Saturday, 14 November 2026

Resident Evil



In an era of critically acclaimed video game adaptations, is the latest Resident Evil movie a worthwhile reboot from the director of Weapons?

Guest post by Matt Charlton

"No, Jill, don't go!"

Resident Evil has been one of those things in my life that's been there, and I've been aware of it; I've dipped my toe in the pond, so to speak, but I was strictly a Nintendo/Sega, Commodore 64, Atari ST, Amiga and, ultimately, PC gamer.

Throughout the majority of the 90s, my gaming palette was shaped by PC gaming, big box CD-ROMs and LucasArts point-and-click adventure games.

I had a go at Resident Evil, and the terrible voice acting and god-awful controls were tricky.

I've tried a few times to replay it, and modern control systems have just moved on too much.

That being said, Resident Evil Village - I loved it, played it through, adored it. Requiem - the same - I hate that stupid monster, though; just when you thought you were done with her, she comes back... again.

I've tried Biohazard, but it didn't grab me the same way. I've even started to play Resident Evil 3 and Resident Evil 4 with modern control systems on the Steam Machine. They're playing pretty well, and if I can find the original game with remade voice acting, a better script and a better control system that doesn't feel crowbarred into it, I'll try and give it another go.

I quite like the live-action Resident Evil movies starring Mila Jovovich, because who doesn't?

I don't think I've seen the last few movies in that series, but I have them all on Apple TV; there was an offer, so I bought them.

There was a standalone film or series or something that I watched, but I was sad that it was cancelled and left a cliffhanger. I don't like unresolved threads. It upsets me.

Anyway - I'm waffling - the point is that Umbrella and all of its broken test tubes have somewhat saturated the zombie market, both in gaming and in film.

The new Resident Evil movie (another reboot) promised something a little different. Extremely high ratings on Rotten Tomatoes, with a certified fresh 96% and a 90% popcornmeter from the audience, too.

From the Director/Screenwriter of Weapons, Barbarian and the producer of Companion - three films I really enjoyed - I went into it a little jaded and went along for the ride.

Being autistic, my first watch of something isn't always the most enjoyable - when your nervous system is frying itself trying to spot patterns, tie up any loose ends, wonder what was going on in that first scene and what happened at the end with all that - it's hard.

I did enjoy it, and it definitely requires a second watch, and I believe I'll enjoy it even more, and it'll end up becoming one of my favourites.

As far as a video game adaptation goes, this is probably the best I've seen. There are so many tropes, so many Easter eggs and so many many little touches, it's a love letter to video games and it's a love letter to the Resident Evil gaming franchise.

The comedy is great, the infection is a little weird and is a little more The Last of Us than your classic Resident Evil, and the cartwheeling. Oh boy, what can we say about the cartwheeling? I don't know. It's something. It certainly is something.

Weapon progression is a thing; keys for locks have little pictures on them (and there are so, so, so many locks - why are there so many locks?). It takes itself seriously and takes the piss out of itself in equal measure.

It wasn't what I was expecting, but it's definitely what the franchise needed, and I think so far as a horror comedy event goes - it'll be up there with Zombieland, Shaun of the Dead and others as a masterpiece in combining two different forms of media and having a decent payoff.

The hero isn't a hero at all; he's just a normal guy, and it shows - perhaps not the brightest bulb in the box, but a lot of what he does, you can at least see the logic behind it.

I'm not sure what adding his partner/that backstory/the situation/the ending added to it, because it became a completely unresolved thread with not really any leverage - when the world is falling apart, and an entire city has been overrun, it's hard to get emotionally attached to a voice on a voicemail; Baron Zemo did it better in Captain America: Civil War.

A very strong movie, one I'll revisit, but probably a 7/10 after the first watch. Could have been a 10.

I'll let you know if that changes after a second viewing.

Have you seen Resident Evil? What did you think? Let me know in the comments below.

Friday, 13 November 2026

Celebrate 50 years of Star Wars



This January, Lucasfilm begins a year-long global celebration of Star Wars' 50th anniversary.

“It is incredibly special to mark the 50th anniversary by returning the original version of Star Wars to theaters so audiences can experience this part of film history on the big screen,” says Lucasfilm Co-President Lynwen Brennan. “We look forward to celebrating with our fans all year long — from the releases of Ahsoka and Star Wars: Starfighter to exclusive merchandise, new publishing stories, unforgettable experiences and interactive games. We are so thankful for our amazing community and hope these experiences bring joy to Star Wars fans everywhere.”

A Star Wars Day to remember.

From behind the scenes to 50 years on-screen, witness the beginnings of Star Wars in a brand new documentary directed by R.J. Cutler featuring archival footage and audio captured during the making of the historic film. The Hero Awakens debuts 4th May 2027, only on Disney+.

The restored re-release of Star Wars is in cinemas on 19th February 2027.

Star Wars: Starfighter, a standalone story set 5 years after Star Wars: The Rise of Skywalker, directed by Shawn Levy (Deadpool & Wolverine) and starring Ryan Gosling (Project Hail Mary), is due to be released on 28th May 2027.

How are you celebrating Star Wars' 50th anniversary? Let me know in the comments below.

Thursday, 12 November 2026

Zelda remake sells millions



Marking 40 years since The Legend of Zelda was first released in Japan, The Legend of Zelda: Ocarina of Time remake for Nintendo Switch 2 has sold over 5.2 million units worldwide in the first four days.

The Legend of Zelda: Ocarina of Time is the second biggest Zelda launch of all time (physical sales only) in the UK and the biggest physical game launch of 2026 in the UK. It beat out Resident Evil, Call of Duty, EA Sports FC, and more.

When Rockstar Games announced Grand Theft Auto VI is digital-only, the halcyon days of midnight launches seemed a distant memory. However, The Legend of Zelda: Ocarina of Time on the Nintendo Switch 2 proved there's still a community of gamers (myself included) who want physical releases.

After reporting on the midnight launch, I wish I'd attended a retail launch with friends. However, I'm looking forward to the live-action movie next year.

Buy The Legend of Zelda: Ocarina of Time at Amazon (affiliate link).

Have you bought The Legend of Zelda: Ocarina of Time? Let me know in the comments below.

Tuesday, 10 November 2026

Grand Theft Auto VI goes gold



As of today, everyone who has pre-ordered Grand Theft Auto VI digitally can pre-load now. I didn't waste any time downloading the next instalment in the Grand Theft Auto (GTA) franchise onto my PlayStation 5 (PS5) with 2TB SSD pre-RAMageddon.

GTA VI heads to the state of Leonida, home to the neon-soaked streets of Vice City and beyond, in the biggest, most immersive evolution of the GTA series yet. With a reported budget of over a billion dollars and a female protagonist (Lucia), GTA VI was originally set for a 2025 release, but Rockstar Games delayed it.



Read the official synopsis:

"Jason and Lucia have always known the deck is stacked against them. But when an easy score goes wrong, they find themselves on the darkest side of the sunniest place in America, in the middle of a criminal conspiracy stretching across the state of Leonida — forced to rely on each other more than ever if they want to make it out alive."

The long-awaited next instalment in the GTA franchise will be released on PS5 and XBOX Series X|S on 19th November, and it will be digital-only. This has sparked controversy (I'm team digital on XBOX, but prefer physical on PlayStation).

When this was first announced, the halcyon days of midnight launches seemed gone forever. However, The Legend of Zelda: Ocarina of Time on the Nintendo Switch 2 proved there's still a community of gamers (myself included) who want physical releases.

GTA VI is the most pre-ordered game in PlayStation Store history!

GTA VI is a monoculture moment in entertainment, and I pre-ordered the Ultimate Edition on PS5. Personally, the footage captured on the base PS5 justifies the price tag! If you own a PS5 and an XBOX Series X|S, Rockstar Games confirmed it plays best on PS5.

Pre-order Grand Theft Auto VI at Amazon (affiliate link).

Have you pre-ordered Grand Theft Auto VI? Let me know in the comments below.

Monday, 9 November 2026

Zelda’s midnight launch was wild!



As PlayStation pushes forward with an all-digital future, Nintendo leans into physical media with a wildly successful midnight launch of The Legend of Zelda: Ocarina of Time remake on Nintendo Switch 2.

Across the world, fans queued for hours to pick up a remake of one of the greatest video games ever, released on the Nintendo 64 (N64) almost 30 years ago. In 1998, I took the day off work and planned to play The Legend of Zelda: Ocarina of Time with a friend. In a timey-wimey twist, they ghosted me, and I never saw them again.

The friendship may have been lost to time, but I'll never forget playing this gaming masterpiece for the first time. Frankly, Navi, Link's fairy companion in Hyrule, was better company. As I've written previously, my history with the 40-year-old franchise began with The Legend of Zelda: A Link to the Past on the Super Nintendo Entertainment System (SNES) in 1992.

The Legend of Zelda: Ocarina of Time is the second biggest Zelda launch of all time (physical sales only) in the UK and the biggest physical game launch of 2026 in the UK. It beat out Resident Evil, Call of Duty, EA Sports FC, and more.

I don't own a Nintendo Switch 2, but I hope to fix this on Black Friday.

Buy The Legend of Zelda: Ocarina of Time at Amazon (affiliate link).

Did you attend a midnight launch of The Legend of Zelda: Ocarina of Time? What do you think of the remake? Let me know in the comments below.

Saturday, 7 November 2026

Knightmare: The Game



In the mid-eighties, autumnal Fridays were Knightmare time on Children's ITV (CITV)!

During the Dungeons & Dragons (D&D) craze of the eighties, I loved dungeon crawlers from Gauntlet to Labyrinth. While I didn't own an Atari ST 16-bit home computer to play Dungeon Master, Knightmare was an adventure game show created by Tim Child.

The live-action series blended hand-drawn animation and computer graphics and was the talk of the town in my school's computer club, where friends and I set up and played with the latest 16-bit computers.

An official free point-and-click adventure game on PC based on the classic children's series, starring original cast members Hugo Myatt as Treguard and Mark Knight as Lord Fear, is coming in 2027, marking 40 years since Knightmare first aired.



Read the official synopsis:

"Lord Fear has returned and a new quest awaits. Only the bravest of Dungeoneers can don the famous Helmet of Justice and venture into this dangerous world of illusion. It is time to step boldly forward as the time of Knightmare begins again!"

But just remember - it's only a game... isn't it?

Are you looking forward to Knightmare: The Game? Let me know in the comments below.

Friday, 6 November 2026

Other Worlds: A Stranger Things Adventure



Happy Stranger Things Day! Netflix has announced a live-action prequel series set in the 1950s, Other Worlds: A Stranger Things Adventure.



Before Hawkins, there was Marion.

“We’ve been dreaming of Other Worlds: A Stranger Things Adventure for many years now, and to see it become a reality is surreal and exhilarating,” say Matt and Ross Duffer. “It’s Stranger Things, but also thrillingly fresh, with a new setting, new heroes and villains, and new … actually, we’re not allowed to say any more. Now, on to casting. In the meantime — watch the skies, nerds!”

Production on Other Worlds: A Stranger Things Adventure will take place in New Mexico.

Shawn Levy (Star Wars: Starfighter) welcomes the opportunity to continue the legacy of Stranger Things with this new story. “With Other Worlds, the Duffer Brothers and Kate Trefry craft a new ensemble and adventure that is imbued with the DNA of our flagship series while exploring a new era, setting, and all-new characters, themes, and mythology — the seeds of which may have been planted in Hawkins, but now venture into other worlds of spectacle, action, and emotion.”

Bikes at the ready!

Other Worlds: A Stranger Things Adventure is coming to Netflix in 2028.

Have you watched the teaser trailer for Other Worlds: A Stranger Things Adventure? What did you think? Let me know in the comments below.

Thursday, 5 November 2026

The music of Star Wars video games



Music plays an integral role in the Star Wars franchise. Without John Williams' legendary scores, no Force is lifting Luke Skywalker's X-wing out of a Dagobah swamp. Video games based on George Lucas' beloved space saga are no exception, from the arcades to home consoles.

Guest post by Søren Kamper

The first few notes of John Williams’ Star Wars theme can make almost anything look heroic, even a handful of polygons pretending to be an X-wing. Early games borrowed that musical language and had the player halfway to the Death Star before the hardware finished drawing it. But it also posed a difficult question. How do you give Star Wars games their own sound when cinema has already supplied one of the most recognisable scores in history?

The answer took decades and a fair amount of nerve. The best Star Wars game music does more than remind us of the films. It responds to our decisions, gives unfamiliar places a character and occasionally makes a routine victory sound as though the fate of the Republic depended on it. Even when the mission involves guarding a freighter full of cargo.

From the arcade to the cockpit

In Atari’s 1983 Star Wars arcade game, the film’s music, voices and electronic effects were part of the attraction. Luminous vector graphics suggested the Death Star trench, and familiar music did the rest. The player was briefly inside a scene they already knew. That was enough for an arcade machine, until somebody else needed the seat.

By the early 1990s, the ambition had changed.

During the years when Lucasfilm Games kept Star Wars alive beyond the cinema, space combat became something more demanding than a reenactment. X-Wing (1993) and TIE Fighter (1994) asked players to read instruments, escort vulnerable ships and survive battles that rarely unfolded according to plan. Their music had to cope with that uncertainty. LucasArts’ iMUSE technology could shift musical cues as events occurred, bringing changes in mood to the arrival of reinforcements or the changing fortunes of a mission. Instead of sitting behind the action like a recording, the score started listening to it.

TIE Fighter made that trick especially interesting. John Williams’ Imperial motifs had taught movie audiences what to fear. In a game where the Empire employs you, those associations acquire an uncomfortable second job: making an Imperial pilot feel heroic. The music does not need to pardon the Empire. It simply understands that the person holding the joystick regards the mission briefing rather differently from Luke Skywalker.

A galaxy that needed more than one theme

As the series expanded into role-playing games, musical identity had to stretch across entire planets. Jeremy Soule’s original score for Star Wars: Knights of the Old Republic (2003) understood that a Star Wars story did not require a famous melody every time somebody opened a door. Its quieter passages give settlements, temples and long conversations room to exist. An ancient corner of the galaxy sounds familiar without borrowing somebody else’s adventure.

The decisive break came with Star Wars: Republic Commando (2005). Composer Jesse Harlin wanted a harsher, more intimate Clone Wars, seen through the helmets of soldiers rather than from the Senate balcony. He built a dark, reactive score and created the basis of a Mandalorian language for its choral music. Delta Squad’s battle hymns suggest history and comradeship without asking John Williams to do all the emotional work. In a contemporary account of the game’s audio design, Harlin explained how musical changes could also guide players through the action. The soundtrack was not merely there to make the soldiers sound impressive. It had work to do.

The Old Republic pushed the problem in the opposite direction. BioWare’s online galaxy needed music for tranquil landscapes, political intrigue, dangerous ruins and the ordinary business of meeting another player in a spaceport. The developers spoke openly about weaving familiar Star Wars themes into new compositions. It is a quieter achievement than a fanfare. A living galaxy cannot spend every hour announcing the arrival of Darth Vader. Sometimes it must simply sound like a place where people live.

When the galaxy began listening to itself

The most delightful surprise in Star Wars Jedi: Fallen Order (2019) is not necessarily the orchestra. Gordy Haab and Stephen Barton gave Cal Kestis a sweeping original score, but the opening on the scrapyard world of Bracca introduces something wonderfully ordinary: music Cal chooses to listen to. The song is “Sugaan Essena”, performed by Mongolian metal group The Hu and adapted into a fictional Star Wars language. It returns during the arena sequence, making it more than background decoration. This is music that belongs to the people inside the story, not just the audience watching from outside. Even a fugitive Jedi appreciates a decent playlist.

Film scores shape the moment; music heard by characters helps explain their world. Cantina bands have done this since 1977, of course, but games allow us to linger in the room, wander away, return later and discover that the galaxy has more than one kind of musician. It makes an enormous fictional universe feel less like a collection of famous movie scenes and more like a culture.

Star Wars Outlaws (2024) takes the idea further. As attention turned toward Kay Vess and life in the criminal underworld, composer Wilbert Roget II developed a sound that could accommodate electric violin, synthesised bass, guitars and, when the occasion demanded it, the full orchestral vocabulary associated with Williams. Just as importantly, the team built a dynamic music system able to respond to the player. The score feels like part of the world, not a collection of dramatic buttons to press. The underworld should sound different from a Jedi temple, even if both are located in the same galaxy.

All this sophistication carries a danger.

Music that constantly tells the player something important is happening eventually makes everything sound equally important. The finest scores also know when to leave the room. A quiet corridor in Star Wars: Knights of the Old Republic, a tense pause in Star Wars: Republic Commando or the mechanical noise surrounding an X-wing can do more than another blast of brass. Restraint gives the next musical arrival somewhere to land.

Across the remarkably varied history of Star Wars video games, the music has gradually moved from imitation to conversation. Williams gave the galaxy its musical grammar. Game composers learned to speak it while players were changing the subject. These soundtracks are more than accompaniments to the films. At their best, they make Star Wars feel like a world that keeps singing after the credits roll.

What are your favourite Star Wars video game soundtracks? Let me know in the comments below.

Søren Ahrensborg Kamper has written about Star Wars games, their history and the communities around them since 2009. He is the editor of Star Wars: Gaming, where he covers new releases, game history and the strange decisions that become much more reasonable once somebody adds a hyperdrive.

Wednesday, 4 November 2026

LEGO Ideas Godzilla rises on Black Friday



For over 70 years, his roar has signaled the arrival of something colossal. Now, Legendary’s Monsterverse Godzilla enters the LEGO Group portfolio with the LEGO Ideas Godzilla (21375) set: a towering, 5,363-piece tribute to the King of Monsters and the largest LEGO Ideas model ever launched.

Matthew Esposito comments: “Building LEGO Godzilla was a real passion project. I’ve loved both LEGO building and Godzilla for years, so I wanted to capture his shape, scale and character as accurately as I could. The head was definitely the biggest challenge, but seeing the model come together and eventually reach 10,000 supporters after more than two years was incredible. I’m so grateful to everyone who supported the project and helped make this dream a reality.”

Capturing one of cinema’s most legendary kaiju, the new set invites builders to unleash their imagination and bring the Titan to life, piece by piece. Since first emerging on screen in 1954, Godzilla has roared through more than seven decades of film, television, comics, games and collectibles. The LEGO Ideas Godzilla set celebrates that remarkable journey, giving fans a new way to build and connect with a character that has remained a testament to the power of storytelling.

“We were thrilled to partner with the LEGO Group to bring our titan to life in brick form,” said Amber Sheppo, SVP, Consumer Products & Partnerships at Legendary Entertainment. “From Matthew’s original vision to this truly epic creation, the LEGO Group has been an incredible partner every step of the way.”

LEGO Ideas Godzilla is available from LEGO AU, CA, UK and US (affiliate links).

What do you think of LEGO Ideas Godzilla? Are you excited to build the King of the Monsters? Let me know in the comments below.

Tuesday, 3 November 2026

LEGO Technic Solar System Planets in Orbit



Bring the solar system into your home as 8 planets orbit the Sun, turning STEM learning into a hands-on journey through the wonders of space with this learning toy for budding astronomers ages 10 and up.

Set the solar system model in motion using a hand-cranked gear mechanism and watch the planets move at their own speeds. To reset the mechanism, simply align the planets by hand.

Featuring individual fact-filled information panels for every planet, the model doubles as an educational exploration tool and a dynamic centerpiece.

Put astronomy and physics into the hands of curious kids with this fun and fascinating gift idea. Measuring over 15 in. (38 cm) wide, it will look out of this world on display in any space lover’s room.

And with the LEGO Builder app, kids are empowered to tackle complex builds with ease. With 3D digital instructions, they can rotate and zoom in on models to master building independently.

LEGO Technic Solar System Planets in Orbit is available from LEGO AU, CA, UK and US (affiliate links).

What do you think of the LEGO Technic Solar System Planets in Orbit? Will you add this to your collection? Let me know in the comments below.

Sunday, 1 November 2026

Mass Effect cancelled for Star Wars



Bloomberg's Jason Schreier reports that Electronic Arts (EA) cancelled Mass Effect 5 to work on Star Wars: Battlefront 3. Schreier says Star Wars: Battlefront 3 hasn't begun development, yet the publisher still chose it over Mass Effect 5. After its Saudi-backed takeover, EA is debt-ridden; therefore, the Disney-owned IP mitigates financial risk.

Given that EA originally acquired BioWare for the Star Wars: Knights of the Old Republic series, the news is bittersweet. For decades, EA has been criticised for how it manages the studios it acquires, but this isn't unique in the video game industry. EA is no longer the company that Trip Hawkins founded in 1982.

While the Star Wars deal was the catalyst, Schreier also points out other factors that led to BioWare's demise. The studio's most recent game, Dragon Age: Veilguard, fell 50% short of sales expectations. Before that, 2017’s Mass Effect: Andromeda was poorly received despite excellent combat, with future DLC cancelled, and 2019’s Anthem was considered a live service failure. EA is known for sports and shooter franchises, and deep role-playing games aren't annual releases with guaranteed financial success.

However, Mass Effect fans (myself included) are not giving up on the beloved sci-fi franchise.

The #SaveMassEffect movement has gained momentum online, and fans are planning a massive play event and billboards on N7 Day 2026! Even if this doesn't move the dial, I'm proud to be part of an inclusive gaming community.

Prime Video is moving forward with a live-action series.

What are your plans for N7 Day? Let me know in the comments below.

Friday, 30 October 2026

O Captain, My Captain: Sir Patrick Stewart dies



This week, Star Trek fans (myself included) mourned the loss of two legends of the final frontier. Walter Koenig, who played Pavel Chekov in Star Trek: The Original Series, and Sir Patrick Stewart, who played Captain Jean-Luc Picard in Star Trek: The Next Generation. The beloved actors were aged 90 and 86, respectively.

Stewart's family took to social media to announce his death following a diagnosis of Alzheimer's disease and Lewy body dementia.

His spokesperson, Kelly Bush Novak, said in a post on Instagram: “He has been held in the warm embrace of family and friends, surrounded by live music, prayer, tears, laughter and the kind of profound emotion that only he could inspire after a lifetime of devotion to us all.

“We will forever cherish the peaceful ease and reflection on his face, an enduring reminder of his invincible grace,” the post continued.

All good things.

Stewart's love of drama came at school when one of his teachers introduced him to Shakespeare and encouraged him to perform.

I've long admired Stewart since seeing Excalibur with my late mum and always take great pleasure in doing impressions of that unmistakable baritone voice. And there's a family connection. A late relative was friends with Stewart. A few years ago, we arranged to meet up for a pub lunch, but the pandemic happened.

Make it so.

As I've written before, Star Trek: Picard's third and final season was a poignant send-off for Star Trek: The Next Generation. Series showrunner Terry Matalas (VisionQuest) understood the assignment and gave fans one of the greatest Star Trek seasons of all time.

This December, Marvel fans (myself included) can see Stewart's final performance in Avengers: Doomsday, where he reprises Professor Charles Xavier opposite Sir Ian McKellen's Magneto.

Marvel Studios posted a tribute on X (formerly Twitter) shortly after the announcement of his death, saying: “All of us at Marvel Studios are deeply saddened by the passing of Sir Patrick Stewart. Sir Patrick brought Professor Charles Xavier to life with extraordinary grace, intelligence, and humanity, defining the character for generations of fans, from X-Men to Logan to Avengers: Doomsday.

“He was a singular talent, a generous collaborator, and a true gentleman. Our hearts go out to his wife Sunny, his children, his friends, and the countless fans around the world whose lives he touched with his art.”

Tea, Earl Grey, hot!

Farewell, Mon Capitaine!

Thursday, 29 October 2026

60th anniversary soundtrack on Doctor Who Day



Silva Screen Records bring the 2023 score to digital and CD from 23rd November, with original music from Murray Gold.

The Doctor Who 60th anniversary consisted of three special episodes - The Star Beast, Wild Blue Yonder, and The Giggle - that aired between 25th November and 9th December, 2023. To celebrate Doctor Who Day 2026, Silva Screen Records are proud to be releasing Murray Gold's exceptional scores to the three special episodes.

Gold reunited with returning showrunner Russell T Davies after stepping away following the 2017 Christmas special, bringing back his signature grand orchestral style. The score seamlessly blended nostalgic Series 4 vibes with unexpected melodic throwbacks, including the strategic reuse of the Eleventh Doctor's theme when Donna regained her memories. Gold also delivered fresh arrangements for the updated opening title sequence and broader Whoniverse soundscape.

As Gold says: "On this album is a record of all the music that went into that transitioning series between the return of Doctor Who with David Tennant and Catherine Tate in 2023 up to the first season of Ncuti Gatwa’s Fifteenth Doctor which began on Christmas Day the same year.

"It’s a pretty exhaustive volume.”

Disc 1: The Star Beast

01 Once Upon a Time Lord
02 Doctor Who Theme (60th Anniversary Specials)
03 Strolling in the City
04 Spaceship in Trouble
05 Hitching a Ride
06 Crash Site
07 Aliens Everywhere
08 Solar Psychedelia
09 Dangerous Memories
10 A Meep in My Shed
11 Here We Go Again
12 Invasion Calling
13 Wrarth and Disorder
14 Silence in Court
15 To Hell with This
16 A Vessel to the Stars
17 Impending Launch
18 Countdown to Catastrophe
19 Why Does It Have to Be This?
20 Donna is Descending
21 Binary Awakening
22 Just Like the Old Days
23 We Are Back (Trailer)

Disc 2: Wild Blue Yonder

01 The TARDIS Doesn’t Fall Far from the Tree
02 The Mavity of the Situation
03 Time to Rebuild
04 I Will Get You Home
05 Hostile Action
06 Circuits Moving
07 A Very Long Corridor
08 The Edge of the Universe
09 No Signs of Life
10 The Only Thing I’ve Got
11 My Arms Are Too Long
12 All or No-Thing
13 Memories and Mass
14 Doppelgänger Dilemma
15 I Saw Your Mind
16 Imposters
17 A Pinch of Protection
18 A Ship Full of Questions
19 They Need the Answers
20 Very Slow Countdown
21 When Time Runs Out
22 The Wrong Donna
23 The Devil’s in the Details

Disc 3: The Giggle

01 What a Wonderful Game
02 Streets of Anarchy
03 UNIT Tower
04 Everyone’s Going Mad
05 Zeedex Deactivated
06 Decoding the Signal
07 Laughing at the Human Race
08 The Puppeteer
09 UNIT Negotiations
10 Hide and Seek
11 What Am I Now?
12 The Celestial Toyroom
13 Donna and the Dolls
14 Toymaker’s Theatre
15 Rules of the Game
16 Battleground Declared
17 The Time Lord and the Toymaker
18 Bi-Generation
19 Catch Me If You Can
20 The One Adventure You’ve Never Had
21 Next Stop, Everywhere
22 Never Been Happier
23 Doctor Who Theme (End Credits) (60th Anniversary Specials)

The collection will be released as three digital albums on 23rd November, and the triple-disc set will be released on 27th November.

Pre-order Doctor Who 60th Anniversary Specials Soundtrack at Amazon (affiliate link).

How are you celebrating Doctor Who Day? Let me know in the comments below.

Wednesday, 28 October 2026

Channel 4 on Disney+



On Tuesday, Channel 4 and The Walt Disney Company announced a streaming partnership on Disney+.

Channel 4, like rival public-service broadcasters, is battling a tough advertising market and declining audiences for its linear ⁠channels. It said last month it would cut about 340 jobs, representing more than a ⁠quarter of its workforce.

Priya Dogra, Chief Executive, Channel 4, said: “We’re thrilled to be working with Disney+ to give audiences even more ways to discover and enjoy Channel 4’s brilliant shows. Channel 4 is home to some of the UK and Ireland’s most talked about and trusted programming, and this new service will help those shows reach viewers in new places. This exciting step shows how collaboration between broadcasters and streamers can create more choice and value for audiences.”

Disney+ already shares content with ITVX, which may be affected by Sky (owned by Comcast) buying ITV's television and streaming assets for £1.6 billion.

Adam Smith, Chairman, Direct-to-Consumer, Disney Entertainment, said: “Local broadcaster partnerships are very important as we build our content libraries and serve fans around the world. Channel 4 has created shows with strong appeal to audiences in the UK and Ireland, and we’re excited to bring some of those favourites to Disney+. This agreement is the latest example of our global strategy, pairing high-quality local programming and cultural relevance with a complementary audience and more personalised streaming experience on Disney+.”

From early 2027, Disney+ subscribers will be able to watch Channel 4’s linear HD channel, plus hundreds of hours of its acclaimed scripted and unscripted content through its on-demand catalogue, from Big Mood and Tip Toe to 24 Hours in A&E, directly on Disney+ at no extra cost. There's no news on whether or not this will be ad-free on standard (which I subscribe to) or premium tiers.

What are your thoughts on Channel 4 on Disney+? Let me know in the comments below.

Tuesday, 27 October 2026

Tomb Raider 30th anniversary teaser trailer



An official teaser trailer dropped for Tomb Raider: Legacy of Atlantis, a reimagining of the original Tomb Raider video game.



Read the official synopsis:

"Tomb Raider: Legacy of Atlantis is a stunning reimagining of the 1996 genre-defining game.

As Lara Croft, harness your wits and athleticism to explore exotic locations lost to time—from the jungles of Peru to the ancient ruins of Greece, the deserts of Egypt, and a mysterious Mediterranean island shrouded in myth. Traverse treacherous landscapes, solve deadly contraptions, and face lethal predators as you hunt for the scattered pieces of the Scion, an artefact of immeasurable power.

Whether you're a veteran raider or new to Lara's world, Tomb Raider: Legacy of Atlantis delivers jaw-dropping visuals powered by Unreal Engine 5, modern game design, and new surprises, while honouring the spirit and atmosphere of Lara Croft's debut adventure."


While the original Tomb Raider was first released on the Sega Saturn 30 years ago, the action-adventure video game franchise became synonymous with PlayStation.

I've been a fan of the Tomb Raider franchise since the original PlayStation, and the reboot Survivor trilogy was amazing. Alix Wilton Regan replaces Camilla Luddington as Lara Croft. Mass Effect fans (myself included) will recognise her as the voice of Samantha Traynor.

Tomb Raider: Legacy of Atlantis will release on PlayStation 5 (PS5), Xbox Series X|S, Nintendo Switch 2, and PC on 12th February 2027. Tomb Raider: Catalyst, a sequel to Tomb Raider: Underworld, is arriving sometime in 2027.

Pre-order Tomb Raider: Legacy of Atlantis at Amazon (affiliate link).

Are you looking forward to Tomb Raider: Legacy of Atlantis? What are your memories of playing Tomb Raider? Let me know in the comments below.

Sunday, 25 October 2026

Star Wars: Starfighter outspends The Force Awakens



Forbes reports that Star Wars: Starfighter cost more to produce than Star Wars: The Force Awakens.

In summary:

"Disney revealed that its upcoming sci-fi film *Star Wars: Starfighter* cost $226.5 million to make by the time filming finished at Pinewood Studios. Set five years after *The Rise of Skywalker*, the movie stars Ryan Gosling, Flynn Gray, Amy Adams, Matt Smith, and Mia Goth, with Shawn Levy directing. Financial statements from the production company, Blue Mist Productions, covered spending up to January 31. The U.K. government's Audio-Visual Expenditure Credit provided a $51.5 million refund, reducing net spending to $175 million. Filming also took place in Sardinia, Italy, to maximize funding benefits. Additional visual effects work in London could increase future refunds and costs before the scheduled release in late May next year."

Star Wars: Starfighter is due to release on 28th May 2027, coinciding with the 50th anniversary of George Lucas' space opera.

Are you looking forward to Star Wars: Starfighter? Let me know in the comments below.

Friday, 23 October 2026

Mass Effect: Universe trailer leaked



After news of BioWare's closure and the cancellation of Mass Effect 5 broke on Wednesday, an employee leaked a trailer, made by a small team with pre-production assets.

It features a new N7 protagonist and fan-favourite Liara T'Soni, set sometime after the original Mass Effect trilogy. Are they searching for Commander Shepard? The trailer ends on the game's title: Mass Effect: Universe.

Bloomberg's Jason Schreier confirmed the trailer is genuine. I watched it on YouTube, and the game is evidently further developed than officially suggested; after all, it was announced in 2020. As the trailer keeps getting removed, I won't link to it here. You should find it easily with a quick search.

As I've mentioned previously, Mass Effect 5 could still be saved with stewardship from a developer that nurtures character-driven role-playing games. Electronic Arts (EA) has massive debt, is cutting 400 jobs, and should sell BioWare's IPs.

Have you watched the Mass Effect: Universe trailer? What did you think? Let me know in the comments below.

Thursday, 22 October 2026

BioWare closes, but there's hope for Mass Effect



On Wednesday, Electronic Arts (EA) announced the closure of BioWare, the award-winning studio behind Baldur's Gate, Dragon Age, Star Wars: Knights of the Old Republic, Jade Empire and Mass Effect.

I belatedly discovered the Mass Effect franchise after winning an XBOX 360 S in 2012. BioWare's stellar space opera drew inspiration from Battlestar Galactica, Star Trek and Star Wars. Mass Effect 2 is the Star Wars: The Empire Strikes Back of video games - a hill I'm prepared to die on.

Behind the shiny space-age sheen, the original Mass Effect trilogy was, at its core, a tale of found family in the darkest of times. Jennifer Hale will always be Commander Shepard. Joker, played by Seth Green, was the first video game character I could identify with as a paraplegic...

Read the official statement from BioWare:

"For more than 30 years, BioWare has been more than a studio. It has been a home for storytellers, developers, and the players who brought our worlds to life.

Baldur’s Gate. Neverwinter Nights. Star Wars: Knights of the Old Republic. Dragon Age. Mass Effect. Anthem.

Now, after more than three decades of shared adventures, BioWare is closing and early development on the next Mass Effect project is ending.

There is nothing easy about writing those words. Our focus right now is on our incredibly talented team who put their hearts into these games, and supporting one another through this transition.

What generations of BioWare built together is something to celebrate and remember. These games became so much more because you played them, debated your choices, fell in love with the characters, and made these worlds your own.

From all of us at BioWare, thank you for being the most meaningful part of our story."


My thoughts are with all those affected.

EA has massive debt and should sell the Dragon Age, Jade Empire and Mass Effect IPs to a studio like Larian Studios or CD Projekt Red. Mass Effect 5 could still be saved with stewardship from a developer that nurtures character-driven role-playing games. Multiple sources suggest that Respawn and DICE studios will collaborate on a future project: Star Wars: Battlefront 3 for Lucasfilm Games.

While development of Mass Effect 5 may have ended, hope remains for the beloved sci-fi franchise. According to IGN, Prime Video is moving forward with a live-action series after Fallout's success. The series has been in development since 2024.

What are your favourite BioWare video games? Let me know in the comments below.

Wednesday, 21 October 2026

The Lord of the Rings by BBC Radio



The 1981 audio adaptations of Star Wars and The Lord of the Rings were a childhood gateway to a lifelong love of radio dramatisation, culminating in my work with Sir Christopher Lee on director Dirk Maggs' The Gemini Apes broadcast on BBC Radio 4 on Christmas Day in 1998.

Demon Music Group has announced a limited edition box set of The Lord of the Rings featuring stunning artwork.

“One ring to rule them all, one ring to find them; One ring to bring them all, and in the darkness bind them.“

Presenting ‘The Lord of the Rings’, a limited edition deluxe 14CD box set (limited to 4000 worldwide) of the original 1981 BBC Radio full-cast dramatisation of JRR Tolkien’s ‘The Lord of the Rings’, released for the first time in its original 26-episode broadcast format. Over 13 hours of newly-mastered audio drama in superb stereo sound with every tense cliffhanger (and stirring theme music reprise) intact, plus a standalone disc of the series’ celebrated soundtrack by the renowned composer Stephen Oliver.

The contents are presented across 14CDs in deluxe 7” sized box set packaging. Each set is individually numbered and features beautiful original artwork, re-imagining the landscape of Tolkien’s Middle-earth.

Starring Ian Holm (Alien, The Lord of the Rings & The Hobbit, Chariots of Fire) as Frodo, Michael Hordern (Barry Lyndon, Gandhi, Paddington) as Gandalf, John Le Mesurier (Dad’s Army) as Bilbo, Bill Nighy (Love Actually) as Sam, and Robert Stephens (Romeo and Juliet) as Aragorn, alongside Gerard Murphy (Batman Begins), Peter Vaughan (Game of Thrones), Simon Cadell (Watership Down) and Michael Graham Cox (The Stone Tape) this acclaimed 1981 full-cast production was dramatised by Brian Sibley and Michael Bakewell.

A 12-Page booklet, featuring behind the scenes cast photos and a note about the making of the series by dramatist Brian Sibley, is also included along with full cast and credits for every episode.

Also available as a numbered and limited edition 14LP vinyl box set.

Pre-order The Lord of the Rings at Amazon (affiliate link).

Have you listened to the BBC Radio full-cast dramatisation of The Lord of the Rings? Let me know in the comments below.

Tuesday, 20 October 2026

From fan art to Star Wars: Paul Shipper



I befriended Star Wars and Marvel artist par excellence and fellow Steven Spielberg and George Lucas fan Paul Shipper on social media a long time ago. He has always made time for fellow fans, and I once recommended a Buzz Lightyear toy from Mattel Creations (formerly Matty Collector). Hope you've still got it, Paul!

Shipper has been profiled by the BBC. Here is an extract:

Among the projects he has worked on are posters and artwork for blockbuster titles including Avengers: Infinity War, Doctor Strange, Star Wars: The Rise of Skywalker, Star Wars: The Last Jedi, Obi-Wan Kenobi and Skeleton Crew.

The illustrator said becoming a movie poster artist had originally seemed a long way off, before the early days of the internet helped his work find an audience.

“It was just through kind of sheer dumb luck really and the internet that it happened,” he said.

“Before you know it, there are people who see it who are connected with the movies and then all of a sudden you get asked if you’re interested in working on a Steven Spielberg movie or something like that.”

Shipper described himself as “a Spielberg and George Lucas kid”, saying franchises such as Star Wars and Indiana Jones were the films that first inspired him to become an illustrator.

For Shipper, the appeal of poster art lies in being able to tell a story with a single image.

“You’re trying to distill something within one image,” he said.

“It is kind of like a trailer... there are posters that tell you too much, so there is a fine line.”

What are your favourite posters by Paul Shipper? Let me know in the comments below.

Friday, 16 October 2026

Grand Theft Auto VI launch trailer



On Thursday, Rockstar Games released a launch trailer for Grand Theft Auto VI ahead of its November release!



Read the official synopsis:

"Jason and Lucia have always known the deck is stacked against them. But when an easy score goes wrong, they find themselves on the darkest side of the sunniest place in America, in the middle of a criminal conspiracy stretching across the state of Leonida — forced to rely on each other more than ever if they want to make it out alive."

The launch trailer is soundtracked by Justice’s new single Flower In A Hurricane featuring Tame Impala, SZA and King Gizzard & The Lizard Wizard. The infectious tune transported me back to the 1980s and listening to music on my Sony Walkman.

GTA VI heads to the state of Leonida, home to the neon-soaked streets of Vice City and beyond, in the biggest, most immersive evolution of the Grand Theft Auto (GTA) series yet. With a reported budget of over a billion dollars and a female protagonist (Lucia), GTA VI was originally due to release in 2025.

The long-awaited next instalment in the GTA franchise will be released on PlayStation 5 (PS5) and XBOX Series X|S on 19th November and will be digital-only. The halcyon days of midnight launches are gone forever post-pandemic, and vertical companies will control distribution, availability, and dynamic pricing.

This has sparked controversy (I'm team digital on XBOX, but prefer physical on PlayStation).

Grand Theft Auto VI is a monoculture moment in entertainment, and I pre-ordered the Ultimate Edition on PS5. Personally, the footage captured on the base PS5 justifies the price tag!

Pre-order Grand Theft Auto VI at Amazon (affiliate link).

What did you think of the Grand Theft Auto VI launch trailer? Have you pre-ordered the game? Let me know in the comments below.

Thursday, 15 October 2026

Star Wars Zero Company



The former developers of XCOM turn (see what I did there?) their attention to the Clone Wars in a galaxy far, far away...

Guest post by Søren Kamper

Bit Reactor turns cover, squad bonds, and one missed shot into a surprisingly human Star Wars story.

There is a very particular kind of silence that follows a missed shot in a turn-based strategy game. A moment earlier, everything looked perfectly sensible. The enemy was exposed, your soldier had a respectable chance of hitting, and the rest of the plan depended on that blaster bolt finding its target. Then it misses. The battle droid is still standing there, apparently delighted with itself, and three other enemies have suddenly acquired some rather exciting ideas about your squad's immediate future.

In a Star Wars film, somebody would shout a warning, and John Williams would arrive to save the scene. In Star Wars Zero Company, you stare at the battlefield and realise that the person responsible for this disaster is sitting in your chair. That is the essential appeal of Bit Reactor's new tactical adventure. It puts the Clone Wars into your hands, then asks you to live with what those hands have done.

After spending substantial time with Zero Company, I think its finest achievement is not the lightsaber combat, the spectacular environments, or even the surprisingly generous character creator. It is something smaller. Zero Company makes you care about the people who would ordinarily vanish behind the grand machinery of Star Wars. Not legendary bloodlines or the fate of the Jedi Order, but a clone with a battered past, a Jedi Padawan who cannot solve everything alone, an astromech whose contribution is mostly measured in excellent timing, and whichever unlucky recruit you decided to bring along because you thought the mission looked easy. They are not merely a collection of colourful abilities. If Bit Reactor's systems click with you, they become your people. And then the game has the nerve to put them in danger.

The Clone Wars, without the safety net

The first thing to understand is that Zero Company is not an action game in which you happen to pause occasionally. It is a proper turn-based tactics game, made by people who clearly understand the peculiar terror of an XCOM percentage. Former Republic officer Hawks leads an unconventional group of Operators during the twilight of the Clone Wars, hunting the sinister Infinite Coil and its leader, Kundri Fathom. The broad setup is familiar Star Wars material: an obscure threat, a galaxy exhausted by war, and several people with complicated loyalties being asked to trust one another.

The perspective is what makes it interesting.

Nick Smith has already looked at the Clone Wars in When Clones Attack!, where a familiar war gains new texture through the soldiers caught inside it. Zero Company takes that same human-scale idea and makes it mechanical. A squad member's place in the story is not guaranteed by a screenplay; sometimes it depends on whether you remember to put them behind something sturdier than a decorative crate.

Each Operator normally works with three Action Points, and the clarity of that basic economy is one of the game's strengths. Moving, attacking, preparing Overwatch, or using a special ability is never quite as simple as clicking the largest icon. Half-cover offers reassurance until an enemy moves around it. Elevation changes an engagement. A good flanking position might be worth more than one extra shot, while moving too far can leave a perfectly competent soldier stranded in the sort of place military instructors use in cautionary presentations. Zero Company rewards preparation, but it also understands the pleasures of improvisation. An ambitious plan can collapse in seconds, and recovering from it often produces a better story than executing it flawlessly.

The small miracles of a working squad

What separates the combat from a competent imitation of XCOM is how naturally the Operators begin to work together. Successful attacks generate Advantage, a shared resource that supports powerful team abilities without simply duplicating the ordinary Action Point system. That means a routine shot can become the beginning of something larger: an ally moves a target, another Operator exploits the opening, and a final attack finishes the job before the enemy gets a chance to object. The best turns feel less like operating four separate characters and more like conducting a slightly irresponsible orchestra. The instruments happen to include blaster rifles, Force abilities, and the occasional astromech that appears to have been built specifically to embarrass the rest of the army.

I particularly like the way the game treats its Jedi. A lightsaber is exciting, and it should be, but a Jedi is not an automatic solution to every problem. Tel-Rea can reshape a battlefield, yet her value becomes greater when those Force moves create opportunities for everyone else. Likewise, a clone trooper's firepower, a support Operator's utility, and a custom recruit's carefully chosen Specialisation all matter because no single member can comfortably do every job.

This is Star Wars remembering something that Republic Commando and the older LucasArts tradition understood: a galaxy becomes more convincing when its heroes have professions, limitations, and colleagues, rather than merely impressive entrance music.

There are a few rough edges. When multiple abilities, cover states and reactions overlap, the interface can become busier than the underlying decision really deserves. Some of the strongest combinations are so rewarding that they tempt you to return to comfortable routines rather than experiment. But these are complaints about the friction around an unusually enjoyable tactical core. Most missions leave room to find a different solution, and a good decision has a satisfying physical result: a target displaced, a defensive line opened, a vulnerable squadmate rescued. You can see the plan working. Better still, you can usually see exactly why it failed.

The Den is where the war follows you home

Between deployments, Zero Company retreats to the Den, a battered base aboard a ship at the Ring of Kafrene. This is where you recruit and customise Operators, manage equipment, handle injuries, and decide which opportunities deserve the squad's attention. On paper, it sounds like the familiar management half of a tactics game. In practice, it is where the combat begins to acquire memory. People who repeatedly fight together develop Bonds that can improve the way they support each other. Training and Specialisations give you room to build unexpected partnerships. A recruit who initially seems like a temporary answer to a missing role can gradually become central to the whole operation. Conversely, an injured favourite can leave a very noticeable hole in a carefully balanced squad. Your decisions on one mission have a habit of waiting for you when the next one begins.

The larger campaign runs on Cycles, so opportunities do not necessarily wait politely while you finish every available errand. Operations, tactical missions, resources and upgrades compete for attention. It gives the galaxy a valuable sense that events continue beyond the four people currently exchanging laser fire. It can also be frustrating. There are moments when the strategic clock adds tension, and others when it feels like being handed a particularly complicated appointment diary in the middle of a war. The Den itself sometimes asks you to spend more time in menus than the emotional weight of the next decision can justify. Zero Company is most absorbing when the base is a place to remember what happened on the battlefield; it is less compelling when it becomes a shopping trip with unusually high mortality rates.

One of the best design decisions is that building a squad is not confined to selecting whoever has the biggest damage number. Specialisations can complement each other in ways that make two ordinary Operators more useful than one glamorous hero. Bonds reward continuity without making experimentation entirely pointless. Injury and optional permadeath make the consequences of a disastrous turn linger beyond the victory screen.

Star Wars: Gaming's complete Star Wars Zero Company guide gathers the class breakdowns, squad builds, bonds, campaign progression and more advanced tactics in one place. But there is a good argument for spending your first hours making mistakes. The game is unusually good at turning a badly timed decision into a lesson you will remember.

A Star Wars story that doesn't need another Skywalker

The storytelling is strongest when it trusts the squad's own relationships. Hawks is a useful anchor because a former Republic officer can plausibly gather people whose experiences of the war have been very different. Trick's clone background, Tel-Rea's connection to the Jedi, and the other authored characters give the group enough texture to feel more like uneasy colleagues than four interchangeable equipment slots. The custom Operators add something equally important: they allow the player to supply a little of the imagination that Star Wars has always invited. You begin by choosing a species, a face and a role. A few missions later, the same recruit has earned a reputation in your head that no character editor could possibly have supplied.

That is not to say the script is consistently wonderful. Kundri Fathom and the Infinite Coil make an ominous enemy, but the central threat is occasionally more interesting as atmosphere than as drama. The conspiracy has the familiar problem of many modern Star Wars stories: it must sound important enough to threaten the galaxy even though the smaller, personal conflicts are often what we most want to follow. Some dialogue carries its exposition a little too proudly. But the cast helps compensate, and the tactical structure does something a cutscene cannot: it makes relationships useful without reducing them to a simple friendship meter. The moments that stay with me are not necessarily the dramatic revelations. They are the missions where somebody survived because another Operator had exactly one action left.

The presentation generally understands the assignment. Battlefields feel worn, industrial and convincingly inhabited, rather than like generic grids decorated with familiar logos. Clone armour, Separatist machines, cluttered installations and alien faces supply the visual shorthand of the era, while the combat animations make successful moves feel appropriately decisive. It is a nice companion to the argument in Generation Star Wars' feature about how Lucasfilm Games kept the franchise alive between films: Star Wars has always benefited when games let us visit the less glamorous working parts of its universe. Zero Company is full of those places. It makes the war feel enormous precisely by refusing to put us in command of the entire thing.

The cost of another turn

After dozens of hours, the game's strengths are clear. Combat offers enough information for a thoughtful plan and enough uncertainty to keep that plan interesting. The shared Advantage system and squad Bonds push you toward cooperation rather than simply building four individual killing machines. Customisation is deep enough to make different campaigns feel personal, while the strategic layer gives successes and mistakes some staying power. The weaknesses are real too. Menu-heavy stretches can slow the pace, a few campaign systems need more explanation than they receive, and the central villain never becomes as compelling as the squad trying to stop her.

Players who dislike turn-based tactics are unlikely to have a conversion experience just because the uniforms are from Star Wars. This is a game that asks you to enjoy thinking before shooting.

Yet that commitment is also what makes Zero Company such a pleasant surprise. Just as Star Wars: Galactic Racer found a personality beyond Star Wars: Episode I: Racer nostalgia, Bit Reactor has resisted the obvious temptation to make its game a parade of famous faces with a few tactical buttons attached. It has built a real strategy game and allowed Star Wars to grow around the rules.

Where a film shows a heroic charge, Zero Company asks who covered the retreat, who needed medical attention afterwards, and whether the people involved can trust one another on the next assignment. Those are questions that belong naturally to the Clone Wars, but a tactics game can make them feel like your responsibility.

There is a reason that missed shot at the beginning matters so much. A film can make a character's death tragic through music, dialogue and a beautifully timed close-up. Zero Company has another method. It allows you to train somebody, equip them, build relationships around them and watch them become indispensable. Then it places them behind half-cover, offers you a percentage that looks perfectly reasonable, and waits for you to make a decision.

Sometimes you win. Sometimes you learn.

Occasionally, you spend the next ten minutes explaining to yourself why the plan was sound even though the evidence suggests otherwise. That is a very Star Wars kind of heroism, only without the guarantee that the next scene will rescue you. The galaxy has plenty of legendary warriors. Zero Company reminds us that the people keeping it together were often the ones who never expected to become legends.

Score: 8.5/10

Buy Star Wars Zero Company at Amazon (affiliate link).

Are you playing Star Wars Zero Company? Let me know in the comments below.

Søren Ahrensborg Kamper has written about Star Wars games, their history and the communities around them since 2009. He is the editor of Star Wars: Gaming, where he covers new releases, game history and the strange decisions that become much more reasonable once somebody adds a hyperdrive.

Tuesday, 13 October 2026

LEGO Ideas Star Wars Marvel mash-up



At New York Comic Con (NYCC), the LEGO Group announced a first-of-its-kind LEGO Ideas challenge. For the first time ever, fans are invited to mash-up Star Wars and Marvel by reimagining characters, vehicles and scenes from the two universes in LEGO form.

What’s more, the LEGO Ideas platform means that once the build has been submitted and fans have voted on the design, the favourite submissions will then become immortalised as an official LEGO product.

Fede Begher, Senior Vice President and Head of Product Group at the LEGO Group, said: “This challenge is a milestone for LEGO Ideas and our fan community. For the first time ever, fans can build with both Marvel and Star Wars in a single LEGO Ideas challenge, unlocking entirely new possibilities for creativity and storytelling. We know our fans never stop imagining new ways to bring their favourite worlds together, and we’re excited to see the originality, passion and innovation they bring to this unique crossover.”

As a tribute to the landmark 50th anniversary of the Star Wars franchise in 2027, the Star Wars/Marvel: Hope Assembles comic series was unveiled this past summer. Launching in January, it’s the first-ever crossover between the Star Wars and Marvel Comics universes. The LEGO Ideas challenge celebrates that crossover and honours the 50th anniversary.

Open from today, fans simply need to visit ideas.lego.com, choose from three challenge themes of mashing up Star Wars and Marvel vehicles, characters or scenes, review all challenge rules and guidelines, and then get building with LEGO elements. Voting for the submissions begins December 15, 2026, with the Grand Prize Selections being announced next year.

Discover LEGO Star Wars on LEGO AU, CA, UK and US (affiliate links).

Will you be submitting an idea? Let me know in the comments below.

Monday, 12 October 2026

Return of the Atari 800XL



As an Atari-age kid, I always wanted an 800XL! It was the Porsche of 8-bit home computers, and Atari has a storied history with Lucasfilm, spawning Atari/Lucasfilm Games in 1982.

I’ve written about how Atari was my gateway into playing video games when I was gifted an older cousin's unwanted Video Computer System (VCS) on my 8th birthday in 1980.

After school, I avidly played Space Invaders, Frogger, Donkey Kong, Pitfall, Star Wars: The Empire Strikes Back, and many more with childhood friend Kevin Simpson.

My first family computer was a Sinclair ZX Spectrum 48K. However, the Atari XL line was alluring, with its sleek look and premium price tag. Atari and Retro Games Ltd are bringing the 800XL back as a full-sized modern recreation in 2027. This coincides with the 50th anniversary of the Atari VCS and Star Wars.

“The 800XL represents an important moment in Atari’s history, when home computers were becoming a gateway to gaming, programming and creativity,” said Matt Burnett, VP of Strategic Operations at Atari. “It gave an entire generation the opportunity to discover what they could do with a computer, while offering an incredible catalog of games and software. That combination is what makes the 800XL such an important part of Atari’s legacy, and working with Retro Games Ltd. and Plaion we are excited to bring back this modernized version.”

Beautiful beige box.

“The 800XL was one of those rare machines that really showed what an 8-bit home computer could be capable of,” said Stuart Chiplin, COO at Retro Games Ltd. “When recreating it, we wanted to capture not just how the original looked, but what made it such a compelling computer – the freedom it gave people to play, program and create. A lot of work has gone into making THE 800XL feel authentic while bringing the experience up to date for today’s players.”

THE 800XL is £199.99. Pre-orders are open now, with shipping in late April 2027. I hope to review THE 800XL as soon as possible.

Pre-order THE 800XL at Amazon (affiliate link).

Will you be adding THE 800XL to your retro collection? What are your favourite Atari 8-bit video games? Let me know in the comments below.

Friday, 9 October 2026

Star Wars: Galactic Racer



Can Star Wars: Galactic Racer recapture the high-octane thrills of fan-favourite Star Wars: Episode I: Racer on PlayStation 5 (PS5), XBOX Series X|S and PC?

Star Wars: Gaming's Søren Kamper goes back to Jakku.

Guest post by Søren Kamper

In February, Generation Star Wars looked at the first proper gameplay trailer for Star Wars: Galactic Racer and wondered whether Lucasfilm Games had finally found a way back to the thrill of Star Wars: Episode I: Racer. That was the obvious question. It was also, as it turns out, slightly unfair to the finished game.

Memories of the 1999 classic have had twenty-seven years to become smoother, faster and rather better behaved than the original hardware ever was. Star Wars: Galactic Racer knows those memories are waiting at the starting line. It gives us podracers, Sebulba and machinery that appears to have been designed by engineers who regarded safety regulations as a challenge. Then it does something more useful: it keeps going.

After spending the last couple of days buried in the campaign, multiplayer and vehicle systems, my biggest surprise is not that Fuse Games understands why Star Wars racing was fun. It is that the studio has found a way to make racing feel like a living part of the galaxy again.

A racer, not a nostalgia exhibit

The first thing Star Wars: Galactic Racer gets right is the simple part that racing games cannot fake: movement feels good.

Landspeeders are broad, physical machines that like to be thrown into corners. Speeder bikes are quicker and far less forgiving. Skim speeders reward smooth lines and a willingness to think about the track in three dimensions. Podracers are the dangerous end of the family tree, and they remain exactly as unreasonable as they should be.

The differences are important because they change how you read a circuit. A corner that feels generous in a landspeeder can become an invitation to disaster on a bike. A gap that looks decorative in one class may become a viable route in another. This is where Star Wars: Galactic Racer starts to separate itself from licensed racing games that offer a garage full of vehicles which all feel suspiciously related.

There is also a welcome amount of aggression. Boost management, heat, contact and takedowns keep races busy without turning them into a floating weapons arena. The Criterion and Burnout heritage around Fuse Games is easy to feel, but Star Wars: Galactic Racer never forgets that the fastest line still matters. Smashing a rival into scenery is satisfying. Doing it while preserving enough speed to make the next corner is better.

The result is immediately readable and surprisingly deep. You can enjoy the spectacle after a few minutes, but there is enough beneath it to reward players who learn the handling rather than simply holding the accelerator and hoping the Force has an unusually generous insurance policy.

The campaign changes what losing means

The stranger decision is the campaign.

Instead of a fixed sequence of races, Shade moves through Tours built around branching events, temporary upgrades and choices about what to risk next. Some progress survives failure, but a strong run can still collapse if you push the wrong machine too far or take one dangerous event too many.

On paper, attaching runs-based design to a Star Wars racing game sounds like something produced during a particularly excitable whiteboard meeting. In practice, it gives the campaign a reason to keep asking questions after the racing itself has already proved enjoyable.

Do you take the event with the better reward, even though the vehicle is already carrying damage? Do you improve straight-line speed or make the next few corners easier? Do you keep leaning into the build that is working, or spend resources preparing for a weakness you know is coming?

That makes failure more interesting than a normal restart screen. A bad race can affect the next one. A good part can reshape the rest of a Tour. A vehicle that felt ordinary at the start can become a wonderfully specific little monster by the final events.

It also means the game avoids the old racing-game problem where progression becomes a list of cups to tick off. Star Wars: Galactic Racer has a rhythm of preparation, risk, recovery and another attempt. I often found myself telling myself that one more event would be enough for the evening. This was rarely true.

Star Wars: Gaming's complete Star Wars: Galactic Racer guide dives deeper into the campaign, vehicles and progression for readers who want the nuts-and-bolts version of the systems.

The Galactic League feels like Star Wars from the side streets

The setting helps. Shade enters the Galactic League after the fall of the Empire, in a galaxy where military hardware, old rivalries and people with questionable employment histories have all found their way into an underground racing culture. That gives the game a useful distance from the usual Star Wars obsession with galactic destiny.

Nobody needs to save the Force before bedtime. Nobody is waiting to reveal that a minor mechanic is secretly descended from somebody important. The world works because Star Wars has always been full of machines, smugglers, gamblers, pilots and people making a living in places the films only pass through.

That fits nicely with the point we made in our earlier Generation Star Wars feature about how Lucasfilm Games kept the galaxy alive between movies. Games are often at their best when they take a familiar corner of Star Wars and ask what everyday life might actually look like there. Star Wars: Galactic Racer turns that idea into motorsport.

The paddocks are a big part of the effect. Walking around between events, talking to rivals and mechanics, and seeing the League as a community gives the campaign personality. Kestar Bool provides the obvious target, while Hibi and the wider cast make the competition feel less like a menu and more like a travelling circus with engines.

There is a price for that ambition. The story and the runs-based structure do not always move at the same pace. Sometimes the next conversation arrives exactly when the campaign needs it. At other times, the game asks you to walk across the paddock when every part of your brain is already sitting on the next starting grid.

It never becomes a serious problem, but Star Wars: Galactic Racer is better at making me care about the League than it is at making Shade the most interesting person in it.

The galaxy is beautiful at several hundred kilometres per hour

The environments are frequently spectacular.

Jakku is an obvious highlight because racing through the wreckage of the Galactic Civil War gives the game an immediate sense of scale. The remains of Star Destroyers stop being background scenery and become geography. Elsewhere, ice, industrial structures, caves and hostile terrain change both the look and the rhythm of the circuits.

The downside is that tracks sharing the same planet can occasionally blend together. Star Wars: Galactic Racer has strong worlds, but not every individual circuit has the one unforgettable corner, hazard or silhouette that makes a racing track live in the memory for years.

That is one area where Star Wars: Episode I: Racer still casts a long shadow. The old game could be crude, but its best courses had sections you remembered instantly. Generation Star Wars revisited Star Wars: Episode I: Racer when the classic returned on Nintendo Switch in 2020, and that comparison is useful because the new game ultimately succeeds by refusing to behave like a remake. The older title is still there in the DNA, especially when podracers arrive, but Star Wars: Galactic Racer is not trying to preserve 1999 under glass.

Multiplayer keeps the garage door open

The online side gives the game another reason to last beyond the campaign.

Multiplayer Tours carry the same build mentality into competition, letting temporary setups develop across a sequence rather than treating every race as an isolated event. That makes the garage choices matter online too. You are not only racing another player, but you are also racing the decisions that got both of you to the grid.

At its best, this creates wonderful chaos. Players arrive with different strengths, different levels of confidence and, judging by some of the opening laps, very different opinions about whether braking is mandatory.

At its worst, the same chaos can become noise. A large group, aggressive contact and environmental hazards can turn a clean plan into debris very quickly. That will delight some players more than others. I enjoy the fact that Star Wars: Galactic Racer allows races to become stories, but competitive players looking for clinical purity may occasionally want the galaxy to calm down.

Still, multiplayer feels like an extension of the central design rather than a box ticked on the back of the package. That matters.

Verdict

Star Wars: Galactic Racer has rough edges. The story occasionally interrupts the momentum it is trying to build, some circuits within the same world need more individual character, and the game can become gloriously messy when too many systems collide at once.

None of that changes the central result.

The racing itself is excellent. The vehicle classes genuinely alter how the game is played. The campaign makes upgrades and failure meaningful without burying the fun beneath spreadsheets. The Galactic League gives Star Wars racing a culture rather than simply a collection of tracks.

Most importantly, Fuse Games has not spent twenty-seven years staring backwards.

When Generation Star Wars covered the gameplay trailer earlier this year, the easy hope was that Star Wars: Galactic Racer might be a worthy successor to Star Wars: Episode I: Racer. It is. The more interesting achievement is that, after a few hours, being a successor stops feeling like the most important thing about it.

Star Wars: Galactic Racer has its own identity, its own rhythm and enough ideas to survive once the first wave of nostalgia has passed. Star Wars racing did not need another museum piece. It needed somewhere new to go.

After a very long wait, it finally has one.

Score: 8.5/10

Buy Star Wars: Galactic Racer at Amazon (affiliate link).

Are you playing Star Wars: Galactic Racer? Let me know in the comments below.

Søren Ahrensborg Kamper has written about Star Wars games, their history and the communities around them since 2009. He is the editor of Star Wars: Gaming, where he covers new releases, game history and the strange decisions that become much more reasonable once somebody adds a hyperdrive.

Wednesday, 7 October 2026

Line of Duty creator bids on Doctor Who



According to Deadline, Line of Duty creator Jed Mercurio has tendered a bid for Doctor Who.

Mercurio, a pre-eminent TV writer responsible for shows including Trigger Point and Bodyguard, has submitted his interest via Hat Trick Mercurio (HTM), the production company he co-founded with Jimmy Mulville.

Mercurio is a sci-fi fan and created the BBC series Invasion: Earth in the 1990s.

The BBC will announce the successful tender in March 2027.

Whatever happens, BBC Studios will remain in control of the TARDIS, handling distribution, licensing, consumer products, digital, and immersive experiences.

In the meantime, Whovians (myself included) can look forward to seeing The Satan Pit: Extended Movie Cut in cinemas on Doctor Who Day, and the BBC has commissioned an animated series, Doctor Who: TARDIS Crew, coming to CBeebies.

Who would you like to win the tender for a new Doctor Who series? Let me know in the comments below.