As FromSoftware’s new multiplayer game The Duskbloods nears release, the legendary game director behind Dark Souls talks connection, pessimism and of course, feet

Since 2009’s Demon’s Souls, Japanese video game director Hidetaka Miyazaki has shown the world a different way to think about game design. His games defy convention with punishing fights, obscure rules, and unknowable, inhospitable worlds. The “Soulslike” genre – named after Demon’s Souls and its sequel Dark Souls – is now ubiquitous, influencing multimillion-sellers from God of War and Star Wars: Jedi to Hollow Knight. Miyazaki’s most recent success, 2022’s Elden Ring, which credited Game of Thrones author George RR Martin as a co-creator, sold over 30m copies and inspired Alex Garland to adapt it for the big screen at A24. It earned Miyazaki a spot on Time magazine’s “most influential” list, an accolade he shares with just one other game developer: Mario creator Shigeru Miyamoto.

Miyazaki is now 51 and has been FromSoftware’s president since 2014, elevated from game designer to CEO after the success of the Souls series. He has a cherubic face that could pass for 35. He rarely speaks publicly, and never on camera. When he does speak, he answers questions like one of his characters – softly, sadly, his head bowed, making eye-contact only when I am speaking. Outside the studio where we speak is the sprawl of Tokyo’s Shinjuku, an ever-changing maze where tourists get lost and pop-up stores appear and vanish without a trace. Today, a J-pop band performs in the square as the cicadas scream from the trees. A gilded statue of Malania, one of Elden Ring’s toughest bosses, looms over this dimly lit conference room inside From’s headquarters, a bonfire checkpoint away from the chaos.

Renovate rooms, investigate the supernatural and watch people burst into song in this surreal British ghost story

A young American man arrives in a dilapidated British seaside town to take on the renovations of an equally run-down hotel, inherited from a mysteriously absent father he never knew. His power tools talk to him in a Scottish accent, the local people speak in baffling slang, and occasionally people burst into song. Oh, and there are ghosts.

There Are No Ghosts at the Grand is a novel mix of genres – no bad thing in these times of sequels and remakes – but, according to the creative director of independent developers Friday Sundae, Anil Glendinning, it grew organically from a single goal: to tell a very British ghost story.