One Original Actor from Persona 4 Returns to Their Role in the Revival

**Overview of Nintendo Switch 2 Sales Performance**

Launched earlier this year, Nintendo’s Switch 2 initially drew considerable attention and enthusiasm from consumers. However, the latest sales figures reveal that the console’s momentum has diminished, especially during the holiday season, falling short of the remarkable success seen by its predecessor, the original Nintendo Switch, which enjoyed strong performance during its initial holiday phase in 2017.

A report from *The Game Business* on January 8 states that during the holiday months of November and December, Switch 2 sales in the United States were approximately 35% lower than those of the original Switch during the same periods in 2017. This downturn reflects wider trends within the gaming market, as retail tracker Circana noted that U.S. console sales suffered their poorest November since 1995. Despite hopes that the Switch 2 would excel in the current market, it seems to be contending with considerable obstacles among its rivals.

In Europe, the scenario is similar to that in the United States. In the UK, sales of the Switch 2 during the last eight weeks of the year decreased by 16% compared to the original Switch’s results in its first holiday season. Nevertheless, it is important to highlight that overall, the Switch 2 achieved around 6% more sales in 2025 than the original Switch did in 2017. Regrettably, the situation is more dire in France, where Switch 2 sales have dropped by 30% in relation to the original Switch’s first-year performance. Overall, sales in all major European markets reflected a marked decline for the Switch 2 during the holiday shopping period.

A senior Nintendo official attributed the lower sales figures to a “complicated economic landscape,” pointing out various factors such as high price points and the absence of a major Western game release during the vital Christmas season. Despite these hurdles, the official conveyed pride in what Nintendo achieved during a particularly challenging year for the gaming sector.

Looking forward, the gaming industry may continue to encounter obstacles as external economic pressures like ongoing tariffs, increasing costs, and competition for key components from AI developers could adversely affect the performance of console manufacturers, including Nintendo. Analysts indicate that, similar to 2025, 2026 might also turn out to be a challenging year for the gaming marketplace.

As Nintendo navigates this intricate environment, the performance of the Switch 2 underscores both the difficulties stemming from a changing economy and the critical role of strategic product positioning and game launches in sustaining sales momentum.

### The Borderlands Film: A Financial Letdown

The **Borderlands** film, launched as an eagerly awaited summer hit in 2024, encountered challenges from the outset. With a significant budget of $120 million, not counting the hefty marketing expenses, hopes were elevated for this video game adaptation that boasted a talented cast, featuring Cate Blanchett and Kevin Hart. Nevertheless, the film swiftly earned a reputation for its disappointing box office results, recovering scarcely a quarter of its production expenses.

#### A Turbulent Adaptation

Director Eli Roth referred to the initiative as a tumultuous experience that failed to meet the expectations of both loyal fans of the **Borderlands** video game franchise and general audiences. In discussions, Roth highlighted the studio’s growing reluctance to take risks as a major factor leading to the film’s downfall. He stressed the necessity of preserving a distinct vision as a filmmaker, implying that studio pressure resulted in a watered-down version of his initial idea.

Roth particularly condemned the choice to pursue a PG-13 rating, arguing that it hindered the film’s capability to authentically depict the original material. “You got something that belonged to nobody,” Roth stated, clarifying that the film tried to appeal to a wide audience. He mentioned that while the movie was crafted for gamers, it missed the violent elements that fans anticipated, ultimately resulting in a product that failed to connect with anyone.

#### Genre Discrepancy

The game itself, rated M (Mature 17+) by the ESRB, is recognized for its exaggerated violence and comedic aspects, but the stylistic decisions made—such as its cel-shaded artistic style—make the violence appear more cartoonish than horrific. Even with this, Roth asserted that the film’s PG-13 rating misrepresented the core of **Borderlands**, yielding a mixed result that neither attracted die-hard gamers nor engaged a family-oriented audience.

#### Looking Ahead

In stark contrast to the commercial failure of **Borderlands**, Roth has since transitioned to an independent venture, a comedy slasher film named **Ice Cream Man**. He initially stated that the new film would exclude generative AI technology, but later withdrew his comment, revealing a more adaptable approach to his creative endeavors. If this forthcoming release fails to make an impact, he concedes that he will only have himself to hold accountable.

The saga of the **Borderlands** film serves as a cautionary tale regarding the challenges of adapting video game stories for cinema. With artistic visions frequently compromised by studio demands, filmmakers need to tread carefully in balancing the interests of both fans and a broader audience in an increasingly competitive landscape.

### The Dispute Regarding Community Servers: ESA VP Calls Them “Illegal”

A recent comment from Jennifer Gibbons, the Vice President of State Government Affairs for the Entertainment Software Association (ESA), has ignited debate online. During a California State Senate hearing focused on the Protect Our Games Act proposed by Assemblyman Chris Ward, Gibbons claimed that community servers for popular games such as *Minecraft* and *Call of Duty* are “illegal” and amount to “piracy.” This statement has provoked considerable discussion concerning the legality and consequences of private gaming servers.

#### The Protect Our Games Act

The Protect Our Games Act (POG Act), intended to ensure game preservation and consumer rights, was examined during a hearing conducted by the California Senate’s Business, Professions and Economic Development Committee. Assemblyman Chris Ward pointed out existing community servers for *Minecraft* and *Call of Duty* as examples of how gamers might continue enjoying these games after official publisher support ceases. In reply, Gibbons interjected to categorize these community-hosted services as illegal, arguing that they do not meet the safety standards maintained by official Microsoft servers.

#### A Misunderstood Perspective?

Gibbons’ comments drew attention, particularly when further questioned about whether private servers resembled a “black market” for video games. She supported this view, comparing private servers to piracy and mentioning ongoing lawsuits against them. However, detractors argue that her description is inconsistent with established definitions or legal standards. The United States Trade Representative’s Notorious Markets Reports, mentioned by Gibbons, mainly targets servers that circumvent subscription fees, which does not pertain to games like *Minecraft* or *Call of Duty*, where players can engage for free on PC.

#### Opposition to the POG Act

The ESA’s resistance to the POG Act is unsurprising, given its history of lobbying against regulations viewed as threats to the gaming industry. Notably, ESA President and CEO Stan Pierre-Louis wrote an opinion piece contending that the POG Act, despite appearing consumer-friendly, ultimately harms both players and creators. He stressed that numerous modern games rely on evolving online communities and that the bill misinterprets industry dynamics.

This opposition prompts inquiries into the ESA’s motivations, especially in light of its previous lobbying against proposals targeting loot boxes and microtransactions directed at minors. Critics have highlighted the contradictions in promoting profit-oriented monetization strategies while opposing initiatives that would enhance long-term game preservation and player freedom.

#### Financial Motivations Behind the ESA

As a non-profit entity, the ESA publicly discloses its financial activities. In the fiscal year concluding March 2025, the ESA reported revenues of approximately $36.6 million, with about $27.8 million derived from dues paid by major gaming corporations like Electronic Arts, Microsoft, and Sony. The organization’s expenditure patterns demonstrate significant lobbying efforts, with roughly $2.3 million designated for lobbying activities alone.

The ESA’s financial dependency on its members raises questions regarding its agenda in opposing the POG Act. With the rising need for game preservation, the organization seems to prioritize the interests of its corporate affiliates over potential advantages for consumers and the gaming community.

#### International Lobbying Campaigns

The opposition to the Protect Our Games Act extends beyond the United States. Video Games Europe, a comparable interest group, has similarly lobbied against the POG Act within the European Union, reflecting a collective position among major gaming corporations against regulations seen as jeopardizing their profits.

### Conclusion

ESA’s Jennifer Gibbons’ assertion that community servers for *Minecraft* and *Call of Duty* are “illegal” has ignited a broader conversation about the legitimacy and future of private gaming servers. This controversy highlights fundamental tensions between consumer rights, game preservation, and the financial motivations of corporate entities within the gaming sector. As discussions progress, the necessity for transparent and equitable regulations that reconcile these interests becomes increasingly urgent.