The video games industry is unpredictable. If you'd told us this time last year that a previously unknown French studio would claim game of the year, Battlefield 6 would knock Call of Duty off the top of the annual charts and that Saudi Arabia would buy gaming giant Electronic Arts (EA) we'd have been... sceptical. So you'd have to be very sure of yourself - or very foolish - to try and predict what's going to happen in the year ahead. Luckily, we're not in the crystal ball business here at BBC Newsbeat, but there are a few things we can be confident video game fans should keep an eye on in 2026. GTA 6: Will it actually arrive in 2026?

The world's most powerful people have started to realise that games have immense influence - why else would the White House post an image of Trump as Halo's Master Chief? The world's most powerful people have started to realise that games have immense influence - why else would the White House post an image of Trump as Halo's Master Chief? State of play: who holds the power in the video games industry in 2025? I love playing video games, but what interests me most as a journalist are the ways in which games intersect with real life. One of the joys of spending 20 years on this beat has been meeting hundreds of people whose lives have been meaningfully enhanced by games, and as their cultural influence has grown, these stories have become more and more plentiful. There is another side to this, however.

'Our industry has been strip-mined': video game workers protest at The Game Awards Outside the lavish event, workers called out the'greed' in the industry that has left games'being sold for parts to make a few people a lot of money' It's the night of the 2025 Game Awards, a major industry event where the best games of the year are crowned and major publishers reveal forthcoming projects. In the shadow of the Peacock theater in Los Angeles and next to a giant, demonic statue promoting new game Divinity, which would be announced on stage later that evening, stands a collection of people in bright red shirts. Many are holding signs: a tombstone honouring the "death" of The Game Awards' Future Class talent development programme; a bold, black-and-red graphic that reads "We're Done Playing"; and "wanted" posters for Take-Two Interactive CEO Strauss Zelnick and Microsoft CEO Phil Spencer. The protesters, who were almost denied entry to the public space outside the Peacock theater ("they knew we were coming," one jokes), are from United Videogame Workers (UVW), an industry-wide, direct-join union for North America that is part of the Communications Workers of America. "We are out here today to raise awareness of the plight of the game worker," says Anna C Webster, chair of the freelancing committee, in the hot Los Angeles sun. "Our industry has been strip-mined for resources by these corporate overlords, and we figured the best place to raise awareness of what's happening in the games industry is at the culmination, the final boss, as it were: The Game Awards."

Video Games The Buzziest Video Game of the Year Is Here. Sometimes, in our modern world where every Goliath wants to be seen as a David, where the middle class is evaporating and the working class is crushed and the wealthy play victim, the little guy still manages to win. Sometimes the little guy even wins big. And then sometimes the little guy wins, in a manner that destabilizes a flailing industry, upends media coverage, and incites multiple minor culture wars. That's how it went for Ari Gibson and William Pellen, a pair of Australian game developers known collectively as Team Cherry, who last week released the only video game that every gamer is talking about right now: .

On Wednesday, members of the Screen Actors Guild–American Federation of Television and Radio Artists, or SAG-AFTRA, voted to ratify a new contract for video game performers, officially bringing an end to a nearly yearlong strike. A majority, 95 percent of members, voted in favor of the contract, which guarantees annual raises for three years, increased compensation, and guardrails designed to prevent game companies from giving their work to AI. Actors in the video game industry had been on strike for 11 months as part of a fight to secure protections against AI, a sticking point that held up negotiations for most of that time. Every other issue in the contract, including compensation and working conditions, was already resolved months ago, says SAG-AFTRA's national executive director and chief negotiator Duncan Crabtree-Ireland. The strike was temporarily suspended in June, pending contract ratification. According to Sarah Elmaleh, a voice actor who also serves as a SAG-AFTRA committee chair, actors in the games industry have been wearily eyeing AI for years--even before tools like ChatGPT exploded in use.

The video game industry loves to tout figures: record-breaking sales numbers, astonishing revenue growth, dazzling quantities of concurrent players. It makes sense that the people who make and play games love numbers: They're proof that someone is winning. We have a new incredible number from the world of video games: In spite of an alarming price tag, it took only four days for the Nintendo Switch 2 to become the fastest-selling home video game console of all time, with 3.5 million units sold over the weekend following its June 5 release. This is tremendous business, enough for investors to take note and consider Nintendo a safe haven in a moment of extreme economic volatility. This kind of success is typically a point of pride to proponents of the video game industry, hard data proving the medium's significance to any doubters.

One thing most game developers can agree on in the modern industry is that it's hard to drum up any awareness for your latest project without a mammoth marketing budget. Last year, almost 20,000 new titles were released on the PC gaming platform Steam alone, the majority disappearing into the content blackhole that is the internet. So when a smaller studio is offered the chance to get on the stage at the Summer Games Fest, an event streamed live to a global audience of around 50 million people, it's a big deal. Not something that you want to spectacularly misjudge. Enter Ian Proulx, cofounder of 1047 Games.

As protests exploded in Los Angeles last weekend, elsewhere in the city, a coterie of games journalists and developers were gathered together to play new games at the industry's annual summer showcase. This week's issue is a dispatch from our correspondent Alyssa Mercante. Summer Game Fest (SGF), the annual Los Angeles-based gaming festival/marketing marathon, was set up to compete with the once-massive E3. It's taken a few years, but now it has replaced it. Whereas E3 used to commandeer the city's convention centre smack in the middle of downtown LA, SGF is off the beaten path, nestled among the reams of fabric in the Fashion District, adjacent to Skid Row.

There is a lot of attention on young men and toxic masculinity at the moment. The devastating Netflix drama Adolescence, about a 13-year-old boy accused of murdering a girl after being radicalised by the online manosphere, has drawn attention to the problem through the sheer force of its brilliant writing and a blistering lead performance from teenager Owen Cooper. Recently, former England football manager Gareth Southgate gave a speech about the state of boyhood in the UK, specifically about how young men, lacking moral mentors, are turning to gambling and video gaming, thereby disconnecting from society and immersing themselves in predominantly male online communities where misogyny and racism are often rife. There has been some kickback in the gaming press to the idea that games have provided a less-than-ideal environment for boys, but even those of us who have played and enjoyed games all our lives need to face up to the fact that gaming forums, message boards, streaming platforms and social media groups are awash with disturbing hate speech and violent rhetoric. Honestly, we have known this for a while.

Back in 2013, having bought the series from Eidos, Square Enix released a reboot of the hit 1990s action game Tomb Raider starring a significantly less objectified Lara Croft. I loved that game, despite a quasi-assault scene near the beginning that I would later come to view as a bit icky, and I wasn't the only one – it was extremely well received, selling 3.4m copies in its first month alone. Then Square Enix came out and called it a disappointment. Sales did not meet the publisher's expectations, apparently, which raises the question: what were the expectations? Was it supposed to sell 5m in one month?