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What if the next Witcher game starred a vampire instead of Geralt? That’s one of the selling points behind The Blood of Dawnwalker, a new RPG from some of the masterminds behind The Witcher 3 and Cyberpunk 2077. Rebel Wolves, formed in 2022 by a bunch of ex-CD Projekt Red developers, revealed the game this week in a new teasertrailer. It looks pretty legit.

The first game in what the studio hopes will be an entire new RPG saga, The Blood of Dawnwalker is a narrative-driven, single-player, open-world, dark fantasy action-RPG. It’s being made in Unreal Engine 5 for PlayStation 5, Xbox X/S, and PC. The game is currently in alpha with more updates promised later in the year. That’s another way of saying it probably won’t be out for a while.

Players will step into the shoes of a young warrior-turned-vampire named Coen who uses otherworldly powers, including teleporting around like Nightcrawler, to fight off enemies and navigate a world where monsters come in all different forms. Like I said, The Witcher with vampire powers. Here’s the cinematic trailer with a quick look at gameplay near the end:

Rebel Wolves was originally formed by Witcher 3 director Konrad Tomaszkiewicz after he left CDPR following an investigation into workplace bullying, which he told Bloomberg ultimately found him not guilty of the charges. Speaking to the same outlet last year, he said he started the new studio out of a desire to go back to working in smaller teams where developers aren’t as pigeonholed into specific roles. He also said he’d be working on his empathy and prioritizing the well-being of the team.

Alongside its game announcement, Rebel Wolves also announced the hire of The Blood of Dawnwalker’s creative director: Mateusz Tomaszkiewicz. The CDPR veteran was a quest designer on multiple Witcher games, including the card-based spinoffs Gwent and Thronebreaker. He was also in charge of Cyberpunk 2077's quests before later departing after the game released to do narrative consulting for other companies.

“Throughout all my years in game development, story-driven role-playing adventures have always been something I was most passionate about,” Tomaszkiewicz said in a press release. “For me, nothing beats being able to fully immerse myself and discover handcrafted stories and worlds. There are so many fantastic RPGs out there today, however, I feel that there’s not only enough space but also a hunger among players for more captivating stories.”

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Fresh details of Bethesda's long-rumoured - but as yet unannounced - Elder Scrolls 4: Oblivion remake have surfaced in a new leak, alongside word it could well be arriving this June.

An Elder Scrolls 4: Oblivion remake - supposedly being developed in Unreal Engine 5 - was first rumoured in July 2023, when a former Virtuos employee posted to Reddit claiming it was in the works at the Chinese studio. Curiously, references to an Oblivion remaster then emerged later that year, spotted in an internal Microsoft document from 2020 that was leaked during the company's court battle with the FTC, lending at least some credence to the earlier claim.

But that wasn't the end of it. Earlier this month, a Virtuos technical art director updated their LinkedIn profile to highlight their work on a mysterious "unannounced Unreal Engine 5 remake", and now another former employee has - seemingly unintentionally - shared more explicit details of a Virtuos-developed Oblivion remake on their own website.

As reported by MP1st, the unnamed employee - who is said to have worked on the project between 2023 and 2024 - described the game as a "fully remade" version of The Elder Scrolls 4: Oblivion, developed (as previously rumoured) in Unreal 5. The former Virtuos employee is also said to have referenced six gameplay systems reworked for the remake: stamina, sneaking, blocking, archery, hit reaction, and HUD.

The new blocking system, as summarised by MP1st, supposedly takes inspiration from games including Souls-likes, to replace an original system considered too "boring" and "frustrating", while archery has been improved to make it "more playable and modern" in first- and third-person views. The new stamina system, meanwhile, is described as being "less frustrating", with the knockdown that occurs when stamina is depleted now less frequent.

As for the Oblivion remake's updated sneaking, it'll apparently feature highlighted Sneak icons and reworked damage calculations, and that's alongside the introduction of hit reactions to improve the response to damage inflicted on the player and NPCs. Additionally, MP1st says the former employee referenced an updated HUD intended to be "easier to understand and more aesthetically appealing to young players."

MP1st's report follows recent claims by reliable leaker NateTheHate that an Elder Scrolls 4: Oblivion remake would be launching this June. Before all that, of course, developer Bethesda will actually need to announce the thing - and with Microsoft's Xbox Developer Direct currently scheduled for next week, an opportunity is looming.

Hope it's true. Loved that game.

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We keep learning more about the world of Exodus, the new space RPG from a few former Mass Effect trilogy developers, as it rockets toward release this year, and to no one's surprise, this sci-fi adventure takes a little bit of inspiration from Star Wars.

The tidbit comes from a new Q&A featuring developer Archetype Entertainment's co-founders and former BioWare leads James Ohlen and Chad Robertson, where the duo delved into some of the upcoming game's lore. More specifically, the two were asked about The Travelers, the organization we play as that goes on interstellar expeditions to hunt for ancient alien technology.

"You're gonna be part of an organization that goes out and finds these remnants that you can bring back that will help your world and change your world," Ohlen explains in the video. "That's gonna be the centrepiece of the IP."

"There's elements of it that we want to feel elite and somewhat secretive," Robertson interjects. "You can think a little bit of inspiration from the Jedi, but there's not like a Jedi council in the game that is an overarching structure. They're a little bit more rogue, a little bit more independent, but still work toward a common goal of saving humanity. And I think that's a binding force with them on these journeys that they go on that are interstellar and have impact on them timeline-wise that's different from a typical journey."

Once you've nabbed that ancient tech, you'll have to decide how to use it. And whatever you choose, there'll be repercussions lasting for in-game decades and even centuries for you and your "major hub" of a city.

Exodus recently got an action-packed trailer with gunfights, aliens, and a massive grizzly bear fitted with some badass armor.

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Lords of the Fallen publisher CI Games confirmed it would not "embed social or political agendas" in its games due to the "high risk it can present".

According to Strefa Inwestorów (thanks, PC Gamer), global marketing director Ryan Hill told investors the studio would focus on "excellent user experience with compelling thematics and characters created specifically for core and adjacent audiences" following perceptions "a number of high profile releases underperform[ed] commercially during the last year" due to what he believed to be "social or political agendas."

"We remain committed to producing player-first video games that prioritise an excellent user experience with compelling themes and characters created specifically for core and adjacent audiences," Hill said when asked for the studio's position on "DEI [diversity, equity, and inclusion - more commonly known as EDI in the UK] in gaming".

"While some video games have recently taken the opportunity to embed social or political agendas within their experiences, it is clear that many players do not appreciate this, and as a result, we have seen a number of high profile releases underperforming commercially during the last year alone.

"Our games will always be developed to maximise player enjoyment and commercial success, and as such, we will not be integrating any social or political agencies into these experiences going forward having observed the high risk this can present."

Hill did not expand on his definition of "social or political agencies", nor defined what "high risk" meant to him and studio leadership. He also didn't exemplify what games he considered had "underperformed commercially" or, indeed, clarify what commercial success looked like to him.

CI Games declined to comment further on Hill's statement to investors.

The action-RPG is currently sitting on a "mixed" Steam user score, and received just two stars in Eurogamer's Lords of the Fallen review. A sequel is currently in development.

What are your thoughts on this?

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The highly-anticipated next Assassin's Creed game will now launch on 20th March. Previously the game was set to arrive on 14th February, after its initial delay from November 2024.

Ubisoft said today that it was currently "taking decisive steps" to reshape the company and had now appointed advisors to "review and pursue various transformational strategic and capitalistic options to extract the best value for stakeholders". In plain English, it sounds like Ubisoft is indeed investigating options for a sale, as suggested by several reports late last year. In December, news agency Reuters reported that Ubisoft was discussing buyout options with Chinese giant Tencent, already a major shareholder, that would take the company private.

Going forward, Ubisoft expects to it will "continue to drive significant cost reductions, together with a highly selective approach to investments". The suggestion seems to be of a continued narrowing of the company's focus, teams and output.

Ubisoft's statement notes the recently-confirmed end of shooter XDefiant in December, and the subsequent closure of three studios "in high-cost geographies".

"We learned a lot, of course, from this journey," Ubisoft said in a conference call this evening attended by Eurogamer, discussing the end of XDefiant, "but we believe it was the difficult but right decision".

In terms of investments, Ubisoft's statement points to the additional five weeks given to Assassin's Creed Shadows, whose developers will now have more time to incorporate additional changes.

"This additional time will allow the team to better incorporate the player feedback gathered over the past three months and help create the best conditions for launch by continuing to engage closely with the increasingly positive Assassin's Creed community," Ubisoft said.

During this evening's call, Ubisoft added that it would begin giving some players access to Shadows next week, though the suggestion here was this referred to limited hands-on oppurtunities granted to select individuals.

Ubisoft additionally said it has suffered "lower than expected holiday sales, mainly for Star Wars Outlaws" and had also lowered financial expectations due to the discontinuation of XDefiant.

"We made good progress on the strategic and execution reviews initiated a few months ago and are confident that this will position Ubisoft for a stronger future," Ubisoft boss Yves Guillemot said in a statement. "We have taken decisive steps to reshape the Group in order to deliver best-in-class player experiences, enhance operational efficiency and maximise value creation. We also recently appointed leading advisors and are actively exploring various strategic and capitalistic options to unlock the full value potential of our assets. We are convinced that there are several potential paths to generate value from Ubisoft's assets and franchises.

"Additionally, we are all behind our teams' efforts to create the most ambitious Assassin's Creed opus of the franchise and made the decision to provide an extra month of development to Shadows in order to better incorporate the player feedback gathered over the past three months that will enable us to fully deliver on the potential of the game and finish the year on a strong note."

Assassin's Creed Shadows is a pivotal project for Ubisoft. It is the company's biggest blockbuster in development and its most-anticipated release since 2020's Assassin's Creed Valhalla. Its launch also heralds a new era for Assassin's Creed as a core focus for the company, with other projects of various shapes and sizes set to follow on an annual basis, all tied together via a new software hub.

But its road to release has not been easy, something that recently prompted the franchise's boss Marc-Alexis Coté to issue an impassioned defence of the project and its many staff.

"We only have one shot," Coté said of Ubisoft's decision to delay Assassin's Creed Shadows for the first time. "Ubisoft's portfolio has faced criticism in recent years for a perceived inconsistency in quality. "Players expect more polish, more innovation and deeper engagement from the games we release, and they're not shy about letting us know when they feel we have fallen short. This environment pushes us to do better and to be better.

"Assassin's Creed Shadows represents our opportunity to change that narrative, not just for Assassin's Creed, but I think for Ubisoft as a whole."

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We've seen a few PS5-style Xbox controllers over the years, but this must be the most similar of all! As part of CES 2025, Hyperkin has announced a new Xbox controller called "The Competitor" that very much resembles the DualSense.

As you can see, this controller drops the left thumbstick down to the bottom of the controller and moves the PS5-style d-pad up to the top, while even the colour scheme is very reminiscent of the PlayStation controller design.

The Competitor is actually a wired controller for Xbox One, Xbox Series X, Xbox Series S and PC, but one of the big benefits compared to standard Xbox controllers is that it comes with Hall Effect sticks, helping to eliminate stick drift. It apparently comes with Hall Effect triggers as well.

We're still waiting on release date and price details for The Competitor, so we'll let you know when more information rolls in. Something tells us this could end up being a pretty popular controller in the Hyperkin lineup later this year!

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Black Myth: Wukong's director has appeared to contradict Microsoft, stating the game's Xbox delay is due to the Series S's memory limitations. This is something that the Xbox maker has previously denied.

Read more

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NGL, I've been waiting on this. I don't trust Seagate, and it took a while for WD to do the 2 TB version.

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Last year’s remake of Dead Space proved a critical hit, reviving the beloved space horror series after it had been left fallow for ten years. However, despite being January 2023's second-biggest selling game (behind Modern Warfare II), this seemingly wasn’t enough success to satisfy EA, and it was reported in April of this year that the studio had shelved a remake of Dead Space 2, though EA then denied that one had ever been in the works. We’ve now found out that an attempt by the original creators to pitch Dead Space 4 earlier this year was immediately rejected by EA.

In a recent interview (well, it was three weeks ago, but we’re all just noticing now), three members of the original Dead Space team—Glen Schofield, Christopher Stone and Bret Robbins—spoke to YouTuber Dan Allen (thanks VG247) about the franchise, during which it was revealed that earlier this year the trio wanted to pitch a fourth entry in the space-based scare ‘em up to IP owners EA. But it seems like there wasn’t even room to try.

As AAA games reach budgets of hundreds of millions, sales requirements are becoming close to impossible for all but the biggest-name franchises. Dead Space, while once well-known and well-regarded, had been left untouched for a decade before the remake, and clearly didn’t perform to EA’s expectations last year—as such, any hopes that internal studio EA Motive would continue to remake the series went out the window. But what if the game’s original executive producer, creative director and animation director all rocked up, and said they had the best ideas for making a brand new one?

“We’re not interested right now, we appreciate it, blah blah blah,” Schofield said of EA’s response. All three looking dejected, they made clear how hopeless it had proven to be.

“We respected their opinion,” continued Schofield, with resigned acceptance. “They know their numbers and what they have to ship.”

“The industry’s in a weird place right now,” interjected Christopher Stone. “People are really hesitant to take chances on things.”

But both Stone and Schofield made it clear how much they want to make a Dead Space 4. “We got some ideas!” said Schofield, coming to life in the moment.

Original creative director Bret Robbins did, admittedly, sit very quietly throughout this part of the discussion. His development studio, Ascendant Studios, has had its own rough time with EA and sales more recently. 2023's $100-million flop, Immortals of Aveum, saw half the studio laid off, and then the remaining company reportedly furloughed, before merging forces with Dan Houser’s Absurd Ventures for an unannounced project in September. He’s clearly very busy, and likely not about to jump ship, even if EA had bitten.

Dead Space creator Glen Schofield went on to co-found Sledgehammer Games and developed many Call of Duty entries, before forming Striking Distance in 2019 which released...another game that failed to meet sales expectations, The Callisto Protocol. Since then, Schofield appears to have been working freelance.

Stone joined VOID Interactive a few months back, the team which released last year’s Ready or Not, a game Kotaku described as “effective enough to disturb but too shallow not to descend into farce, or worse, Blue Lives Matter cosplay with fascist overtones and alt-right dog whistles.” He is, however, working with the team on “new projects.”

Dead Space, meanwhile, is exercising nominative determinism. It doesn’t seem likely we’ll see any more games in the franchise for a good while, unless of course it’s people making excellent demakes. And the ongoing story of “didn’t meet sales expectations” looks likely to spread into 2025

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Frostpunk developer 11 Bit Studios has laid off an unknown number of staff following the cancellation of its console game codenamed Project 8.

Project 8 kicked off in 2018 and at least 37 people were working on it by the end of September 2024. The studio has invested "more than" 48.4m PLN in the game over that time, the equivalent of around £9.4m or $11.8m.

However, the studio said in a statement that although it achieved "noticeable quality improvements in certain areas", "several critical aspects of the game and its development process remained problematic despite multiple iterations". This caused delays, and "with each milestone", the project's budget grew.

The decision to shut it down finally came after 11 Bit reviewed Project 8's progress and found "unresolved issues and challenges that would require further extensions of the production timeline and corresponding budget increases to address. This, coupled with revised sales forecasts, largely reflecting the changing market environment, raised significant doubts about the project’s overall profitability".

This meant management lost confidence in the project and its "quality level", resulting in the termination.

"Our vision for Project 8, which was intended to be our first title designed specifically for console gamers, was bold and exciting," said Przemysław Marszał, president of the management board of 11 Bit studios. "However, it was conceived under very different market conditions, when narrative-driven, story-rich games held stronger appeal.

"With Project 8, we experienced both breakthroughs and setbacks. During the COVID-19 pandemic, stabilising the development team proved particularly difficult, yet progress continued. While we achieved noticeable quality improvements in certain areas, several critical aspects of the game and its development process remained problematic despite multiple iterations. Over time, delays accumulated, and with each milestone, the project's budget grew."

Although "more than half" of the current Project 8 team have been reassigned to other internal projects, Project 8's closure would result in a "reduction of staff involved in its development" with those impacted receiving unspecified severance packages and "psychological counselling and assistance in finding new employment".

The studio said it was still commitment to "several key projects", including Frostpunk 2 and The Alters.

The number of game developers impacted by job losses in 2024 alone now stands at around 14,600 people.

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EA has announced that Star Wars Battlefront II: Celebration Edition is free on Xbox, but only for a limited time. That's right, those with a Game Pass Ultimate or an EA Play subscription can now bag a free copy of the Xbox shooter and start working their way through the Star Wars Battlefront II achievements.

Star Wars Battlefront II: Celebration Edition free for Game Pass Ultimate and EA Play members

Star Wars Battlefront II: Celebration Edition includes all currently available cosmetics, emotes, voice lines, and victory poses in the game.

Star Wars Battlefront II: Celebration Edition is free for one day only Platforms: Xbox Series X|S, Xbox One

The EA Play Holiday Countdown is in full swing and has already brought us one freebie in the form of Battlefield 1 and all its DLC. Now, for one day only, Game Pass Ultimate and EA Play members can claim a free copy of the excellent Star Wars Battlefront II: Celebration Edition. from the Xbox store. Much like the Battlefield 1 freebie, Star Wars Battlefront II: Celebration Edition should appear as a 'Just for You' deal.

Star Wars Battlefront II: Celebration Edition now free with Game Pass Ultimate video The Celebration Edition of Star Wars Battlefront II includes the base game and automatically unlocks over 350 cosmetics and customization options currently available in the game. While it doesn't include any extra premium content, this version essentially eliminates all the grinding to unlock things such as skins and emotes. It's a nice time saver, especially for free.

While Star Wars Battlefront II is known primarily for its multiplayer with maps and characters that span all three Star Wars eras, it does have a short but decent single-player campaign that will fully immerse you in the Star Wars universe. It's absolutely worth checking out if you haven't done so already.

As for the Star Wars Battlefront II achievements, you'll need between 60 and 80 hours to earn the game's full 1,045 Gamerscore. A fair chunk of that Gamerscore can be earned by completing the single-player campaign, but the majority comes from the game's multiplayer.

Will you be claiming a free copy of Star Wars Battlefront II: Celebration Edition? Let us know down in the comments. If you missed it, Game Pass Ultimate members can also claim a $70 bundle for a free Xbox game with Game Pass Ultimate Perks.

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GSC Game World has released the first major patch for Stalker 2: Heart of Chornobyl, which addresses over 1800 issues and fixes to the game's A-Life.

Read more...

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Death Stranding has been a clear hit.

We've heard a lot this year about Xbox games jumping over to PlayStation, but we've also seen a fair few ex-PlayStation exclusives arriving on Xbox as well - two particularly notable examples being Death Stranding and Genshin Impact.

And, according to Windows Central, this trend is set to continue in 2025. The outlet is stating today that as per its sources, we'll be seeing "even more" former PlayStation exclusives launch on Xbox next year:

Read the full article on purexbox.com

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Sony has increased its shares in FromSoftware owner Kadokawa as the two companies agree to form a "strategic capital and business alliance".

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submitted 1 month ago by AlexanderTheGreat to c/xbox
 
 

No, your ears were not deceiving you. That was definitely Geralt voice actor Doug Cockle popping up at the end of the Witcher 4's reveal trailer last night, and yes, the white-haired monster hunter will absolutely feature in some way in the upcoming game.

How did she drink a witcher potion doe???

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Astro Bot has won Game of the Year at The Game Awards 2024.

Beating off competition from other wonderful games like Balatro, Black Myth: Wukong, and Elden Ring's The Shadow of the Erdtree DLC, Team Asobi swept up the top prize, along with awards for best game direction, best action/adventure game, and best family game.

LocalThunk's stellar Balatro also secured several awards, including best mobile game, best debut indie game, and best independent game.

The full list of winners is as follows:

Game of the Year: Astro Bot (Team Asobi/SIE)

Best Game Direction: Astro Bot (Team Asobi/SIE)

Best Narrative: Metaphor: ReFantanzio (Studio Zero/Atlus/Sega)

Best Art Direction: Metaphor: ReFantazio (Studio Zero/Atlus/Sega)

Best Score and Music: Final Fantasy 7 Rebirth (Square Enix)

Best Audio Design: Senua's Saga: Hellblade 2 (Ninja Theory/Xbox Game Studios)

Best Performance: Melina Juergens, Senua’s Saga: Hellblade 2

Innovation in Accessibility: Prince of Persia: The Lost Crown (Ubisoft)

Games for Impact: Neva (Nomada Studio/Devolver)

Best Ongoing Game: Helldivers 2 (Arrowhead Game Studios/SIE)

Best Community Support: Baldur’s Gate 3 (Larian Studios)

Best Independent Game: Balatro (LocalThunk)

Best Debut Indie Game: Balatro (LocalThunk)

Best Mobile Game: Balatro (LocalThunk)

Best VR/AR Game: Batman: Arkham Shadow (Camouflaj/Oculus Studios)

Best Action Game: Black Myth: Wukong (Game Science)

Best Action/Adventure Game: Astro Bot (Team Asobi/SIE)

Best RPG: Metaphor: ReFantazio (Studio Zero/Atlus/Sega)

Best Fighting Game: Tekken 8 (Bandai Namco)

Best Family Game: Astro Bot (Team Asobi/SIE)

Best Sim/Strategy Game: Frostpunk 2 (11 Bit Studios)

Best Sports/Racing Game: EA Sports FC 25 (EA Sports)

Best Multiplayer Game: Helldivers 2 (Arrowhead Game Studios/SIE)

Best Adaptation: Fallout (Bethesda/Kilter Films/Amazon MGM Studios)

Most Anticipated Game: Grand Theft Auto 6 (Rockstar Games)

Content Creator of the Year: CaseOh

Best Esports Game: League of Legends (Riot Games)

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Sony has confirmed its interest in aquiring FromSoftware parent company Kadokawa.

The PlayStation manufacturer cleared the air regarding reports that it was looking to pick up the gaming and anime mega company in a recent interview with Yahoo Japan. It’s acknowledgement of what could be a bombshell moment for entertainment fans everywhere, but until a deal is finalized, it is probably best to keep expectations for a potential buyout at a minimum.

“It is true that we have made an initial statement of intent,” Sony said regarding its interest in Kadokawa (translated via DeepL). “We would appreciate it if you would allow us to refrain from further comment.”

Rumors that Sony may soon acquire Kadokawa first emerged from a Reuters report last month. It stated that talks between the two companies were ongoing, with one of its sources adding that, should negotiations proceed in a positive direction, a deal could be signed soon. Today’s confirmation from Sony suggests that talks remain active, though it’s unclear where things sit now.

Kadokawa oversees a number of entities that could no doubt benefit Sony in the long run. One that many gaming fans have their eye on is FromSoftware, which helped launch gaming into the 2010s with its critically acclaimed Dark Souls series. The developer also found tremendous success with 2022’s George R. R. Martin collaboration project, Elden Ring, with its follow-up DLC, Shadow of the Erdtree, launching earlier this year. Kadokawa also owns other gaming studios such as Spike Chunsoft (Danganronpa), Acquire (Octopath Traveler), Gotcha Gotcha Games (RPG Maker), and more.

While some experts believe that bringing the media company under Sony’s wing may prove to be difficult, Ampere Analysis research director Piers Harding-Rolls previously explained to IGN that news of the company’s interest shouldn’t come as much of a surprise. It already owns about 14% of FromSoftware thanks to a deal made in 2022.

“At the time, Sony mentioned a broader interest in cross-media development of anime and games IP to support its other media businesses,” Harding-Rolls said. “So, in that sense any deal for the parent company Kadokawa, which also operates extensively in manga and anime, is a natural extension of this earlier deal. These other areas align nicely with Sony’s anime businesses.”

There’s no telling when or if the deal will proceed for now. While we wait for any updates, you can read about why FromSoftware isn’t currently interested in making Elden Ring 2. You can also learn about the ransomware attack that hit the game developer earlier this year.

It'll be interesting to see how this plays out.

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Rocksteady is pulling the plug on new content for Suicide Squad: Kill the Justice League after Season 4, with the developer announcing its plans to end support for the troubled online game in January 2025.

Rocksteady revealed the news in an official blog detailing Suicide Squad's final season, which will include the release of an offline mode and a new playable character in Deathstroke. While Rocksteady doesn't plan to release any new content, Suicide Squad's story will remain playable via offline mode and it will be possible to play co-op with friends. Previous seasonal content will also continue to be available.

Elsewhere, Rocksteady said Suicide Squad will remain available for purchase and that its in-game store will continue to function after Season 4 along with its in-game LutherCoin currency. Rocksteady didn't indicate how long it plans to keep Suicide Squad online after it finishes releasing new content.

A difficult release for Suicide Squad Suicide Squad Season 4 will mark the end of what has been a fraught release for Rocksteady. It struggled with mixed reviews when it came out back in February and never really recovered its momentum. We wrote in at the time, "Suicide Squad: Kill the Justice League is a thoroughly frustrating game to play. There are things to enjoy here, with combat that’s snappy enough to carry it through a genuinely good DC comics story artfully dressed in high production values. But everything else just falls down around it."

Suicide Squad ended up struggling on the sales front, spurring a double-digit decline in revenue for Warner Bros. gaming. It joins several other online games that have struggled in 2024, including Concord and XDefiant.

Suicide Squad's final season will begin with the release of Episode 7 on December 10 and will conclude with the release of Episode 8 next month. For more, check out our full explanation of Suicide Squad: Kill the Justice League's endgame.

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CD Projekt Red has released a new update for Cyberpunk 2077, and like previous patches, this one makes some significant changes to several features in the game. Focused on player expression through cars, photography, and character customization, Update 2.2--which has been developed alongside French support studio Virtuos--is now available for PC, PS5, and Xbox Series X|S versions of the game.

Full Patch Notes

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Outriders developer People Can Fly has announced its second round of layoffs in less than a year, this time affecting "more than 120" people. The move accompanies the cancellation or downsizing of several projects, with the studio blaming "external market pressures".

Shame, I actually enjoyed that game.

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Launches January 29, 2025

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submitted 1 month ago* (last edited 1 month ago) by AlexanderTheGreat to c/xbox
 
 

Pretty hilarious and depressing all at the same time.

In 2024, there has rarely been a game announced without a small but tiresomely vocal group of grifters attempting to whip up a controversy for their social media followers. No matter what the title, and no matter who the developer, every announcement is meticulously scrutinized for any faint sign of a thoughtcrime, an element that could be construed by these charlatans as proof of “wokeness,” something they can decry as “a DEI initiative,” and then this speculative notion is spun out to followers as the latest attempt to TAKE AWAY YOUR GAMES! The latest target is Avowed, but in picking on it, those running the grift have rather shown their hand.

Like any online scam of any note, it’s so brazen that it’s only more depressing that it works so well. As much as it might infuriate you that someone you know would fall for a cold caller telling them they need to send gift certificates to fix an issue with their Windows operating system, it should equally upset you that these legions of people fall for the same woke gaming grift over and over and over. But with Avowed, the forthcoming Obsidian role-playing game set in the world of Pillars of Eternity, the con is so brazenly laid bare. Yes of course it still works, but it’s so much easier to see how.

The schtick works like this: A game is announced, and because it’s 2024, that game may not exclusively focus on a white dude saving the world for the lady in a bikini, (or a sexy lady playing dress-up in various bikinis while saving the world). I mean, some still do, but this is an industry that creates games that feature a broad range of characters. The grifters recognize this as a useful target for their grift, making claims that the game is artificially altered from what should have been, based on a desire to be perceived as progressive. They then use this to convince large numbers of disaffected young men that the world is trying to take away from them their last vestige of entertainment, the only place left where they feel represented and prioritized. The only hope is to rise up and fight, fight for what’s rightfully theirs—and if they like, give some money to the grifter for a project that never sees daylight.

Except, with Avowed, those behind the grift forgot to include a couple of vital stages. They forgot to develop the spurious claims on which to condemn the project, failing to identify something that had been artificially included or an element that had been censored in the name of wokeness. And in doing so, they made incredibly clear what it is that’s really at the bottom of all of this: bigotry.

Around the time of Gamescom this year, the usual people started loudly condemning Avowed as the next piece of woke mind virus-addled DEI. Why? What sin had it committed? Had a mission leaked in which you’re forced to help a gay polycule adopt a cat-identifying trans child at an abortion clinic? Nope, it was this image:

See it? See the intolerable act of evil? No? Goodness me, don’t tell me the woke mind virus has got to you, too!

There’s no white man. That’s right, this violently racist piece of marketing includes a black woman, a white elf-like woman, a blue man, and an ambiguous-race dwarf. How more clearly could the developer be saying that it wants this game to be exclusively played during drag queen story hour at your local library?

Honestly, to even notice the fact feels kinda weird. I’m a white guy living in a country that’s 90 percent white, in an area of the country that’s 95 percent white, and as such, I’m fairly used to seeing people who look like me everywhere I go. But the thought didn’t cross my inherently racist mind. I’m the last person who can deliver that ghastly, “I don’t even SEE race!” bullshit people like to say instead of thinking. Yet, I saw…some people. People in a fantasy world. Fantasy game people. I’ll give them this, though: I noticed one of them had blue skin. That stood out. Fucking typical DEI inclusion initiative. If I see a blue person flying a plane, I’m getting off there and then! Etc.

And in this, in this alone, the entire scam was shown for what it really is: just unabashed racism, homophobia, and misogyny.

That’s it. It’s so boring, but it’s all it is. Racism, homophobia, and misogyny are profitable, so they’re the focus. But don’t worry, they’ll prove how not-racist they are by pointing to their furious ongoing (although mostly forgotten) campaign against Ubisoft for including a black man in an Assassin’s Creed game set in Japan.

That first Avowed fuss came and went in the summer, the game permanently marked to be condemned. When I wrote about my excellent hour with the game on Kotaku in August, the replies on X were bilious complaints about how the game was going to promote a woke agenda. Based on, you know, that picture. And then everyone forgot they were so outraged about that, and moved on to the next topic.

But oh boy, what bigger gift could the grifters have received when November’s Avowed previews came around? Because, when a bunch of journalists (boo! hiss!) were given access to the opening few hours of the game, it was revealed that the game’s character creator had the option for “they/them” pronouns. SOUND THE KLAXONS!

I was one of those SJW lamestream media “journalists.” I spent six hours playing the game and had an absolutely brilliant time with it, and that’s despite there not being a single mission in which I had to paint rainbow flags on the walls of a church, nor any plotline in which I helped a blur-haired immigrant gain access to free healthcare. Instead, I was…I was fighting spiders and shit.

Because this is the third game set in the Pillars of Eternity canon, which is a world primarily focused on matters of the misuse of dark magic and the questionable nature of its deities. Avowed is a game about a disease called the Dreamscourge causing people to grow mushrooms all over their bodies and go insane. Your character, who can be the whitest man you ever fucking saw in your life, if you’d like, is an envoy for a wannabe-colonial nation, and you can choose to be as pro- or anti-that as you want with the game’s broad choices of dialogue. As much as I tried, I couldn’t find a single woke thing to do! I even chose boring old “she/her” pronouns in the character creator, because my character was a woman with excellent fungal madness growing out of her face.

But oh boy, are the grifters on fire about Avowed. They saw the previews about how you could hit spiders with swords, and they saw the few that mentioned the pronouns (it didn’t seem particularly exciting to me, so I didn’t think to mention it), and that was it. They were proven right! That earlier picture failing to feature Jeff from accounting was all the evidence they’d needed, and they’d been proven correct to declare the game would cause their DEI detectors to start shrieking. In the last week, they have been sending out absolutely deranged messages about how the game is “doomed” because one of its art directors tweeted something about Elon Musk. “Avowed is in deep trouble,” they post to each other on X, their brows furrowed in concern over the severity of it all.

Because, yes, horrendously, the world’s richest bigot has been posting about Avowed too, condemning its use of pronouns, and deliberately re-interpreting the art director’s mocking sarcasm to be a statement of intent to be “racist” against “white guys.”

It’s the exact same playbook described above, of taking something incredibly minor entirely out of context (the guy is laughing at those who think the game is negative toward white people, given that’s not even vaguely something the game’s about), reframing it as something serious (“It should not be acceptable for any company in the gaming industry to be racist & sexist against ‘white guys’,” wrote Musk), and then acting entirely on that reframed, imaginary version, declaring that the game is already doomed to fail based on this fictional enormity.

Hot off the back of their success in destroying another RPG, Dragon Age: The Veilguard, which utterly flopped thanks to their efforts with a miserable million sales in its first two weeks, they refer back to that extraordinary win as proof that Avowed is doomed to the same terrible fate. “We’re winning,” they endlessly message their gullible followers, and then that’s true too.

It’s just boring racism, homophobia, and misogyny, folks. That’s it. That’s the entire grift. You play to the venal nature of the disaffected, you feed latent bigotry and resentment, and you drop in a way to give you money. Cha-ching. But a quiet “cha-ching,” because it’s only so effective, such that you have to exhaustingly maintain the loop until eventually someone with a louder voice usurps you.

Avowed reveals this for what it truly is. The game hasn’t “replaced” anyone with a minority-representing character, it hasn’t changed the length of a schoolgirl’s dress, it hasn’t removed a reference to something unpleasant that got through in a version from the 1990s. None of the usual massive crimes. It just had a picture of some people, an entirely ignorable tickbox on the character creator screen, and a sarcastic art director who thinks toolbag Elon Musk is a toolbag. But they’re going after it too, because, more than anything else, it hasn’t made any special effort to center a straight, white man in its marketing. Because, when it’s all stripped away, that’s all this is about. Pure bigotry.

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Ubisoft’s share price skyrocketed today amid intensifying rumors that Chinese megacorp Tencent is engaged in buyout talks.

The company behind Assassin’s Creed, Far Cry, and Rainbow Six Siege has suffered a torrid year, with multiple studio closures, mass layoffs, and game shutdowns. The company’s next big game, Assassin’s Creed Shadows, was delayed into 2025, and Star Wars Outlaws failed to meet sales expectations.

According to Reuters, Ubisoft shareholders are “considering” how to structure a possible buyout of the French company without reducing the founding Guillemot family’s control. The Guillemot family is the largest shareholder in Ubisoft and is reportedly in talks with Tencent and “other investors” as it seeks funding a management buyout. Tencent is the second-largest shareholder in Ubisoft with 10% and, according to Reuters, has yet to decide whether to fund the buyout.

Reuters said Tencent’s indecision is “partly because it has asked for a greater say on future board decisions including cash flow distribution in return for financing the deal.” Apparently the Guillemot family has yet to agree to those terms, but Tencent is willing to wait for them to come around.

Tencent declined to comment when contacted by Reuters, with a Guillemot family rep failing to respond. But a Ubisoft spokesperson did comment, saying: "We remain committed to making decisions in the best interests of all of our stakeholders. In this context, as we have already indicated, the Company is also reviewing all its strategic options."

Ubisoft’s shares fell to their lowest level in the last decade in September after it made a series of dramatic announcements around the performance of its games. As well as delaying Assassin’s Creed Shadows, Ubisoft announced a return to Steam after a period of PC launch exclusivity on the Epic Games Store, with Star Wars Outlaws recently releasing on Valve’s platform.

This latest news comes hot on the heels of Ubisoft's announcement that it plans to shut down Call of Duty competitor XDefiant and its production studios in San Francisco and Osaka while ramping down its site in Sydney, with up to 277 employees losing their jobs. Roughly half of the XDefiant team will be assigned roles elsewhere.

Shares in Ubisoft are up 12.52% today, December 6, following the Tencent buyout reports.

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It’s been over 30 years since I wore out my VHS copy of Indiana Jones and the Last Crusade. Since then the film franchise has been in a state of escalation. Where do you go after uncovering the literal Holy Grail? Aliens, then time machines, apparently. Indiana Jones and the Great Circle is the perfect antidote to all of this; one that uses its own figurative Dial of Destiny to propel us back in time to Indy’s prime. The result is easily one of the best Indy stories across both the games and the movies, with painstakingly detailed environments, wonderfully atmospheric tomb raiding and puzzle solving, a pitch-perfect score, and quite possibly the greatest punch sound effect in the business. While it does stumble occasionally as a stealth-focused sneak ’em up, The Great Circle is an otherwise grand and gorgeous globe-trotting adventure that left me giddy as a schoolboy. Yes, it’s true that bringing Indiana Jones back to the big screen (twice) after he literally rode off into the sunset was probably a poor choice. But having MachineGames craft an Indy experience inspired by all the best games in that development team’s past?

Bethesda chose wisely.

MachineGames’ most immediate legacy is the modern Wolfenstein series, and there’s certainly some of that on show in The Great Circle. Like The New Order and its excellent prequel and sequel, The Great Circle is first-person and highly story-driven, and I’d wager if there’s anyone who hates Nazis as much as Indy, it’s the Gestapo-gutting, SS-slaying BJ Blazkowicz. The Great Circle is not, however, a bloodthirsty exercise in double-fisted, lead-flinging fury. Unlike Wolfenstein, The Great Circle’s focus is patient and slower-paced exploration and stealth – where guns are rarely (and barely) a viable option.

That said, with the founding members of MachineGames all hailing from fellow Swedish studio Starbreeze, MachineGames’ DNA admittedly runs much deeper than Wolfenstein. For many of the team, it dates back to 2004’s outstanding and highly acclaimed The Chronicles of Riddick: Escape from Butcher Bay. Riddick’s first-person fisticuffs and adventure elements appear to have been a huge inspiration on The Great Circle, and it’s refreshing to be playing a game like Butcher Bay again – particularly when it’s done with this much verve and commitment to a storied franchise.

For clarity, I doubt anybody would’ve been shocked to see an Indiana Jones game in 2024 arrive as a clone of the blockbuster Uncharted series. It certainly wouldn’t have been unprecedented. After all, both 1999’s Indiana Jones and the Infernal Machine and 2003’s Indiana Jones and the Emperor’s Tomb both followed a fairly strict Tomb Raider template. Pivoting to pay tribute to the man who usurped Lara as the premier grave-robbing vagabond of modern video games would hardly have been surprising – particularly as games today have become increasingly homogenised overall.

The Great Circle isn’t an Uncharted clone, and it’s all the better for it. But The Great Circle isn’t an Uncharted clone, and it’s all the better for it. It’s an Indiana Jones game I didn’t even know I wanted, and sometimes that’s the best surprise. I like highly cinematic, quality third-person shooters as much as the next man, but not every game needs to be one. And besides, you can do a lot worse than taking notes from Butcher Bay – another licensed tie-in with the extremely rare distinction of being even better than the film upon which it was based.

Genius of the Restoration The first-person perspective blesses The Great Circle with a fantastic sense of scale. Looking up in awe of the Great Pyramid – or staring out at a giant Nazi battleship perched atop a mountain in the Himalayas – simply has a more pronounced effect at eye-level. It also does wonders for immediacy, with puzzle solving in particular benefitting greatly. Picking up and poring over documents and clues, directly manipulating and placing objects, and watching the results unfold in front of your eyes makes it feel like you’re personally inside some of the world’s most expensive escape rooms. Puzzles come regularly, and they’re mostly light lifting, but I’ve encountered at least a couple of slightly curlier ones that left me smugly satisfied that I wasn’t stumped. If you do hit a roadblock, there’s a baked-in hint system that will only interject if you take an extra photo of the offending puzzle with your in-game camera. It’s a smart and courteous way of offering aid only when asked that will keep players off their phones and in the game.

On top of this, it’s really the best showcase for the incredible amount of granular detail MachineGames has stuffed into seemingly every surface in The Great Circle. From streak marks on freshly wiped glass to the slow trickle of wax from a candle lighting your way down an ancient stairwell, these are things that wouldn’t be noticed from any other viewpoint. Are they entirely necessary to make The Great Circle a great game? Maybe not, but they do paint a picture of a project where no flourish is too small if they make the world look and feel even a fraction more authentic.

After beginning with a short flashback to Raiders of the Lost Ark as a tutorial – one that might’ve been a tad indulgent had it not been so utterly well done – The Great Circle’s second level is a wonderful (and equally nostalgic) trip through Connecticut’s Marshall College. It’s a magnificent rendition and draped in layers upon layers of bespoke details that distracted me constantly on my way to the objective. Busts and other paraphernalia related to the history of the school. Cabinets full of exotic items. Notice boards cluttered with handmade signs. If you’d shown this version of Indy’s famous school to the eight-year-old version of me who cut his teeth aimlessly point-and-clicking his way around Marshall College in 1989’s Indiana Jones and the Last Crusade: The Graphic Adventure, I might have had you burnt at the stake. Or at least lowered into a sacrificial lava pit without a heart.

The eye-catching environments keep coming: The ornate Italian architecture and crusty catacombs of Vatican City; An ancient town and multiple Nazi dig sites in the shadow of the Egyptian pyramids and the Great Sphinx; Sukhothai’s winding waterways and flooded temples, which are being reclaimed by the jungle. It’s all excellent stuff, and bolstered by exemplary ray-traced lighting to boot. I love the huge contrasts between the levels, and “the great circle” as a fanciful archaeological concept is an admirably effective premise to justify Indy hopping all over the globe during a single story.

David Shaughnessy's unerring version of Marcus Brody may go criminally unnoticed in Baker’s shadow. The strength of that story here is one of The Great Circle’s true assets, and it’s been brought to life with some very impressive performances. For the most part, Troy Baker’s Harrison Ford impersonation is close to spot-on, and Baker’s otherwise distinct voice disappears in the role. Credit too must go to voice actor David Shaughnessy, whose unerring version of Denholm Elliot’s Marcus Brody may go criminally unnoticed in Baker’s shadow. This could have very much felt like a gimmick considering Elliot passed away back in 1992, but Brody’s small role feels meaningful and respectful, and not like a stunt. Marios Gavrilis also kills it as the slimy and sinister Nazi archaeologist Emmerich Voss; he spits his dialogue with such venom I imagine his microphone may have required a tiny umbrella. Most of the meaningful conversations occur in well-directed cutscenes, which are on par with those in modern Wolfenstein, albeit punctuated with an appropriate amount of slightly slapstick Indiana Jones humour when the fists start flying. There are basically two movies worth of cutscenes here, but it never felt like too much. This is Indy in his prime, and I’m on board for every extra minute of it.

As a rule, the Indiana Jones series is always at its best when it involves a desperate race to track down an artifact before the Nazis can nab it for what they believe will be an unbeatable, world-conquering advantage. Those movies were video game fetch quests before video game fetch quests, and The Great Circle naturally embraces it, immediately beginning on the right foot by setting its action in 1937 – directly between the events of Raiders and The Last Crusade, as the world simmers towards the Second World War.

It’s honestly quite remarkable how convincingly The Great Circle fits into the hole between those two impeccable films, successfully exploiting the odd chronology of the original Indy trilogy. That goes far beyond just providing a little extra context on Indy’s separation from Marion Ravenwood, too. In fact, one of the greatest compliments I can pay The Great Circle is that it may well be the best Indiana Jones movie you’ve never seen. The music, too, is a victory on all fronts, and I love how in sync it feels with Raiders and The Last Crusade. I was especially thrilled to see The Great Circle crescendo to a showdown that follows tightly in the footsteps of both of those films – yet still managed to knock me out with a brilliantly unexpected twist.

Aid our own resuscitation On the topic of knockouts, combat in The Great Circle is satisfyingly brutal without being gratuitously violent, which is in keeping with its family-friendly, swashbuckling adventure serial roots. I love the deeply impressive sound design, which makes every strike sound like a golf club being slammed into a huge bunch of celery, and I love how visceral the fighting is in first-person. You block and parry blows with the correct timing, and deliver quick jabs and loaded up power punches. On top of that, Indy’s bullwhip can be used to quickly disarm enemies, and stun them long enough to either wade in and whack them or scoop up their dropped weapon and bludgeon them with it.

I enjoy how Butcher Bay-adjacent the fighting is but I’m a little unconvinced by the stamina system that rules over it, which depletes as Indy exerts himself climbing, sprinting, and throwing hands. It just creates pauses throughout the action where you’ll be compelled to wait for a beat, or jog backwards as a gaggle of goose-stepping morons march towards you with their dukes up. I can’t really detect what it adds other than something to be arbitrarily upgraded to the point where it’s no longer an inconvenience.

Combat escalates with your actions so, if you do grab a gun and start blasting, expect all armed enemies in your vicinity to respond with hot lead of their own. Indy can’t survive this kind of barrage so, for the most part, the best thing to do is forget the firearms. This does, admittedly, create a bit of silliness if you stir up a large enemy response and park yourself anywhere your attackers need to climb to reach. You can, for instance, stand at the top of a ladder and clobber the crap out of everyone who climbs it for some time, and no one will figure out that they have guns and can simply shoot at you (on regular difficulty, at least). But you’d be colouring outside the lines here, playing like this. Indy doesn’t mind leaving bodies in his wake when necessary, but he’s not some moustache-twirling mass murderer. You can always fire up Wolfenstein if you need to get some of that out of your system.

Indy doesn’t mind leaving bodies in his wake, but he’s not some mass murderer.

On the topic of guns, though, Indy’s personal revolver is sadly a big disappointment. I used it all of twice, but both were still total anticlimaxes. The first was an early boss battle where Indy’s pistol really should’ve been written out of the fight before the showdown began. After placing several bullets into a man’s unarmored head, it became clear that shooting this bloke wasn’t the way MachineGames intended me to clear this encounter. The second was late in the story, where I thought, ‘There’s no point rolling credits with revolver rounds in the cylinder!’ and figured I’d quickly plug two Nazis that suddenly appeared ahead of me in an open elevator. They simply took too many shots to go down. It seems like a weird fumble, when the scene of Indy actually using his pistol and taking out the Raiders swordsman in a single shot is one of the most memorable moments in the whole film franchise. Revolver rounds should absolutely remain exceedingly rare, but the pistol itself really should have shipped with the consistent stopping power of its cinematic counterpart.

It also rarely feels logical that high-ranking enemies within the levels can automatically see through disguises, particularly in Vatican City. It is a mechanic I’m accustomed to thanks to the likes of Hitman, which I’ll be clear is another game I love, but it’s definitely a little sillier here. It really is total nonsense that a random Italian officer would physically attack a stranger who is, for all intents and purposes, a visiting priest.

This is only a mild annoyance though and, to be fair, The Great Circle actually has a very smart approach to difficulty overall. There’s a lot more fiddling you can do than just adjust a single setting from easy to very hard. Enemy attributes are split into several categories, meaning you can tweak it so that there are tougher enemies, but fewer of them. Maybe you want to pump up their awareness, but make them weaker than wet newspapers. (This is something I think I may try for a second run.) It’s good that these options are here because, on regular difficulty, the stealth is quite basic; enemies have pretty limited vision and they’re easier to sneak past than I first assumed. I definitely became progressively less cautious once I realised I could sneak across seemingly dangerously open places as long as I did it fast enough.

That said, The Great Circle does allow us to return to previously visited locations to complete all the extra side missions, even after the main adventure is complete, so I may focus on that instead of starting over. I suspect I have many more hours of auxiliary objectives to keep me busy; I only got around to ticking off a handful of them on my first run through the story, which took me about 17 hours.

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