We have a first play of the forthcoming Tomb Raider remake and speak with its developers. Can they improve on the gameplay without losing what made the 1996 original such a classic?

We join Lara Croft in St Francis’ Folly – inspired by the Unesco-listed monasteries of Meteora in Greece – as the light shines through the cracked ceiling and a flock of bats glide across the vast ruins below. When Lara leaps down to the monastery’s crumbling pillared courtyard, it becomes clear that these screeching, leathery creatures aren’t just set dressing. As they lurch towards her with unpredictable movements, she dispatches the swarm with a flurry of gun fire and panicked punches.

It’s a suitably cinematic reintroduction to our heroine and her very first adventure. Co-developed by longtime Lara custodians Crystal Dynamics and Polish studio Flying Wild Hog, Legacy of Atlantis is a reimagining of the classic 1996 game Tomb Raider, and this familiar cliffside location is now brimming with new life and believable detail. Yet while our reunion gets off to an auspicious start, I have my concerns. It feels like reconnecting with an old friend at the pub, only for them to begin spouting conspiracy theories two pints in.

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.

Being a woman who loves video games has often felt lonely, like being on a hostile planet – but Metroid’s female space hunter has been with me all the way

It’s 1986, and you’re playing a brand-new game. (You’re in Japan in this scenario, by the way; the game in question, Metroid, won’t come to North America and Europe until later.) Anyway, this new game has you in its grip. You are a lone astronaut exploring a hostile alien planet full of ancient, mysterious structures. This astronaut looks human enough – but this distinctly alien place is full of objects that power up their spacesuit’s capabilities. Each new ability allows you to explore a new area, and as you do, you realise that the entirety of the planetary base you’re exploring is one, massive, interconnected maze. Whoa.

Hours later, you finally defeat Mother Brain and set off a timed self-destruct sequence. Upon your escape, you’re treated to an endgame screen: the little astronaut faces you as text on screen implores you to “pray for peace in space”.