In the Critics this week

David Owen remembers the Iron Lady and Stuart Maconie feels short-changed by Damian Barr.

In this week's magazine, out tomorrow, former foreign secretary and leader of the Social Democratic Party David Owen reviews Charles Moore’s new and, in Owen’s view, “exceptionally good” biography of Margaret Thatcher. In personal memories of encounters with Thatcher, Owen describes her as being:

conscientious to a fault yet insensitive to someone she perceived as a non-achiever. This became ever clearer over the years in her attitudes towards poverty, social problems and the ethos of organisations such as the NHS.

He also cites the Falklands War as the turning point in Thatcher’s career as Prime Minister:

The Thatcher premiership was never the same again. She would succumb to hubris and that started with her taking the salute, instead of the Queen, at a victory march-past in the City of London, something that this book mistakenly passes off as of little consequence.

Elswhere in Books Michael Wood looks through Italo Calvino’s letters, pointing out that Calvino pre-empted Roland Barthes in the idea of the “the death of the author”:

Calvino was also inclined to think that a writer’s work is all the biography anyone really requires. In his letters he returns again and again to the need for attention to the actual literary object rather than the imagined author. ‘For the critic, the author does not exist,’ he writes, ‘only a certain number of writings exist.

Stuart Maconie has reviewed Maggie & Me - Damian Barr's coming-of-age memoir - which he feels “manages to deliver and short-change simultaneously”. David Herman discusses Michael Burleigh’s Small Wars, Far Away Places: the Genesis of the Modern World, 1945 – 1965, while in fiction Leo Robson reviews two books about ballooning: Richard Holmes’s Falling Upwards: How We Took To The Air and Julian Barnes’s multi-genre work, Levels of Life. Barnes’s essay on the loss of his wife, says Robson, “combines the weakest elements of his personality and thought”.

John Lloyd has reviewed Il Grillo canta sempre al tramonto by Beppe Grillo, Dario Fo and Gianroberto Casaleggio. “To understand the Grillo phenomenon,” says Lloyd of the emerging Five Star Movement in Italy, “is to get some sort of handle on where politics everywhere in the developed world is going”.

Elsewhere in the Critics Ryan Gilbey reviews Pedro Almodovar’s I’m So Excited, and Kate Mossman reviews Van Dyke Parks’s new album, Songs Cycled. “’Dreaming of Paris’ is apparently a comment on the US bombing of Baghdad, though it must be the only song on the subject to include a mention of crème brûlée,” she writes. Finally, Matt Trueman reviews Orpheus at the Battersea Arts Centre and Forest Fringe at the Gate Theatre.

The magazine will be on the news stands tomorrow morning.

Leo Robson has reviewed Julian Barnes's "Levels of Life". Photograph: Getty Images.
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It’s been 25 years since the Super Nintendo and Sega Mega Drive were released – what’s changed?

Gaming may be a lonelier pusuit now, but there have been positive changes you can console yourselves with too.

Let's not act as if neither of us knows anything about gaming, regardless of how old we are. Surely you'll remember the Super Nintendo console (SNES) and Sega's Mega Drive (or Genesis, if you're an American)? Well, it's now been 25 years since they were released. OK, fine, it's been 25 years since the SNES' debut in Japan, whereas the Mega Drive was released 25 years ago only in Europe, having arrived in Asia and North America a bit earlier, but you get the idea.

Sonic the Hedgehog by Sega

It's amazing to think a quarter of a century has passed since these digital delights were unveiled for purchase, and both corporate heavyweights were ready for battle. Sega jumped into the new era by bundling Sonic, their prized blue mascot and Nintendo retaliated by including a Mario title with their console.

Today's equivalent console battle involves (primarily) Sony and Microsoft, trying to entice customers with similar titles and features unique to either the PlayStation 4 (PS4) or Xbox One. However, Nintendo was trying to focus on younger gamers, or rather family-friendly audiences (and still does) thanks to the endless worlds provided by Super Mario World, while Sega marketed its device to older audiences with popular action titles such as Shinobi and Altered Beast.

Donkey Kong Country by Rare

But there was one thing the Mega Drive had going for it that made it my favourite console ever: speed. The original Sonic the Hedgehog was blazingly fast compared to anything I had ever seen before, and the sunny background music helped calm any nerves and the urge to speed through the game without care. The alternative offered by the SNES included better visuals. Just look at the 3D characters and scenery in Donkey Kong Country. No wonder it ended up becoming the second best-selling game for the console.

Street Fighter II by Capcom

The contest between Sega and Nintendo was rough, but Nintendo ultimately came out ahead thanks to significant titles released later, demonstrated no better than Capcom's classic fighting game Street Fighter II. Here was a game flooding arcade floors across the world, allowing friends to play together against each other.

The frantic sights and sounds of the 16-bit era of gaming completely changed many people's lives, including my own, and the industry as a whole. My siblings and I still fondly remember our parents buying different consoles (thankfully we were saved from owning a Dreamcast or Saturn). Whether it was the built-in version of Sonic on the Master System or the pain-in-the-ass difficult Black Belt, My Hero or Asterix titles, our eyes were glued to the screen more than the way Live & Kicking was able to manage every Saturday morning.

The Sims 4 by Maxis

Today's console games are hyper-realistic, either in serious ways such as the over-the-top fatalities in modern Mortal Kombat games or through comedy in having to monitor character urine levels in The Sims 4. This forgotten generation of 90s gaming provided enough visual cues to help players comprehend what was happening to allow a new world to be created in our minds, like a good graphic novel.

I'm not at all saying gaming has become better or worse, but it is different. While advantages have been gained over the years, such as the time I was asked if I was gay by a child during a Halo 3 battle online, there are very few chances to bond with someone over what's glaring from the same TV screen other than during "Netflix and chill".

Wipeout Pure by Sony

This is where the classics of previous eras win for emotional value over today's blockbuster games. Working with my brother to complete Streets of Rage, Two Crude Dudes or even the first Halo was a draining, adventurous journey, with all the ups and downs of a Hollywood epic. I was just as enthralled watching him navigate away from the baddies, pushing Mario to higher and higher platforms in Super Mario Land on the SNES just before breaking the fast.

It's no surprise YouTube's Let's Play culture is so popular. Solo experiences such as Ico and Wipeout Pure can be mind-bending journeys too, into environments that films could not even remotely compete with.

But here’s the thing: it was a big social occasion playing with friends in the same room. Now, even the latest Halo game assumes you no longer want physical contact with your chums, restricting you to playing the game with them without being in their company.

Halo: Combat Evolved by Bungie

This is odd, given I only ever played the original title, like many other, as part of an effective duo. Somehow these sorts of games have become simultaneously lonely and social. Unless one of you decides to carry out the logistical nightmare of hooking up a second TV and console next to the one already in your living room.

This is why handhelds such as the Gameboy and PSP were so popular, forcing you to move your backside to strengthen your friendship. That was the whole point of the end-of-year "games days" in primary school, after all.

Mario Kart 8 by Nintendo

The industry can learn one or two things by seeing what made certain titles successful. It's why the Wii U – despite its poor sales performance compared with the PS4 – is an excellent party console, allowing you to blame a friend for your pitfalls in the latest Donkey Kong game. Or you can taunt them no end in Mario Kart 8, the console's best-selling game, which is ironic given its crucial local multiplayer feature, making you suspect there would be fewer physical copies in the wild.

In the same way social media makes it seem like you have loads of friends until you try to recall the last time you saw them, gaming has undergone tremendous change through the advent of the internet. But the best games are always the ones you remember playing with someone by your side.