As Rockstar’s blockbuster prepares to dominate the headlines, it’s time for the mainstream media to stop treating video games as a novelty that needs explaining

Predictably, the Grand Theft Auto VI “extended look” which premiered on Netflix last week was a success for all involved. The 30-minute preview scorched to No 1 on the viewing chart and even brought the site down for a few minutes as millions of gamers tried to watch what was, effectively, a very long teaser trailer. According to data collated by Eurogamer, more than 9,000 Twitch streamers covered the show leading to 5,227,798 hours of viewing there alone. And this was just the beginning of what will surely be two months of escalating hype – and unprecedented media attention.

Call me cynical, but I suspect the coverage of GTA VI in the media over the next few weeks will follow a familiar pattern. Mostly, it will be five-minute slots wedged in near the end of news bulletins in which games journalists, industry analysts and other pundits will be asked why the game is such a big deal, how much it cost to make and how much revenue it will generate. Perhaps a few will try to reignite the hoary old “violence in video games” debate, there will be presenters laughingly admitting they’ve not touched a game since Pac-Man, rolling their eyes and wallowing in their ignorance, in a way they never would while discussing any other art form. Somebody will venture the subversive view that “games are no longer just for kids”; somebody else will say “games make more money than films and music put together”. And that will be that, job done for another decade … or until there’s a funny story about Pokémon.

September is the most fun time of year to shop, but it can also be dangerously seductive. Keep your wits about you with these tips

I used to love back-to-school shopping when my children were little. The miniature highlighter pens, the name labels, those pop-out pencil cases from Smiggle, even the intergenerational wrangling over when the price of a water bottle becomes unreasonable. I love the ceremony of new beginnings. The curtain-raising drama of it all.

Luckily for me, you don’t have to grow out of back-to-school shopping even though your children do, because in fashion September is considered the start of the new year. This is eminently sensible, because this time of year is a much better moment for a restart than January. The actual new year is dark and bleak and makes resolutions and projects feel intimidating rather than exciting. But right now, the evenings are still light, and while I’ve still got a bit of a tan pretty much anything feels possible.

PlayStation 5, Xbox Series S/X, PC; Bit Reactor
Split priorities between scripted and emergent story moments hamper an otherwise brilliant Star Wars-themed successor to XCOM

Even if you’re unfamiliar with the term “emergent storytelling”, you’ve likely experienced some of the unscripted tales that can bubble up out of a game’s systems. Perhaps you’ve led a scheming dynasty in Crusader Kings, or watched a favourite hero succumb to madness in Darkest Dungeon. Maybe you’ve surrendered yourself to the infinite yarn-spinner that is Dwarf Fortress – or read about it from the mid-00s forums where users helped popularise the term “Let’s Play” by chronicling their games in descriptive posts. Or perhaps you’ve played Firaxis’ XCOM, the alien invasion tactics hit that several key members of Zero Company studio Bit Reactor had a hand in.

Zero Company hinges on a concept as simple as it is perfect: take the complementary class abilities, tough dice rolls, and permanent character deaths of XCOM, and house them in a sci-fi setting known for spaghetti western blaster duels, last stands and heroic sacrifices. As creative director Greg Foertsch puts it, “Star Wars is about loss.” Which losses you end up mourning in Zero Company depends on you.