After years of sprawling ‘forever’ games, players are rediscovering the pleasures of more focused experiences. Could a new wave of independent arcades bring back the social side of gaming?

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There’s an important semi-nostalgic movement happening in games, and I’m excited about where it’s heading. But I don’t want to get ahead of myself here.

Over the last five years, major publishers, obsessed with the success of “forever games” such as Fortnite, Minecraft and Roblox, have been throwing hundreds of millions of dollars into their own sprawling, endlessly updating, battle-pass-infested mega franchises – each designed to take all our time and money. The result has been astounding failures such as Concord, Mindseye and Tales of the Shire. Even the good games – Crimson Desert, Path of Exile 2, Blood of the Dawnwalker – are so bloated they have become the unyielding masters of our precious few hours of free time.

PC, PS5, Switch 2; Wych Elm Games, Team 17
Abandoned shops, ruined apartment buildings and rotting sewer networks make up a dark landscape in which you play a private eye searching for a missing singer-songwriter

In a weird deserted town miles from anywhere, a troubled detective searches for a missing musician and the girl he may or may not have murdered. It could be a Silent Hill game or a lost David Lynch movie from the 1990s – in fact, it’s neither. And also both. If that whets your appetite, stick around, there’s plenty more to come.

Developed by Scandinavian studio Wych Elm Games, Silver Pines is a dark Metroidvania-style adventure, where you play as shambling private eye, Red Walker, exploring a 2D universe of abandoned shops, ruined apartment buildings and rotting sewer networks. Officially, everyone has left because of an incoming storm, but very quickly you learn that something much darker is afoot. Someone has hired you to find singer-songwriter Eddie Velvet, but you don’t know why; your only contact with your client is via the payphones dotted around town, where you can also save your progress – as long as you have a dollar to pay for the call. Each location is filled with clues and puzzles – a weird newspaper story pinned to the wall, a strange statue that needs a missing piece – and through these artefacts you unlock new rooms and descend further into the mystery.

There’s no Leon, Claire or Ada Wong in Cregger’s adaptation. Instead, it re-creates something more fundamental – the strange, terrifying experience of actually playing the game

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I’ve been surprised by the number of Resident Evil fans complaining on social media about Zach Cregger’s cinematic adaptation of the survival horror series. “It’s not a real Resident Evil movie,” they’ve claimed. Were we watching the same film? Certainly, it doesn’t feature any of the familiar heroes – there’s no Leon, no Claire, no Ada Wong – and there’s a distinct lack of recognisable antagonists and well-known locations. Despite all of this, Cregger’s interpretation is one of the most accurate and interesting video game films ever made.

On the surface, it’s about a zombifying virus that gets accidentally released in Raccoon City by the Umbrella Corporation. These are, of course, the foundations of the Resi mythos. More interestingly, Cregger seeks to replicate and explore the structural and narrative conventions of the series. In the film, the player character, hapless courier Bryan Hodukavich, is thrust into a viral outbreak, with no weapons and no idea what’s going on. He is then submerged into an uncanny shadow world of escalating peril and body horror. The film takes us through a series of locations dragged straight from the games – an abandoned farmhouse, a road tunnel crammed with abandoned cars, a hospital and the obligatory sewer level. As he progresses, Bryan finds increasingly powerful weapons, from a handgun to an assault rifle – but he is always short on ammo. And there are typewriters in at least two scenes!