that will see games made with the Unity engine made available within Fortnite.
Neither Sweeney nor Epic Games can express anything less than elation with this outcome in no small part because they signed away their ability to do that. It still amazes me that concession ended up in the final agreement. It seems like the kind of thing that Google’s very expensive lawyers would pitch as leverage with Epic Games’ not-quite-as-expensive lawyers. In an interview with Dean Takahashi, of GamesBeat, it seems like Epic was eager to settle with terms that apply worldwide:
Asked why Sweeney decided to settle rather than litigate in every court in the world, he said, “This is just a really important thing that people should understand. The Epic versus Google court decision in the United States only has effect in the United States. It does nothing about the rest of the world. And the United States is about 30% of Google Play revenue and about 5% of Google Play users.”
He said it was never going to be a complete worldwide solution, and the court, throughout the proceedings, very clearly, said that the court wanted to establish competition among stores and competition among payments without setting prices in the market.
Curiously, not long before this settlement, Google announced it would begin requiring Android developers to be verified for their software to be installable, even by side-loading. I am curious if the combination of these changes meaningfully impacts users’ security or privacy. At a glance, the changes that settled this lawsuit seem like a welcome set of improvements that, sure, was assuredly not an altruistic fight by Epic Games, and will probably result in Sweeney getting even richer.
Regardless, it is notable for these sweeping changes to be brought to Android phones worldwide in the coming years, while Apple’s App Store is a patchwork of region-specific policies difficult for developers to navigate. It is too bad there is not really competition between these stores. Most people who buy smartphones choose the platform as a whole and accept whatever software experience they are provided. They do not need to bother themselves with the business terms of each store. With the improvements to third-party stores on Android, it sets up the possibility for greater competition within that platform. Apple should do the same.
But Google has finally muzzled Tim Sweeney. It’s right there in a binding term sheet for his settlement with Google.
On March 3rd, he not only signed away Epic’s rights to sue and disparage the company, he signed away his right to advocate for any further changes to Google’s app store polices. He can’t criticize Google’s app store practices. In fact, he has to praise them.
The terms (PDF) helpfully clarify that Epic is still allowed to “advocat[e] changes to the policies or practices of […] other companies, including Apple”. This does not mean future criticism of Apple’s business practices — or past criticism, for that matter — is unwarranted or invalid, but it now carries the blunted quality of someone who is not allowed to make the same complaints about Google.
A group of GeoGuessr map creators have pulled their contributions from the game to protest its participation in the Esports World Cup 2025, calling the tournament “a sportswashing tool used by the government of Saudi Arabia to distract from and conceal its horrific human rights record.” The protestors say the blackout will hold until the game’s publisher, GeoGuessr AB, cancels its planned Last Chance Wildcard tournament at the EWC in Riyadh, Saudi Arabia, from July 21 to 27.
Those participating in this blackout created some of the most popular and notable maps in the game. Good for them.
Yesterday, July 25, was a big day. Ironhide Games released the long-awaited fifth edition of their tower-defence game ‘Kingdom Rush’. I bought it as soon as it launched and completed its primary campaign in one sitting of several hours. Called ‘Alliance’, the game combines the gameplay of ‘Kingdom Rush: Vengeance’ and Ironhide’s ‘Junkworld’, together with aspects of ‘Legends of Kingdom Rush’. The game also continues a long storyline that began with the first ‘Kingdom Rush’ game, released in 2011, and last updated in ‘Vengeance’. For what it’s worth, it’s a good story, too.
In ‘Kingdom Rush: Origins’, Ironhide introduced Vez’nan as a powerful wizard who becomes corrupted by a gem called the Tear of Elynie to become a malevolent power threatening the kingdom of Linirea. In the games that followed, heroes and towers from several parts of the kingdom, ultimately including King Denas, were tasked with defeating Vez’nan and his allies. In ‘Vengeance’, Vez’nan returned to exact revenge against King Denas — or so it seemed. ‘Alliance’ describes Denas’s return as well as Vez’nan’s efforts against a greater evil called the Overseer, who is also the ultimate boss in ‘Legends of Kingdom Rush’.
A ‘Kingdom Rush: Alliance’ skirmish begins…
I love tower-defence games and among them ‘Kingdom Rush’ is my favourite by far. I own all editions of it as well as have unlocked most towers and heroes in each one. At more than a few points during a work day, I like to break one of these games out for a quick and hairy skirmish or — time permitting — a full-on campaign on a high difficulty setting.
But while I like to play as often as I can, tower-defence doesn’t fit all moods. I have 13 games on my phone: the five ‘Kingdom Rush’ games, ‘Junkworld’, ‘Monument Valley’ I and II (and the expansion packs), ‘Loop’, ‘1010!’, ‘Idle Slayer’, ‘Rytmos’, and ‘Lost in Play’. They’re all great but I’d single out ‘Idle Slayer’, ‘Loop’, and ‘Monument Valley’ for particular praise.
‘Idle Slayer’ is a top-notch incremental game (a.k.a. idle game): the game will continue irrespective of whether you interact with the player-character, the player-character can’t perish, and gameplay is restricted to tapping on the screen to make the character jump. The whole point is to slay monsters — which the character will if she/flies runs into them, automatically pulling out an omnipotent sword when she gets close — and collect slayer points and to pick up coins and gems, which the character also does if she runs/flies into them. ‘Idle Slayer’ thus eliminates the player (you, me, etc.) having to be challenged in order to reap rewards. It’s just a matter of time, although occasional bursts of speed and character abilities purchased with slayer points can make things exciting.
I agree with what journalist Justin Davis wrote in 2013:
“Idle games seem perfectly tuned to provide a never-ending sense of escalation. They’re intoxicating because upgrades or items that used to seem impossibly expensive or out of reach rapidly become achievable, and then trivial. It’s all in your rearview mirror before you know it, with a new set of crazy-expensive upgrades ahead. The games are tuned to make you feel both powerful and weak, all at once. They thrive on an addictive feeling of exponential progress.”
Right now, this is where I’m at: 209 decillion coins in my kitty and racking up 110 octillion coins per second, plus whatever I pick up as I keep running…
My player-character is named Mintana. She’s awesome.
Second is the amazing ‘Loop’, an endless series of puzzles in each of which your task is to link up some open-ended elements on a screen such that they form a large closed loop. You can tap on each element to rotate it; when the open ends of two elements line up in this way, they link up. The game is minimalist: each level has a plain monotone background and elements of a contrasting colour, and there’s beautiful, low-key instrumental music to accompany your thoughts. ‘Loop’ is the game to get lost in. I’ve played more than 3,500 levels so far and look forward every day to the next one.
The two rings in the bottom-left corner are linked up.
Third comes ‘Monument Valley’, but in no particular order because it’s the game I love the most. I don’t play it as often as I play ‘Kingdom Rush’, ‘Idle Slayer’ or ‘Loop’ because its repeatability is low — but it’s the game that redefined for a younger and less imaginative me what a smartphone product could look and feel like when you play it. ‘Monument Valley’ is an ode to the work of the Dutch artist MC Escher, famed for his depiction of impossible objects that toy with the peculiarities of human visual perception. The player-character is a young lady named Ida navigating a foreboding but also enchanting realm whose structures and vistas are guided by the precepts of a mysterious “sacred geometry”. The game’s visuals are just stunning and, as with ‘Loop’, there’s beautiful music to go with. The objects on the screen whose geometries you change to create previously impossible paths for Ida take time to move around, which means you can’t rush through levels. You have to wait, and you have to watch. And ‘Monument Valley’ makes that a pleasure to do.
Unobtrusive pink, lush green, obsidian black.
It should be clear by now that I love puzzles, and ‘1010!’ is perhaps the most clinical of the lot. It’s Tetris in pieces: you have a 10 x 10 grid of cells that you can fill with shapes that the game presents to you in sets of three. Once you’ve placed all three on the grid, you get the next three; once a row or a column is filled with cells, it empties itself; and once you can no longer fit new shapes in the grid, it’s game over. ‘1010!’ takes up very little of your cognitive bandwidth, which means you have something to do that distracts you enough to keep you from feeling restless while allowing you to think about something more important at the same time.
What does losing mean if you can never win?
‘Rytmos’ and ‘Lost in Play’ are fairly new: I installed them a couple weeks ago. ‘Rytmos’ is just a smidge like ‘Loop’ but richer with details and, indeed, knowledge. You link up some nodes on a board in a closed loop; each node is a musical instrument that, when it becomes part of the loop, plays a beat depending on its position. Suddenly you’re making music. There are multiple ‘planets’ in the game and each one has multiple puzzles involving specific instruments. You learn something and you feel good about it. It’s amazing. I’ve only played a few minutes of ‘Lost in Play’ thus far, and I’m looking forward to more because it seems to be of a piece with ‘Monument Valley’, from the forced-slow gameplay to the captivating visuals.
A scene from ‘Lost in Play’.
Aside from these games, I also play ‘Entanglement’ in the browser and ‘Factorio’ on my laptop. ‘Factorio’ is the motherlode, an absolute beast of a game for compulsive puzzle-solvers. In the game, you’re an engineer in the future who’s crash-landed on an alien planet and you need to build a rocket to get off of it. The gameplay is centred on factories, where you craft the various pieces required for more and more sophisticated components. In parallel, you mine metals, pump crude oil, extract uranium, and dig up coal; you smelt, refine, and burn them to get the parts required to build as well as feed the factories; you conduct research to develop and enhance automation, robotics, rocketry, and weapons; you build power plants and transmission lines, and deal with enormous quantities of waste; and you defend your base from the planet’s native life, a lone species of large, termite-like creatures.
I’ve been playing a single game for three years now. There’s no end in sight. Sometimes, when ‘Factorio’ leaves me enough of my brain to think about other things, I gaze with longing as if out of a small window at a world that has long passed me by…
[Polyphonic robot voice] This facility mines copper ore, smelts it to copper plates, and feeds it to factories that make copper cables.
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