Image Credit: Unsplash
You've poured countless hours into making that pixel-perfect platformer or chiptune-filled RPG, and that's an amazing achievement. But what if your passion project could also bring in some money? It's easier than ever to monetize your retro game creations. This can help fund your next project or even turn your hobby into a full-time job. This guide will show you how to start selling your games to retro fans all over the world.
First, you need to think like a creator-entrepreneur, not just a hobbyist. This isn't about "selling out"; it's about valuing your work and finding a way to keep creating. There are a few popular ways to make money from your games. The simplest is a one-time purchase, where players pay a set price to own your game. You could also offer a free demo and let players unlock the full version with an in-app purchase. Some developers also do well with cosmetic add-ons that don't change the gameplay. Looking into different ways to make money making video games is a good way to see what fits your game and your goals as a developer.
Where you sell your game really affects how many people see it and how much money you make. Each platform has its own balance of audience size, community features, and commission fees.
itch.io: This is a favorite among indie developers because it's so flexible. You can set your own price (or let players pay what they want), and the platform takes a small, adjustable cut of sales. It's a great place to build a following and talk directly with players.
Steam: As the biggest digital store for PC games, Steam offers a huge audience. Getting your game on there involves a review process and a standard revenue split, but many more people could discover your game.
Direct Sales: Selling your game right from your own website gives you total control and lets you keep almost all the money. But you'll have to handle all the marketing and payment processing yourself.
Thinking about how to make money from your indie game will help you figure out which platform's fees and audience are best for your project.
Once fans are ready to buy your game, you don't want a clunky or confusing checkout process. A smooth payment experience is crucial for turning interest into sales, especially with an international audience. You need a system that can easily handle different currencies and popular local payment methods. If you're selling directly to players around the world, having a smooth and reliable checkout experience is key. A system like an igaming payment gateway can help manage different currencies and payment methods behind the scenes, making it easier for international fans to support your game without friction.
A one-time sale is good, but getting money regularly can give you a stable financial base for your development work. This approach is becoming more popular, even for retro-style games. You could offer a subscription that gives players access to all your current and future games for a small monthly fee. Another popular choice is a Patreon-style system where fans can contribute regularly. In return, they might get exclusive content like early builds, behind-the-scenes development logs, or special in-game items. This not only creates predictable income but also builds a strong community around what you do.
Don't forget how powerful analytics can be. Understanding your sales data is key to making better decisions and growing your business. Most sales platforms give you a dashboard with useful information. Look at where your sales are coming from, what time of day people are buying your game, and how your marketing efforts lead to purchases. If you see a jump in sales from a certain country, you might think about translating your game's text or marketing materials for that region. This data-driven approach helps you improve your strategy and put your time and resources where they'll make the biggest difference.
Turning your retro game creation into income means learning and adapting along the way. Start small, connect with your players, and celebrate every sale as proof of your hard work and creativity.
Growing up in the 80s and 90s meant that as a kid, you thought that Ninjas were the coolest things in the world. In fact, if someone described you as a Ninja, it generally meant you were great at something. “He’s a Ninja at playing rounders!”
Being the epitome of cool meant that Ninjas were a pervasive part of 80s culture and seeped into our films, cartoons and, of course, our video games.
When I think back to those Ninja-laden days, I was always drawn to things like Bruce Lee films, The Karate Kid, and, of course, Teenage Mutant Ninja Turtles!
When it came to video games, I think I was subliminally obsessed with Ninja-themed games, and I am going to have a go at recalling my favourite Ninja Video Games from the 80s and 90s of my childhood.
Bad Dudes vs Dragon Ninja
[ARCADE] 1988
There was a video rental shop down the road from my mate Paul’s house that had two arcade cabinets in it. They often changed it up in there too. We visited there one day with a fistful of 20ps and were greeted by the marquee for DRAGON NINJA. It’s famously called bad dudes in the U.S. We loved the enemy who used to multiply with a cry of “WAKKA WAKKA WAKKA”. Whether he actually said that is another matter, but that’s what it sounded like to 11-year-old me!
Last Ninja 2
[C64] 1988
My mate Paul got a Commodore 64 for his birthday, and it came packed with games. One of those games was The Last Ninja II. I’d never seen a video game that looked and sounded so good. I also had never seen a game that allowed you to seemingly explore at will and also solve puzzles with different weapons and items. We were awful at the game and pretty much always got about as far as trying to jump on a passing boat and then off of it to the other side of the river!
The Ninja
[SEGA MASTER SYSTEM] 1986
![The Ninja [SEGA MASTER SYSTEM] 1986](https://cdn.mobygames.com/screenshots/2146505-the-ninja-sega-master-system-title.png "The Ninja [SEGA MASTER SYSTEM] 1986")
I remember visiting my local video game shop called Logic in Cheshunt, and they often let you play games before you bought them. This was one of those games that once I played it once on the SEGA Master System, I was hooked. It’s a super simple video game, but I remember loving this from the first moment I played it, and I look back at it fondly as a SEGA Master System memory.
Ninja Commando
[ATARI XEGS] 1989
![Ninja Commando [ATARI XEGS] 1989](https://cdn.mobygames.com/screenshots/6557629-ninja-commando-atari-8-bit-the-depressingly-drab-level-2.png "Ninja Commando [ATARI XEGS] 1989")
My Atari XE Games System (XEGS) was a tough system to buy games for, as most video games shops only really stocked Commodore 64 or ZX Spectrum games. That meant I really had to trawl around to get new games. I stumbled across Ninja Commando on a trip to Rossis toy shop in Chingford and immediately parted with my pocket money to purchase this Zeppelin Games classic. It’s a tough, unforgiving video game, but I poured countless hours into this one trying to make precision Ninja jumps across its levels.
SHINOBI
[SEGA MASTER SYSTEM] 1988
![SHINOBI [SEGA MASTER SYSTEM] 1988](https://cdn.mobygames.com/screenshots/471620-shinobi-sega-master-system-bonus-game-over.png "SHINOBI [SEGA MASTER SYSTEM] 1988")
Shinobi on SEGA Master System was a miracle of a video game that pushed the SMS to its limits. The bonus stage with the Shurikens was a thing of beauty. The game itself is probably my favourite SMS game and still stands up today. If you’ve never played this version, I highly recommend playing it immediately.
Alex Kidd in Shinobi World
[SEGA MASTER SYSTEM] 1990
Alex Kidd in Miracle World was one of my fave SMS games of all time, so when SEGA created an Alex Kidd Shinobi crossover, I was always going to love it. This game is often overlooked as it was pretty easy to complete. But I loved running around as a mini Ninja, spinning around lampposts and launching a ferocious attack at enemies. It’s great fun to play and another cracker that is still fun to play today.
Teenage Mutant Ninja Turtles: Turtles in Time
[Arcade] 1991
![Teenage Mutant Ninja Turtles: Turtles in Time [Arcade] 1991](https://cdn.mobygames.com/screenshots/16375670-teenage-mutant-ninja-turtles-turtles-in-time-arcade-choose-chara.png "Teenage Mutant Ninja Turtles: Turtles in Time [Arcade] 1991")
Probably the pinnacle of Ninja video games in terms of how great the game is and how popular the IP was at the time. It’s one of those video games that never ages and still looks amazing to this day. Whenever I spot this in an arcade, then it’s just gotta be played immediately.
ZOOL
[Commodore Amiga] 1992
I owned an Amiga when this came out, and it was the Amiga response to the popularity of mascot platformers on the consoles of the time. I was desperate for the Amiga to have a cool Sonic-type platformer, as platformers were THE GENRE at the time. It just so happened that ZOOL was a Ninja. This game is a solid platformer with a bold look to it. I always had a great time playing this, and it holds a place in my heart as a classic 90s platformer.
Shadow Dancer: The Secret of Shinobi
[SEGA MEGA DRIVE] 1991
![Shadow Dancer: The Secret of Shinobi [SEGA MEGA DRIVE] 1991](https://cdn.mobygames.com/screenshots/479805-shadow-dancer-the-secret-of-shinobi-genesis-using-magic.png "Shadow Dancer: The Secret of Shinobi [SEGA MEGA DRIVE] 1991")
Just a beautiful video game on the SEGA Mega Drive that oozes class. This stretches the SEGA Mega Drive’s graphical capabilities, and it’s an absolute joy to play! I'm pretty sure my mate Zesh had this first on his cool Japanese-imported SEGA Genesis that I drooled over every time I went round his house. What an amazing time to be alive that was!
Which Ninja Video Game Is Your Favourite Of All Time?
I covered the original Heave Ho back in 2019, and even then I was the steamboat captain of the good ship Le Cartel Studio. They had gifted the world Mother Russia Bleeds – an incredibly bleak and satisfying side-scrolling brawler that was not for the faint of heart (or stomach) – and whilst Heave Ho was very much a change in direction, I needn’t have worried, for their impeccable tastes meant that seemingly everything that they put their hands to turns to gold.
My incredibly devilish editor Rich ‘Show Me Your Passport First, Love’ Fotheringhay informed me that review codes were in for Heave Ho 2, and I knew instantly that my evening was a complete write-off, because I couldn’t not play it (great sentence, Britt – ed...also it’s Rich ‘9 Inches) (and I’m Not Talking About My Telly, Love) Fotheringham) until I blacked out from lack of sleep, for the Heave Ho series continues to be one of the most invigorating, infuriating, and hilarious co-op games of the last decade, and deserves to sell millions of copies.
A desktop microphone perfect for gaming and podcasting, the GX Trust Auron USB Gaming Microphone features phasing RGB illuminations, a solid lightweight stand, built-in pop screen, and a silent instant mute button. I used the Auron for a few episodes of my recent podcast recording, and was deeply impressed by what it offered in terms of high audio quality delivered in a practical way.
The cradle and design mean that unwanted ambient ‘knock’ sounds are minimised, whilst the ease of use and simplicity of setup make this a true plug-and-play beauty, with the volume a silent disc on the base that can be twisted to raise the gain, or lower it. There aren’t many frills here, and that certainly works to the Auron’s strengths.
Fallout fans are getting a double-dose of Wasteland charm this week, as Bethesda launches a new wave of collectable companions—plus the triumphant return of a once‑sold‑out favourite.
Fallout’s New Keychain Companion Collection Arrives
Vault Dwellers heading into the Appalachian Wastes can now bring a few friendly faces along for the journey. Bethesda has released the Fallout Keychain Companion Collection, a trio of plush keychains inspired by iconic Fallout 76 brands: Slocum’s Joe, The Blue Brahmin, and Nuka-Cola. The collection is available now through the Official Bethesda Gear Store, powered by DPI Merch.
Each keychain features a fan‑favourite mascot reimagined as a soft, portable companion—ideal for backpacks, keyrings, or simply adding a touch of Wasteland whimsy to everyday life.
When it comes to retro gaming creators who radiate pure nostalgia, infectious enthusiasm, and a genuine love for the classics, Borja Delgado — better known as The Geek Link — is right at the top of the pile. His TikTok channel has become a vibrant hub for anyone who grew up in the glow of CRT screens, cartridge clicks, arcade cabinets, and 80s/90s/00s pop culture. What started as a passion project has quickly evolved into a community built on shared memories, deep‑cut references, and the kind of geek joy that never fades.
We sat down with Borja for a rapid‑fire Q&A covering his earliest gaming memories, favourite consoles, beloved genres, and even his go‑to sandwich. It’s fun, it’s nostalgic, and it’s packed with personality — just like The Geek Link
SEGA® Mega Drive™ Console 40926 | Other | Buy online at the Official LEGO® Shop GB
From Coin-Op to Cloud: The Evolutionary Trajectory of Arcade Monetisation into Modern RNG Mechanics
Image Credit - Gemini
The 1990s arcade was never a fair playground. It was a highly optimized, localized extraction engine disguised under neon lights and synthesized audio. Let's be real, the entire ecosystem relied on a brutal financial metric known to insiders as the "three-minute rule." Operators demanded high player turnover to justify the floor space of a bulky cathode-ray tube cabinet. Designers responded by engineering artificial scarcity into the very code of the software. A single token or quarter was mathematically destined to result in a "Game Over" within roughly one hundred and eighty seconds.
Take Capcom's 1993 beat 'em up classic, Cadillacs and Dinosaurs. Frankly, players in the crowded parlors of Delhi or Mumbai just called it "Mustapha," trading a single rupee for a fleeting chance at survival. Look closer and you realize the design was actively hostile to long play sessions. We had weapons, sure, but the game offered no holster mechanic. A shotgun held six rounds; picking it up entirely disabled your standard melee attacks. Early random number generators (RNG) governed weapon drops from wooden barrels. You could never memorize a safe route, which kept you perpetually starved of resources and infinitely closer to inserting another coin.
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This week, Sony announced that were going to cease production of physical discs from January 2028 for new games releasing on PlayStation consoles.
It's a decision that means less consumer power for those holding the controller, according to Dr Nick Webber, Professor of Game Studies at Birmingham City University (BCU) and co-lead of the Game Cultures research cluster at the university’s Birmingham Centre for Media and Cultural Research(BCMCR). | ||
It's even easier for game companies to control and remove access to games. Credit: BCU | ||
“Sony's announcement of the end of physical media is unsurprising, given that the majority of video games are now bought digitally,” said Dr Webber.
“But, for both players and for people working in games preservation, the removal of discs from the PlayStation ecosystem, and likely also from XBOX, represents an important shift.
“These changes have to be understood alongside recent, unsuccessful attempts to place legal duties on game providers to support preservation processes and provide ongoing access to games.
“For example, in 2024, the US Copyright Office refused to grant a games preservation exemption from the Digital Millennium Copyright Act, and just last month, the Stop Killing Games campaign was rebuffed by the European Commission.
“Unfortunately for players, the end of physical media represents a power shift which makes it even easier for game companies to control and remove access to games.
“For game preservation experts, this change will increase the difficulty of preserving games without the explicit permission of game developers and publishers, as the focus shifts away from challenges such as bit rot and media degradation, and onto the relationship between collecting organisations and IP owners instead.” |
An hour into John Carpenter’s Toxic Commando, I was curious about what exactly Carpenter had contributed to this game. After all, this PvE zombie shooter has no aesthetic or thematic similarities to his work, and despite his impeccable horror pedigree, Carpenter has never made a zombie movie. If anything, it’s stylistically much more reminiscent of James Gunn than Carpenter.
So I did some research. And…“I was not brought on as a creative force, except they wanted to use my name, so they paid me to use my name.” As it turns out, aside from providing a few pieces of music (which I suspect were lurking on his hard drive long before this project), Carpenter’s involvement, in his own words, was “Well, I played it!”
Fair enough! Might as well be David James’ Toxic Commando then, because I also played it… And I think it’s just great!
In the realm of online entertainment platforms, not all services serve the same audience or follow the same approach. Some prioritise delivering a traditional international casino experience, while others develop ecosystems tailored to local player interests. BigBunny Casino and GameZone exemplify this divergence, offering distinct digital entertainment models. Understanding their differences helps players select a platform that aligns with personal preferences and gaming styles.
I have a problem. Not a serious one, but it costs me time, and it used to cost me enjoyment.
The problem is that I can't stick to one game.
My name's Cael. I'm thirty-one, I work in logistics, and at any given moment I'm actively interested in at least three or four
games simultaneously. Right now, that's WoW Midnight, FFXIV, and Path of Exile 2. A month ago, it was WoW, Helldivers 2,
and I was half-watching someone stream Arc Raiders and getting curious. This is just how I game. Always has been.
The issue isn't the variety. I like variety. The issue is what happens when you try to play multiple live-service games seriously.
Every game on my list has the same structure. There's the part you can play casually — levelling, story, early content — and
then there's the part that's actually interesting once you understand the game. Raids. High-level dungeons. Endgame crafting.
The content that people talk about in communities, that gets patched, updated and discussed.
To access that content, you have to get there first. And getting there, in most live-service games, takes a meaningful chunk
of time.
In WoW Midnight, that's levelling to 90, running the campaign, gearing up enough to get into Heroic raids or high M+ keys.
In FFXIV, it's levelling a job, getting gear for the current Savage tier, and farming gil for consumables. In Path of Exile 2,
It's clearing campaign, building currency, getting your character to a point where the actual endgame systems open up.
None of that is unenjoyable exactly. But when you're cycling between three games, doing it simultaneously is brutal.
You're never fully in the endgame of anything. You're always in the middle of the grind leading up to it.
