GOG, a prominent European digital game distribution platform, has become a member of the European Federation of Game Archives, Museums, and Preservation Projects (EFGAMP). This coalition, established in 2012, is dedicated to preserving video games as cultural heritage.
Credit: GoG
EFGAMP comprises over 20 heritage institutions, including VIGAMUS in Rome, MO5.COM in France, and the Computerspielemuseum in Berlin. GOG’s inclusion marks the first Polish institution to join, bridging the private sector with cultural organizations across Europe.
Maciej Gołębiewski, Managing Director at GOG, stated, “GOG was created with video game preservation in mind.” He highlighted the GOG Preservation Program, launched in 2024, which ensures compatibility for over 100 classic games, delivering hundreds of enhancements to keep them accessible on modern systems.
Andreas Lange, COO of EFGAMP, welcomed GOG’s membership, noting that GOG’s experience in making classic games accessible complements the work of existing members and brings additional digital expertise to collective preservation efforts.
GOG’s collaboration with EFGAMP underscores the growing importance of preserving digital media. As concerns about the disappearance of digital content increase, initiatives like this play a crucial role in maintaining access to the titles that have shaped the gaming medium.
By joining EFGAMP, GOG reinforces its dedication to protecting gaming’s cultural legacy, ensuring that players worldwide can continue to enjoy classic games for years to come.
For more information, visit the official announcement.
It was a crisp autumn afternoon on October 22, 1989, when Nick Thiemann and his son Clark embarked on a trip to the local Child World toy store in Westport, Connecticut. Clark, a determined young boy with a passion for gaming, had been diligently saving money by collecting soda cans and bottles at a nearby athletic field. Finally, his efforts paid off, and he was ready to purchase a new game for his beloved Nintendo Entertainment System (NES).
Little did they know, their shopping trip would mark the beginning of a legal battle that would capture headlines and raise questions about consumer rights and video game marketing.
A Disappointing Discovery
At the store, Clark excitedly chose LJN’s Major League Baseball, a title boasting the distinction of being the first NES game with an official MLB license. Retailing for $39.99, it promised to bring the excitement of professional baseball into the living room. But as soon as they got home, Clark’s enthusiasm gave way to disappointment.
Despite the game’s MLB license, it lacked an essential feature: player names. Due to the absence of a license from the MLB Players’ Association, the game used only team names, stats, and uniform numbers. For a young fan eager to manage his favourite players, this omission was a dealbreaker.
“This isn’t what I thought it was,” Clark complained to his father. Sympathetic to his son’s plight, Nick attempted to return the game. Unfortunately, the store refused, citing a strict policy against refunds for opened items. They could only exchange it if the cartridge was defective—a situation that left Nick and Clark feeling duped.
Taking Nintendo to Court
Nick Thiemann wasn’t just a disappointed parent; he was a lawyer. Frustrated by what he saw as deceptive marketing, he decided to take action. On January 16, 1990, Nick and Clark filed a class-action lawsuit against Nintendo of America, LJN, and Major League Baseball. Their claim? The game’s packaging violated the Connecticut Unfair Trade Practices Act by misleading consumers.
The lawsuit demanded punitive damages, attorney fees, a $40 refund, and changes to the game’s packaging to prevent further confusion. It also sought to allow other dissatisfied buyers to join the case.
The story quickly attracted media attention. While some outlets found humour in the situation, others saw it as an important stand for consumer rights.
Nintendo’s Defence and the Court’s Decision
Nintendo responded with a motion to dismiss, arguing that the claims failed to demonstrate a legal basis for action. Their defence highlighted that the game never explicitly promised player names and that its rosters were accurate at the time of development in 1987. The phrase “simulate being a manager,” they argued, did not legally require the inclusion of player names.
On December 28, 1990, Judge Ellen Burns sided with Nintendo, dismissing the case. While the Thiemanns appealed, they eventually withdrew, marking a definitive victory for the gaming giant.
The Legacy of the Case
Despite its flaws, LJN’s Major League Baseball went on to sell over a million copies. The Thiemanns’ lawsuit, though unsuccessful, set a precedent for questioning marketing practices in the gaming industry.
Nintendo, for its part, would face other legal challenges in the years that followed, from claims of carpal tunnel syndrome to allegations that its games caused seizures. These cases highlighted the growing pains of an industry grappling with consumer expectations and product liability.
A Glimpse into Gaming History
Looking back, the Thiemann lawsuit serves as a fascinating snapshot of an era when gaming was still finding its footing. It also reminds us of the passion and loyalty that fans bring to the hobby—passion strong enough to inspire a 9-year-old to fight back.
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The Super Mario Land series holds a special place in gaming history. These Game Boy classics were Nintendo’s first foray into adapting their legendary Super Mario Bros. franchise for a handheld console. Spanning just three games, the series introduced new characters, mechanics, and worlds that still resonate with fans today. Yet, these gems often remain overlooked in favour of Mario’s larger console adventures.
A Game Boy Launch Essential
Released in 1989 as a launch title for the Game Boy, Super Mario Land showcased the console’s potential. The game introduced Sarasaland, a new setting filled with unique kingdoms inspired by real-world locations, such as the Egyptian-style Birabuto and the mysterious Easter Island-inspired Easton. Princess Daisy also made her debut here, adding a fresh face to the Mario universe.
Super Mario Land managed to condense the magic of Mario’s NES adventures into a 12-level portable experience. Despite its brevity and slightly “off” physics, the game sold over 18 million copies worldwide, making it one of the best-selling Game Boy titles of all time.
The Original Box from Japan
Innovating the Mario Formula
In 1992, Super Mario Land 2: 6 Golden Coins took the series to new heights. With richer graphics, an overworld map, and new power-ups like bunny ears for hovering, the game felt closer to the console-based Mario games fans knew and loved. This sequel also introduced Wario, the greedy anti-hero who would later star in his own successful series.
Unlike its predecessor, Super Mario Land 2 gave players more freedom to explore non-linear worlds, including the eerie Pumpkin Zone and the whimsical Mario Zone, a giant mechanical version of Mario himself. The game sold over 11 million copies, cementing its place as a Game Boy classic.
Wario’s debut from the game, Super Mario Land 2
Wario Takes the Spotlight
The third instalment, Wario Land: Super Mario Land 3, shifted the spotlight entirely to Wario. Released in 1994, this game introduced slower, treasure-focused gameplay and unique mechanics like Wario’s hat power-ups. It marked the start of the Wario Land series and was a fitting end to the Super Mario Land saga, which had now sold over 34 million units across all three titles.
Not a Mario in sight
Why It Matters
The Super Mario Land series demonstrated Nintendo’s ability to innovate while staying true to their beloved franchise. It introduced enduring characters like Daisy and Wario, while pushing the boundaries of what the humble Game Boy could achieve. Despite their underappreciated status today, these games were instrumental in the Game Boy’s early success.
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In 1990, the video game industry was ablaze with innovation. Handheld gaming was the new frontier, ignited by Nintendo’s release of the Game Boy in 1989. This monochrome marvel was so successful that Nintendo projected sales of 9 million units by the end of 1990. Atari entered the scene with the Lynx, boasting the first backlit colour display for handhelds. Meanwhile, NEC introduced the TurboExpress, a portable rendition of their TurboGrafx-16 console. Even Sega, Nintendo’s eternal rival, was crafting its handheld, the Game Gear.
Among the titans, a small company from San Jose, California, dared to dream big. BDL Enterprises, led by engineer Paul Biederman, envisioned something revolutionary: a portable version of the Nintendo Entertainment System (NES). Their creation, The Express, promised a gaming experience that could have rivalled the heavyweights of its time. But what happened to this ambitious project? And why did it never see the light of day?
Credit TechEBlog
The Rise of BDL Enterprises
Before diving into The Express, let’s rewind to the origins of BDL Enterprises. Founded in 1989 by Paul Biederman, a former Capcom technician, the company initially carved a niche in arcade technology. Biederman’s expertise in designing testing equipment for coin-operated games quickly earned his firm respect in the industry. Products like JAMMA and monitor testers were their bread and butter, and they even dabbled in contract work for Capcom.
But Biederman’s aspirations didn’t stop at arcade machines. Recognising the explosive growth of home gaming, he ventured into consumer electronics. The company’s first retail product, the Turbo Blaster, allowed NES controllers to gain turbo and slow-motion functionality. Retailing at $39.99, the device was well-received and even became an officially licensed Nintendo product, earning a feature in Nintendo Power Magazine.
Strong name
It was a solid start, but Biederman had his sights set on something much bigger.
The Express: A Portable NES Ahead of Its Time
Biederman’s next brainchild was The Express, a compact, fully functional NES shrunk down to portable size. By meticulously stripping unnecessary circuitry from the NES motherboard, he created a new board measuring just 3 x 5 inches. Housed in a sleek shell, The Express was six inches wide, up to 10 inches long, and two inches thick.
This wasn’t a mere prototype—it was a technological marvel. The console featured:
• A 4-inch backlit colour screen.
• Built-in speakers with simulated stereo sound.
• A headphone jack.
• Ports for NES controllers (later replaced with an integrated controller).
• The ability to play nearly every NES game (excluding Zapper games).
Running on four C batteries, BDL claimed The Express could deliver 30 to 40 hours of gameplay. While these figures were never verified, the potential was undeniable. At an estimated retail price of $149–$169, it was on par with the Atari Lynx but far more versatile.
An early article from Electronic Gaming Magazine
Nintendo’s Reluctance: A Roadblock Too Big to Overcome
In 1990, Biederman presented The Express to Nintendo of America, hoping to secure a manufacturing license. But despite its promise, Nintendo turned him down. Their reason? The concept didn’t align with their long-term marketing strategy.
The rejection wasn’t entirely surprising. Nintendo had no incentive to support a product that might cannibalise sales of their Game Boy or even the NES itself. Why risk undermining two of their best-performing products for a third, untested contender?
Gaming magazines were quick to criticise Nintendo’s decision. Electronic Gaming Monthly called it unfair, arguing that The Express could have helped Nintendo fend off competitors like the Atari Lynx. Meanwhile, GamePro and Game Players Magazine speculated that Nintendo might have had their own portable NES in development. But for BDL Enterprises, the door was firmly closed.
Second page of the article above
The Aftermath: A New Opportunity with Camerica
Undeterred, Biederman continued innovating. By the end of 1990, he had developed a Game Boy-to-NES adapter, a product aimed at making Game Boy games playable on NES consoles. Enter Camerica, a Canadian company infamous for its unlicensed gaming products, including the Game Genie. Camerica showed interest in both The Express and the Game Boy-to-NES adapter, even announcing plans to bring them to market in 1991.
However, Camerica’s legal troubles with Nintendo, coupled with internal issues (like routing their 1-800 number through Cuba), led to the company’s closure in 1992. With Camerica gone and Nintendo unwilling to collaborate, BDL Enterprises quietly faded away. By July 1992, the company was listed as inactive.
A Legacy That Lives On
Though The Express never hit store shelves, its concept foreshadowed the future of gaming. Portable versions of home consoles eventually became a reality. The TurboExpress, Sega Nomad, and even today’s Nintendo Switch owe a debt to pioneers like Biederman.
In 2005, when NES patents expired, a flood of clone consoles hit the market, reviving interest in retro gaming. By 2012, devices like the RetroDuo Portable allowed players to enjoy NES cartridges on the go—a dream Biederman had envisioned over two decades earlier. Interestingly, there is a Retro Due V2 due out in 2025.
The now-defunct Retro Duo
Protect Your Retro Gaming Legacy
The story of The Express is a reminder of how innovation can shape the gaming world, even if it doesn’t immediately succeed. For retro gaming enthusiasts, preserving the past is more important than ever. That’s why protecting your classic games with RetroShell’s premium protectors is essential. Keep your cartridges safe from dust, scratches, and the wear of time.
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Video games today are a cultural juggernaut, but their origins are scattered with unsung heroes and overlooked innovations. Among them stands the Fairchild Channel F, a console that arguably shaped modern gaming as we know it. Despite being the first programmable home video game console and the pioneer of the video game cartridge, the Channel F is often overshadowed by the more glamorous stories of Atari and Nintendo. However, its tale is one of invention, perseverance, and a team that dared to dream big during gaming’s infancy.
Sold!
A Humble Beginning in Connecticut
Before it was an industry, gaming was an experiment. The story of the Channel F begins in the unlikely location of Connecticut, where engineers at Alpex Computer Corporation were trying to recover from a failed venture into cash register development. Facing financial ruin, co-founder Wallace Kirschner suggested they pivot to the nascent world of video games. The Magnavox Odyssey had shown that there was a market for home consoles, and Alpex wanted to push the concept further.
Their innovation? A console that could play multiple games stored on interchangeable cartridges. This was a monumental leap, as consoles of the era were typically limited to a single set of hardwired games. The team, led by Norman Alpert, Wallace Kirschner, and software engineer Lawrence Haskel, developed a prototype called Project RAVEN. It was rudimentary—a metal box with a calculator-style keypad—but it worked, demonstrating the potential of microprocessor-driven gaming.
The Cartridge Concept Takes Shape
At the heart of their breakthrough was the video game cartridge, an ingenious blend of computer circuit boards and durable plastic casings. These cartridges could store multiple games and load them directly into the console, a method borrowed conceptually from contemporary cassette tape designs in music and film. While crude in its early form, this concept has become the backbone of gaming for decades.
The cartridge allowed the hardware to be a reusable platform while the software became the true product—a model that transformed how games were marketed and sold.
Fairchild Steps In
Despite their groundbreaking idea, Alpex lacked the resources to bring their console to market. Enter Fairchild Semiconductor, a company looking to revitalise its standing in the electronics industry. Fairchild recognised the potential of Alpex’s invention and signed a licensing agreement in 1976. The company also assigned Jerry Lawson, a pioneering Black engineer and gaming enthusiast, to lead the project.
Lawson and his team at Fairchild refined the system, redesigning the prototype to incorporate Fairchild’s F8 microprocessor, adding colour graphics, and creating a futuristic joystick-like controller. They also developed a robust cartridge design that could withstand consumer misuse. By the time it launched in 1976, the console—dubbed the Fairchild Video Entertainment System (VES)—was ready to make history.
The F8 Microprocessor
Challenges in the Market
The VES debuted at the 1976 Consumer Electronics Show, impressing attendees with its technology and the potential for an ever-expanding library of games. However, trouble quickly followed. The console’s launch was delayed after failing FCC emission tests, forcing an expensive redesign to shield it from interference. By the time it hit shelves, the VES faced stiff competition from Pong-based systems and struggled to capture consumer attention.
Fairchild rebranded the console as the Channel F in 1977, emphasising its unique selling point: fun through interchangeable “channels” of games. Despite critical acclaim and steady sales, the Channel F couldn’t keep pace with the aggressive marketing and game library of Atari’s Video Computer System (later the Atari 2600), which launched in late 1977.
A Legacy That Outshone Its Time
Although the Channel F was ultimately a commercial failure, selling only 300,000 units over three years, its influence was profound. The cartridge system it introduced became the standard for decades. Games like Super Mario Bros., The Legend of Zelda, and countless others owe their existence to the innovation of the Channel F team.
The console also introduced several firsts that are now commonplace in gaming, including:
• Pause functionality, via a button on the console.
• User-selectable difficulty modes, ensuring accessibility for all players.
• Controller innovation, with a versatile joystick design that inspired future iterations.
The People Behind the Innovation
The individuals involved in the Channel F’s creation went on to shape gaming and technology in significant ways:
• Jerry Lawson, the project’s head engineer, became a pioneer for independent game developers and a hero in gaming history. His contributions were later recognised by the industry, though only posthumously.
• Gene Landrum, the marketer who pushed Fairchild to enter gaming, later co-created Chuck E. Cheese, blending entertainment and arcade gaming.
• Trip Hawkins, a young marketing assistant on the Channel F project, would go on to found Electronic Arts, one of the biggest names in gaming.
Jerry Lawson
Why the Channel F Still Matters
The story of the Fairchild Channel F reminds us that being first isn’t always enough. Success often requires vision, timing, and a willingness to gamble big. Fairchild hesitated to fully commit to gaming, and competitors quickly eclipsed their early lead. Yet the Channel F’s innovations laid the foundation for an industry that now generates billions annually.
So, the next time you blow the dust off an old cartridge, take a moment to appreciate the console that made it all possible. The Channel F may not have been a commercial triumph, but its spirit lives on in every game cartridge and digital download that brings joy to players around the globe.
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When the Nintendo Game Boy launched in 1989, it wasn’t met with the universal acclaim you might expect. Critics weren’t kind. The hardware was deemed underpowered, the screen had no backlight, and its graphics were simplistic, even for the time. And yet, the Game Boy didn’t just survive; it thrived. It became one of the most iconic gaming devices in history, selling over 118 million units worldwide and kickstarting franchises that are still beloved today.
What made the Game Boy a success wasn’t technological superiority but a deliberate strategy. By focusing on affordability, portability, and battery efficiency, Nintendo created a console that could reach the masses. And behind the Game Boy’s success lay brilliant engineering decisions that made the most of its limited capabilities. This is the story of how compromises became the cornerstone of its triumph.
Designing for the Masses
From the start, Nintendo’s goal was clear: make the Game Boy affordable and accessible. The system needed to be portable, lightweight, and easy to use. At just under 15 cm in height, 3 cm thick, and weighing 220 grams, the Game Boy was designed to be carried anywhere. Its size and weight were revolutionary compared to its bulkier competitors.
The design borrowed heavily from the Nintendo Entertainment System (NES). Its button layout was simple and familiar: a directional pad, two action buttons, and start/select buttons. By keeping the controls straightforward, Nintendo ensured that the Game Boy was intuitive for both seasoned players and newcomers.
Credit iFixIt
The Battery Dilemma
One of the most significant challenges for portable devices in the late 80s was battery technology. Alkaline batteries were large, expensive, and non-rechargeable. Nintendo’s engineers knew that battery life would make or break the Game Boy.
While its main competitor, the Sega Game Gear, required six AA batteries for just three hours of gameplay, the Game Boy used only four and could run for up to 30 hours. This wasn’t just a technical achievement—it was a consumer-friendly decision. For every hour of playtime, the Game Boy cost about 16 cents in batteries, compared to the Game Gear’s $2.30. This difference made the Game Boy far more appealing to budget-conscious families.
A Screen That Almost Killed the Project
The Game Boy’s monochrome screen is iconic today, but it was a controversial choice at the time. Unlike the Game Gear’s colour LCD, the Game Boy’s display was limited to four shades of green and had no backlight, making it nearly unusable in low light. But these limitations were intentional. Colour screens consumed far more power, and Nintendo prioritized battery efficiency over visual fidelity.
However, even this low-power screen presented challenges. Early prototypes used liquid crystals that twisted 90 degrees, but the resulting contrast was poor. Pixels blurred into each other, creating an unreadable mess. When Nintendo President Hiroshi Yamauchi tested a prototype, he cancelled the project outright.
The breakthrough came with SHARP’s Supertwisted Nematic (STN) LCD screens, which used crystals twisted between 180 and 270 degrees. These screens offered a sharper transition between on and off states, dramatically improving contrast and clarity. The “green” hue of the Game Boy screen was a byproduct of the polarizing filters used in these displays.
Ingeniously, the Game Boy created its four shades of green not by using different voltage levels but by pulsing pixels on and off at varying speeds. Faster pulses created darker shades, while slower pulses produced lighter tones. This technique, known as pulse-width modulation, remains in use today in LED brightness control.
The Magic of Limited Memory
The Game Boy’s 8-bit CPU had access to just 64 kilobytes of memory—less than the size of a single frame of a modern HD video. To create games like Super Mario Land, developers had to stretch this tiny resource to its absolute limits.
The system divided its memory between the console and the game cartridge. Clever engineering allowed the Game Boy to use tiles—small 8×8 pixel graphics blocks—to construct larger images. Instead of addressing each of the screen’s 23,040 pixels individually, games were built using a combination of static backgrounds and movable sprites. This method conserved memory while enabling smooth scrolling and animations.
For example, in Super Mario Land 2, the background was assembled from a grid of tiles, while characters like Mario were made from multiple 8×8 sprites. By moving the viewing window across the background, the illusion of movement was created. Programmers even used mid-frame pauses to adjust the viewing window dynamically, enabling effects like the curved roads in racing games or the cinematic intros in titles like The Legend of Zelda: Link’s Awakening.
Audio Simplicity, Iconic Results
The Game Boy’s audio system was just as minimalistic as its graphics. It featured a single speaker and four sound channels: two for square wave tones, one for white noise (used for percussion), and one for custom waveforms stored in the cartridge. Despite these constraints, composers created some of the most memorable music in gaming history.
The intro to Pokémon games, with its catchy melody and simple beats, exemplifies this. By layering square waves, adding a custom waveform, and using white noise for percussion, developers created tracks that remain etched in gamers’ minds.
Security and Tradition
Every licensed Game Boy cartridge included a hard-coded set of data that the console checked during boot-up. This was a security feature to prevent unlicensed games, but it also gave rise to an unexpected ritual: blowing on cartridges.
If the console couldn’t verify the data due to dust or a faulty connection, it wouldn’t start. Players around the world discovered that a quick blow on the cartridge pins often resolved the issue. This shared experience became a hallmark of Game Boy ownership, transcending borders and languages.
Credit HackaDay
Memory Banking: The Pokémon Revolution
One of the most remarkable feats of Game Boy engineering was memory banking. While the console could only read 32 KB of data at a time, games like Pokémon Red/Blue required far more storage—up to 373 KB. Developers solved this by dividing the data into “banks” and dynamically switching between them.
When a player opened the Pokédex, for instance, the system accessed the memory bank containing Pokémon descriptions. Entering a PokéMart loaded a different bank with item prices. This seamless switching allowed Pokémon to offer a sprawling world on a system with extremely limited hardware.
Affordability Meets Accessibility
At launch, the Game Boy cost $89—significantly less than its competitors. Combined with its long battery life and robust library of games, it became the go-to console for millions of players. For many, it was their first gaming experience, introducing them to franchises like Tetris, Pokémon, and Super Mario.
Nintendo’s focus on accessibility defined the company’s philosophy. While competitors chased cutting-edge hardware, Nintendo prioritized fun and usability. This ethos continued with later devices like the Wii, which brought motion controls to mainstream audiences, and the Switch, a hybrid console that lets players game on the go or at home.
A Legacy of Innovation
The Game Boy wasn’t just a product; it was a cultural phenomenon. Its simple design and clever engineering inspired generations of gamers and developers. Decades later, the device remains a symbol of ingenuity—a reminder that limitations can spark creativity.
Today, gaming consoles are complex, internet-connected devices that gather data and require constant updates. The Game Boy, with its physical cartridges and link cables, feels like a relic from a simpler time. Yet, its impact is undeniable. It shaped the gaming industry and created memories that endure to this day.
So, next time you hear the cheerful beeps of a Game Boy startup or hum the theme to Pokémon Red, remember the genius behind that green-tinted screen. It’s more than nostalgia—it’s a celebration of one of gaming’s greatest achievements.
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Rolling Stone has revealed its list of the best video games of all time, celebrating titles that have redefined gaming and left an enduring mark on the industry. The top three games in this illustrious ranking are:
1. The Legend of Zelda: Breath of the Wild (2017) – A genre-defining open-world adventure that set new standards for exploration and gameplay design.
2. Tetris (1984) – The universally loved puzzle game that remains a timeless classic, captivating players for decades.
3. Grand Theft Auto V (2013) – A sprawling open-world epic known for its gripping storytelling, dynamic multiplayer, and record-breaking success.
Here’s the full list.
50 – ‘Animal Crossing: New Horizons’ 49 – ‘Hades’ 48 – ‘Castlevania: Symphony of the Night’ 47 – ‘The Legend of Zelda: A Link to the Past’ 46 – ‘League of Legends’ 45 – ‘Fortnite’ 44 – ‘Elden Ring’ 43 – ‘Celeste’ 42 – ‘Batman: Arkham City’ 41 – ‘Metroid Prime’ 40 – ‘Chrono Trigger’ 39 – ‘God of War’ (2018) 38 – ‘Shadow of the Colossus’ 37 – ‘Pokémon Gold and Silver’ 36 – ‘Super Smash Bros. Ultimate’ 35 – ‘Sonic the Hedgehog 2’ 34 – ‘Hollow Knight’ 33 – ‘NBA 2K11’ 32 – ‘Ms. Pac-Man’ 31 – ‘Counter-Strike’ (1999) 30 – ‘Wii Sports’ 29 – ‘Uncharted 2: Among Thieves’ 28 – Minecraft 27 – ‘Resident Evil 4’ (2005) 26 – ‘Mass Effect 2’ 25 – ‘Stardew Valley’ 24 – ‘The Sims’ (2000) 23 – ‘Tony Hawk’s Pro Skater’ 22 – ‘Call of Duty 4: Modern Warfare’ 21 – ‘Fallout 3’ 20 – ‘Mario Kart 64’ 19 – ‘Baldur’s Gate 3’ 18 – ‘Madden NFL 2004’ 17 – ‘Diablo II’ 16 – ‘Red Dead Redemption 2’ 15 – ‘The Witcher 3: Wild Hunt’ 14 – ‘Street Fighter II’ 13 – ‘Doom’ (1993) 12 – ‘World of Warcraft’ 11 – ‘Halo: Combat Evolved’ 10 – ‘Super Metroid’ 9 – ‘The Elder Scrolls V: Skyrim 8- ‘Final Fantasy VII’ 7 – ‘Metal Gear Solid’ 6 – ‘Half-Life 2’ 5 – ‘The Last of Us’ 4 – ‘Super Mario World’ 3 – ‘Grand Theft Auto V’ 2 – ‘Tetris’ 1 – ‘The Legend of Zelda: Breath of the Wild’
For me, it is missing some key titles – no Perfect Dark, Gran Tourismo, Space Invaders or Championship Manager!
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February 1990 – A pivotal month in gaming history. Nintendo of America was about to launch what would become one of the most iconic titles in video game history: Super Mario Bros. 3. The excitement was palpable. A game that had already been a sensation in Japan was finally arriving on North American shores. And it wasn’t just a sequel – it was a statement.
Even without the internet, the buzz around Super Mario Bros. 3 had crossed oceans. Magazines were ablaze with previews. A Hollywood movie, The Wizard, showcased its gameplay, introducing millions of kids to a game they’d soon beg their parents to buy. Some shops even sold bootleg copies, a testament to the hunger for Mario’s next adventure.
The Wizard poster
But why did this game matter so much? It wasn’t just another Mario title; it was proof that Nintendo was more than a fad. It solidified Mario as the undisputed king of video games and cemented Nintendo’s dominance during a time when competitors like Sega and NEC were itching to dethrone them.
The Creation of a Masterpiece
Behind the magic of Super Mario Bros. 3 was a team of visionaries led by Shigeru Miyamoto. By the late 1980s, Miyamoto had already redefined gaming with titles like The Legend of Zelda and Super Mario Bros., but he wasn’t ready to rest. This time, he wanted to craft the ultimate Mario experience – a game that would push the limits of the NES and introduce innovations never seen before.
The development team, known as Research & Development 4 (R&D4), was a mix of veterans and fresh talent. With their combined genius, they created a game packed with new mechanics like diagonal scrolling, flight, and themed worlds. The graphics? Bright, colourful, and whimsical. Every detail felt alive, from dancing trees to mischievous enemies like Boos and Chain Chomps.
A fresh-faced Miyamoto in his 30’s working on SMB3
A Whole New Mario World
Gone were the linear levels of the past. Super Mario Bros. 3 introduced the overworld map, letting players choose their path. This added depth to the gameplay, making every playthrough feel unique. And the power-ups? Legendary. The raccoon suit gave Mario the ability to fly, while the frog and hammer suits added entirely new dimensions to the game.
Every element of the game had a purpose. The music, composed by Koji Kondo, was a genre-blending masterpiece that perfectly complemented the gameplay. From its upbeat reggae influences to its iconic jingles, the soundtrack remains unforgettable.
The Marketing Juggernaut
Nintendo didn’t just release Super Mario Bros. 3 – they turned it into an event. The marketing campaign was colossal, costing $25 million. Commercials dominated TV screens. McDonald’s sold Mario-themed Happy Meals. Even The Wizard, a movie many dismissed as a Nintendo commercial, helped fuel the hype.
When the game finally launched in North America in February 1990, it was chaos. Stores couldn’t keep up with demand. Within two days, 250,000 copies were sold. By the end of the year, Nintendo had sold over eight million units in North America alone.
I still remember this advert.
A Legacy That Endures
Super Mario Bros. 3 wasn’t just a game; it was a cultural phenomenon. It proved that video games could be sprawling adventures filled with secrets, challenges, and joy. Its influence stretched far beyond Nintendo, inspiring competitors like Sega to create their flagship franchises (hello, Sonic the Hedgehog!).
Even decades later, Super Mario Bros. 3 remains a beloved classic. It’s a game that defined a generation and continues to be a touchstone for gamers worldwide. Whether you grew up with it or discovered it later, one thing is certain: Mario’s third adventure is a testament to what video games can achieve.
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In the pantheon of Sony’s gaming endeavours, few products are as intriguing yet obscure as the PSX. Released exclusively in Japan on December 13, 2003, this premium entertainment device represents one of Sony’s boldest attempts to revolutionize home entertainment – and one of its most expensive failures.
A Vision of the Future
The PSX wasn’t just another PlayStation variant. Housed in an elegant white tower that looked more like premium audio equipment than a gaming console, it combined a fully functional PlayStation 2 with a sophisticated digital video recorder. Priced at an eye-watering 88,800 yen (approximately $646 at the time), it targeted affluent consumers who wanted the ultimate all-in-one entertainment solution.
Technical Marvel
Advanced Features
The PSX boasted capabilities that seemed almost futuristic for 2003:
Built-in DVR with up to 250GB storage
DVD authoring capabilities
MP3 ripping and playback
Advanced photo editing tools
Full PS1 and PS2 game compatibility
Memory Stick Pro support for portable media transfer
A beautiful piece of hardware
Revolutionary Interface
The system introduced the Cross Media Bar (XMB) interface, which would later become standard on PS3 and PSP. This sophisticated menu system demonstrated Sony’s forward-thinking approach to user experience design.
Market Challenges
Premium Positioning
The PSX’s premium price point proved problematic. At launch, it cost more than twice the price of a standard PS2. While Sony positioned it as a luxury item, the market wasn’t ready for such an expensive gaming-entertainment hybrid.
Some unreleased colour variants
Technical Issues
The ambitious feature set led to several problems:
Early units suffered from overheating
DVD lasers proved unreliable
Initial firmware lacked promised features
Software updates were inconsistent
The Short Life of Innovation
Initial Promise
The first week saw impressive sales of 100,000 units in Japan. Early adopters were excited about the device’s potential, and tech enthusiasts praised its innovative features.
Rapid Decline
However, enthusiasm quickly waned:
Retailers struggled to explain the product’s value proposition
Technical issues damaged consumer confidence
The high price point limited market penetration
Limited marketing failed to build broader awareness
Legacy and Impact
Modern Gaming DNA
While the PSX failed commercially, its DNA lives on in modern gaming consoles:
Multi-media functionality became standard
The XMB interface influenced a generation of UI design
DVR and media center capabilities are now common
Integration of gaming and entertainment features
Lessons Learned
The PSX taught Sony valuable lessons about:
Price point sensitivity
The importance of clear market positioning
The dangers of over-ambitious feature sets
The need for reliable hardware at launch
Cultural Significance
The PSX represents a fascinating moment in gaming history – when Sony attempted to bridge the gap between gaming consoles and high-end entertainment centres. Its failure wasn’t due to lack of innovation, but rather to being too ambitious for its time.
Sony offered two variants with different hard drive sizes
The Final Chapter
By February 2005, just 14 months after launch, Sony discontinued the PSX. The device was never released outside Japan, making it one of Sony’s most expensive and shortest-lived gaming experiments. Today, working PSX units are extremely rare, with many suffering from hardware failures due to their complex design.
The PSX stands as a testament to Sony’s willingness to take bold risks in gaming hardware design. While it failed commercially, its influence can be seen in every modern gaming console that offers entertainment features beyond just playing games. It was, in many ways, a product ahead of its time – a dream of gaming’s future that arrived perhaps a decade too early.
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The story of The Legend of Zelda: Link’s Awakening represents one of gaming’s most fascinating tales of creative freedom and innovation born from after-hours experimentation. Let me take you through this remarkable journey that began in 1991, just as Nintendo was riding high on the success of A Link to the Past.
The Japanese Advert for “Links Awakening”
An Unexpected Beginning
Sometimes the most innovative ideas emerge when nobody’s watching. Following the release of A Link to the Past, director Takashi Tezuka found himself yearning to explore concepts that hadn’t made the final cut. His opportunity came through an unexpected discovery – programmer Kazuaki Morita tinkering with a Game Boy Development Kit after hours, attempting to recreate Zelda’s magic on Nintendo’s new handheld system.
Takashi Tezuka – The Man Himself
The After-Hours Club
What started as curiosity evolved into something special. Tezuka joined Morita’s experimental sessions, and soon other members of Nintendo’s Entertainment Analysis & Development division formed what essentially became an unofficial “after-hours club.” These passionate developers would complete their regular work during the day, and then gather to work on their secret Zelda project – despite none of them having prior Game Boy development experience.
Breaking Free from Convention
The project’s unofficial nature proved to be its greatest strength. Without the usual oversight (even Miyamoto was “too busy to pay much mind”), the team could explore fresh ideas. They abandoned series staples like Princess Zelda, Ganon, and the Triforce, crafting something entirely new.
Twin Peaks Meets Hyrule
Tezuka, a huge Twin Peaks fan, encouraged his team to embrace the TV show’s surreal elements and dream-like qualities. This influence manifested through two key creative forces:
Kensuke Tanabe
Veteran developer of Super Mario titles
Finally implemented his long-held concept of a world-ending egg on a mountaintop
Yoshiaki Koizumi
Former aspiring film director
Brought cinematic storytelling to the Zelda series
Created the most narrative-driven Zelda game to date
Yoshiaki Koizumi
Innovation Through Freedom
The development team’s creative freedom led to several series of innovations:
First fishing mini-game (added by Morita)
Trading sequence side quests
Item combination system
Side-scrolling segments
Cameos from other Nintendo franchises
The Japanese TV Commercial for the game
A Dream Within a Dream
The story they crafted was unlike anything seen in previous Zelda games. Link, washed ashore on mysterious Koholint Island, must collect eight musical instruments to wake the Wind Fish. The revelation that the island exists only in the Wind Fish’s dream adds a philosophical depth previously unseen in the series.
The Wind “Fish” (Looks like a whale to me, but hey)
Technical Achievement
Despite the Game Boy’s limitations, the team created a full-scale Zelda adventure that didn’t feel compromised. The soundtrack, composed by newcomers Kozue Ishikawa and Minako Hamano, produced memorable tunes like The Ballad of the Wind Fish. Even Kazumi Totaka contributed, hiding his famous secret song within the game.
The entire map of Links Awakening – impressive on a Game Boy
Commercial and Critical Success
Released in 1993, Link’s Awakening exceeded all expectations:
Sold over 3.5 million copies
Ranked 15th best-selling Game Boy game
Received universal critical acclaim
Later enhanced through Link’s Awakening DX for Game Boy Color
Remade for Nintendo Switch in 2019
Legacy and Influence
Link’s Awakening’s impact on the Zelda series cannot be overstated. Current series producer Eiji Aonuma acknowledges it as “the quintessential isometric Zelda game” and credits it as a crucial stepping stone between A Link to the Past and Ocarina of Time.
The Switch Remake
A Labor of Love
What makes Link’s Awakening truly special is that it began as a passion project – developers creating something simply because they loved doing it. As Tezuka recalled, “I remember it was fun working on it and when it was over, I remember us talking to each other about how fun it was.”
The game stands as a testament to what can happen when talented developers are given the freedom to experiment and create. It broke conventional Zelda formulas while establishing new ones, proving that sometimes the best ideas come from after-hours tinkering and pure creative passion.
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