In the digital age where games increasingly resemble action movies rather than the arcade classics of my youth, the gaming industry’s corridors are abuzz with a conversation that I first picked up on thanks to a YouTube comment by the CEO of a Ukrainian game developer by the name of Saber Interactive, whose comment was in turn published by Kotaku: ‘Games now are so complicated.’ ‘It’s that they are not a game.’ ‘I just want something I can lose myself in.’ ‘I can lose myself in a Megadrive game. Or a NINTENDO 64 game. Or Stadia games…’ ‘Because they are simple.’ ‘And that’s what games used to be. Good games.’ That last part – the desire to lose yourself – echoes in the words of a gaming giant: NINTENDO.
At the same time, the YouTuber Asmongold had recently posted a video about the upcoming Warhammer 40,000: Space Marine 2 on Twitch, prompting a commenter claiming to be Karch to lament that the gaming scene had been taken over by an excess of ‘touchy-feely wokeness’ and that we need to go back to the ‘old school’, where it was ‘more about the gameplay and less narrative complexity and less holier-than-thou moralising’.
And in the midst of these ruminations on gaming’s past and future, NINTENDO stands as a 21st-century monastery of the kind of fun that Karch wants back in games. With franchises such as Mario, Zelda and Pokémon, NINTENDO has always championed the idea that games should be easy to play, easy to win, and, most importantly, fun. Fun should be the goal of gaming, which is ultimately an escapist activity – a break from the troubles of the real world, an uncomplicated experience.
‘Warhammer 40,000: Space Marine 2 isn’t just a sequel to a popular Xbox 360 game, but a clear signal that we’re trying to go back almost to the fun of the earliest games,’ Karch is quoted as saying. The NINTENDO formula for success was, after all, just that: obvious fun, no bullshit.
NINTENDO’s genius is in making worlds that are very easy to start in, and intricately layered and enjoyable to explore. Titles such as Animal Crossing: New Horizons (2020) and Super Mario Odyssey (2017) are simple, enjoyable, imaginative and immersive joyrides – proof of Karch’s point that a game doesn’t necessarily need to be hard or morally prescriptive to be profoundly engaging.
The YouTube commenter’s discussion is the gaming industry’s wake-up call. What it shows is an emerging hunger for a return of the ‘old school’ in terms of creating games that reward play rather than bombast. It’s a space NINTENDO has owned for decades, where it proves that simple can be not just viable, but vibrant.
When considering the fundamental principles that have made NINTENDO such an enduring pleasure over the years, it’s fair to say that the company has never wavered from its original origins: games are fun. From the NES to the Switch, NINTENDO has shared this consistently simple philosophy with us: games are play, they are joy, adventurous escapes from the real world that we can enter just for a moment, as long as the imagination allows.
When game-makers are so often trumpeting graphics fidelity, narrative depth and online potential, NINTENDO is there reminding you of the pleasure of picking up a little grey box and pressing some buttons. It can be silly and sentimental stuff – model landscapes of The Legend of Zelda, or the scrap-fighting of Super Smash Bros. – but it reminds us, again and again, what lights up and tickles in our minds when we can truly focus and play.
Whatever the future of the gaming industry, as technologies draw an ever more blurred line between the real world and the digital world, the lessons of both Karch and of NINTENDO are still a powerful ideal. At the end of the day, it is not metrics or working out how much narrative of life can answer the question of what gaming means. Gaming is joy; it is friendship; it is laughter and, in that sense – and in the sense that NINTENDO places such a strong emphasis on simplicity and fun – it has not only survived but grown, as players are invited into wonderful moments of imagination. And as we think about the public discourse from figures such as Karch, it seems like in those moments of shared play, the beating heart of gaming is not in warfare but in making a connection through play. It’s not in any possible subliminal moral message, but in the game.
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