Bully, Rockstar's enjoyable schoolboy adventure game, is now available as part of the GTA+ subscription on PlayStation, Xbox and "soon" on compatible iPhone and Android devices.

Rockstar announced that Bully would be coming to GTA+ earlier this year, back in April. We've been waiting for word on exactly when ever since.

It's great to have an easier way to play Bully again - though Rockstar describes the GTA+ catalogue as "rotating", so it's unclear how long it'll stick around. Also on GTA+? LA Noire, Red Dead Redemption, and Grand Theft Auto: The Trilogy - The Definitive Edition.

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Paradox Interactive's streak of game delays continues with the news its Chinese-Room-developed Vampire: The Masquerade - Bloodlines 2 is now targeting a release in the "first half of 2025", rather than its previously announced "late 2024" window.

In a post on its website, Paradox called the delay a "proactive decision" derived from its commitment earlier this year to deliver "high-quality games" to its players. "Though [Bloodlines 2] is in a good enough place that we could have maintained our planned release window," it wrote, "Paradox and The Chinese Room collaboratively decided to prioritise polish."

Paradox says the delay will "create a quality assurance buffer, giving more time between testing and launch, ensuring we release the game when it's ready." More specifically, The Chinese Room will use the time to expand Bloodlines 2's story, providing twice as many endings as its predecessor, and to "adjust certain areas" such as Fabien - the voice in its protagonist's head.

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Nintendo's 135-year history will soon be brought to life inside the walls of a new purpose-built Nintendo Museum in Kyoto, Japan - and ahead of its opening on 2nd October, legendary designer Shigeru Miyamoto has revealed some of its intriguing exhibits in a new video tour.

The Nintendo Museum has been built on the site of the factory where Nintendo originally made its Hanafuda cards, and which was later used for quality checks during the Famicom era. That building and its unremarkable carpark are no longer standing, however, now replaced by a shiny two-floor monument to Nintendo's history and a Mario-themed plaza.

Miyamoto's 13-minute tour begins on the second floor of the museum, where several huge curved glass displays - containing many of the products Nintendo has released since its founding in 1889 - can be found. This whole area is intended to chart the evolution of Nintendo's approach to entertainment, from its earlier non-video game products - including copy machines, baby strollers, RC cars, and pitching machines - into more familiar territory, beginning with 1977's early video game forays, the Color TV-Game 6 and Color TV-Game 15.

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Sega's Eternal Champions is the next video game franchise to get a silver-screen adaptation.

Whilst it's hardly surprising that filmmakers are still rooting through video game catalogues for ideas, I can't say I had Sega's 1993 fighting game on my bingo card for the next series to be getting an adaptation.

However, according to Hollywood Reporter, that's exactly what's happening, with Jurassic World trilogy writer Derek Connolly set to write the live-action screenplay.

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Kaitlyn Dever, the actress portraying Abby Anderson in the second season of HBO's The Last of Us adaptation, required extra security during filming for her own protection.

This comes from fellow castmate Isabel Merced, who is playing Dina in the show. Speaking with Josh Horowitz on Happy Sad Confused, Merced discussed the strong emotions the series can spark within some that have resulted in volatile reactions from so-called fans.

When Horowitz said he was concerned about Dever, and the toxicity she will likely receive "through proxy of being Abby", Merced stated there are "so many strange people" who "genuinely hate" the character. This is despite her being completely fictional. And, because of this, Dever was required to have extra security during the filming for the second season.

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Axel might’ve began his journey on the villains side in the Kingdom Hearts series, but he is the poster child for starting wrong yet still finishing strong. Despite serving Organization XIII and antagonizing Sora and his party for much of the series, he experienced a change of heart (which is hard to do when you are a Heartless) and chose to serve as an ally to those he once persecuted going forward. While his past left much to be desired, he was meant to wield a Keyblade of his own all along… and Axel’s redemptive journey gives hope to all who have “lost heart” due to the sins of their past.

If you are anything like me, it can be difficult to forget our “unworthy” past and serve the Lord in the presence of those who knew what we once were… but our redemption is meant to give hope to those who share a challenging backstory like ours and are searching for more than just forgiveness and absolution. We aren’t meant to simply embrace His grace and sit on the sidelines… we were given a fresh start as well as a Keyblade of our own so we can push back against the same darkness that once oppressed us and set our fellow Heartless free.

He has delivered us from the power of darkness and conveyed us into the kingdom of the Son of His love, in whom we have redemption through His blood, the forgiveness of sins. Colossians 1:13-14

And you, who once were alienated and enemies in your mind by wicked works, yet now He has reconciled in the body of His flesh through death, to present you holy, and blameless, and above reproach in His sight. Colossians 1:21-22

“There was a certain creditor who had two debtors. One owed five hundred denarii, and the other fifty. And when they had nothing with which to repay, he freely forgave them both. Tell Me, therefore, which of them will love him more?” Simon answered and said, “I suppose the one whom he forgave more.” And He said to him, “You have rightly judged.” Therefore I say to you, her sins, which are many, are forgiven, for she loved much. But to whom little is forgiven, the same loves little.” Luke 7:41-43, 47

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In a recent live panel discussing the development of Final Fantasy VII Rebirth, director Naoki Hamaguchi revealed that the upcoming and final Final Fantasy VII Remake installment will be “even bigger” than the other two games. “When I think about the third and final game in the Remake trilogy, it really does fill me with excitement, and I have such great expectations toward it as well,” he said. “I really hope the fans can have great expectations toward this game, and we will meet those expectations. We will definitely expand on and make the world of Final Fantasy 7 even bigger than it is now.”

Hamaguchi also noted that work continues on the third installment and expects it to beat expectations and expects it to be one of the most popular games in the history of video games. “The development team is hard at work as we speak, and we’re going to make the game something that even beats any of the expectations that you have towards the game,” he added. “I am absolutely confident that the third game in the Final Fantasy 7 Remake series will be one of the most loved, most popular games in the whole history of video games once again.” Final Fantasy VII Rebirth launched on February 25 and is available now for PlayStation 5.

The game’s details:

Final Fantasy VII Rebirth is the second entry in the Final Fantasy VII remake project, which retells the story of the iconic fantasy game that redefined the RPG genre in three distinct games.

Final Fantasy VII Rebirth picks up with iconic heroes Cloud, Barret, Tifa, Aerith and Red XIII after they escape from the dystopian city Midgar and sees them embark on a journey in pursuit of Sephiroth, the vengeful swordsman from Cloud’s past who was thought to be dead.

In this standalone adventure, players will explore an expansive world, all brought to life with a new level of graphical fidelity, developed specifically to leverage the power of the PlayStation 5 console.

As players unravel a gripping narrative rich with mysteries to uncover, they will also witness the personal journey of each party member and strengthen their bonds to work together and face off against powerful enemies.

Stay tuned at Gaming Instincts via Twitter, YouTube, Instagram, TikTok, and Facebook for more gaming news.

The post The Third Final Fantasy VII Remake Game Will Be “Even Bigger” Than The Rest appeared first on Gaming Instincts - Next-Generation of Video Game Journalism.

Darkest Dungeon II is a turn-based, dungeon crawler, rougelike where you form a party of four and ride a stagecoach into what’s left of the world in an apocalyptic landscape. This game was a good mix of difficult challenges and fun strategy without many bugs, so let’s get into it.

When you first open Darkest Dungeon II, you’re shown a brief disclaimer that basically states that the game is difficult. After that, you get a cutscene that explains the game’s basic story and lore—the world is at its end, and you, a scholar, recruit a band of survivors to help you make a trek up a dangerous mountain to defeat an eldritch monster that resides in the mountain, or die trying.

After this, you hop right into the game. The first thing you do is choose your heroes. There are fourteen heroes from which you select four for your party. You only start with four heroes, but you’ll unlock more as you play.

There are two main parts to the game: the stagecoach and fighting. In the stagecoach, you drive across the land and choose paths to take while running into encounters, fights, and obstacles. The stagecoach is a little difficult to control, as the slightest movement of the joystick will throw the stagecoach from side to side. At the end of each area, you reach an Inn where you can heal your heroes and have them build bonds with each other which will help them out in and out of battle.

It’s during the fights that your choice of heroes matters. They have different stats that make them better or worse at certain things. Movement stats determines their place in the combat order. Each hero can have five moves at a time, and you can unlock more moves that you can change in between battles. The combat can be kind of complicated, but, fortunately, the game has built-in tutorials for every aspect, not just the combat. Besides that, the combat is just downright difficult sometimes. Random number generation can really screw you over in Darkest Dungeon II, so be wary of that.

Outside and within combat, each hero can acquire stress. Stress goes from 0-10. At low levels of stress, not much will happen. At higher levels, however, you’ll start to see some negative banter between the heroes. This will cause your heroes to not like each other as much and cause problems in and out of battle. Once heroes reach stress level 10 there is an 80% chance they will have a meltdown and a 20% chance they will be resolute. Meltdowns debuff the hero and make the other heroes like them less. Becoming resolute does the opposite and heals the hero, buffs them, and makes the other heroes like them more.

Darkest Dungeon II’s graphics are absolutely amazing. The game does an great job of contrasting 2D pictures with 3D models, and it looks beautiful. From the 2D characters and their attacks to the 3D stagecoach and 3D world outside of combat. Everything just fits so well together and is animated together so perfectly. I especially like the gloomy colors used to depict the wasteland of what’s left of the world.

The audio is also very enjoyable. The music isn’t repetitive, and each area is well represented by sound effects. While there isn’t a lot of music, it shifts into different songs after about a six-minute loop. This makes it so fights don’t go stale and are that much more intense and fun.

There was only one bug that I came across in the game and I don’t even know how it happened. While in a fight, the tutorials opened and I was unable to close them no matter what I did. No buttons worked, and it wouldn’t go away until I closed the game and reopened it. Again, I don’t know how it happened, but it’s a highly destructive bug that may cause you to restart a very good play-through.

Darkest Dungeon II is very fun. The graphics and audio are astounding, and the gameplay, while frustrating at times, still makes for a fun and enjoyable experience. When paired with the expertly written story, it makes for a great game. If you like the challenge of rougelites and roguelikes, this game is for you.

The post Review: Darkest Dungeon II (Nintendo Switch) appeared first on Pure Nintendo.

In alignment with the 85th anniversary of the German invasion of Poland, which marked the beginning of the Second World War, a new RPG sourcebook titled “Setting Europe Ablaze: The SOE Sourcebook” is set to be released. This book allows role-playing game enthusiasts to simulate the operations of the Special Operations Executive (SOE), a covert British organization active during WWII.

Developed by military history and RPG author Russell Phillips, the sourcebook provides a flexible, system-neutral framework that caters to various role-playing systems. It focuses on the espionage and sabotage missions carried out by the SOE behind enemy lines, offering players a different perspective on WWII scenarios.

The title of the book, inspired by Winston Churchill’s directive to the SOE to “set Europe ablaze,” highlights the risky and impactful nature of the missions undertaken by SOE agents. These missions ranged from supporting civilian resistance groups to facilitating the escape of Allied servicemen.

Funding for the book’s publication was secured through a successful Kickstarter campaign, which exceeded its financial goal by 272%. Backers of the project gained early access to the sourcebook among other rewards.

The sourcebook “Setting Europe Ablaze” is now available for pre-order on major platforms like Amazon and Waterstones and will be released on DriveThruRPG starting September 1. Further details can be found on the author’s official website.

2K and Firaxis have revealed more information about Sid Meier's Civilization VII at gamescom 2024. After first publishing a teaser trailer at Summer Game Fest 2024, the companies revealed the release date and gameplay details for the new game at the European gaming event.

A new trailer for Civilization VII appeared first during the gamescom 2024 Opening Night Live stream. It showed a quick montage of in-engine footage, including buildings from various civilizations and units from different ages. The main highlight of this trailer was the release date announcement.

The new game will be available on February 11, 2025. While prior entries used to appear first on PCs with consoles like Nintendo Switch getting them later on, this trailer's ending segment hints that Civilization VII will be available simultaneously on not only PCs but also the PS5, PS4, Nintendo Switch, and Xbox platforms.

Soon after that, Firaxis held an official gameplay showcase stream dedicated to the game on the series' official YouTube channel. The new game will have civilizations tied to each of the three different eras, and the leader character the player chooses is no longer tied to their original civilization.

For example, while Hatshepsut is originally related to Egypt, the player can choose to have her lead the Aksum civilization instead in the Antiquity Age. As the game progresses in age, the player will have to choose a different civilization for Hatshepsut to lead, such as Songhai or Mongolia in the Exploration Age, and Buganda in the Modern Age.

2K has also updated the game's Steam page with additional bonus editions that provide both in-game content at launch and post-launch DLC that 2K will release in the future. People who have pre-purchased any edition of the game—including the standard version before release—can get the native American civilization Shawnee and Tecumseh as a playable leader.

Sid Meier's Civilization VII will be available for PC via Steam and Epic Games Store, PlayStation 5, PlayStation 4, Nintendo Switch, Xbox Series X, and Xbox One on February 11, 2025.

The post Civilization VII Release Date and Gameplay Revealed appeared first on Siliconera.

Kingdom Come: Deliverance 2 is all set to immerse players in the medieval machinations of warring kings and lords all over again, when it comes out on 11th February 2025.

We’ve played a few hours of the game, experiencing its opening narrative twists, as well as leaping ahead to the big city of Kuttenberg and the broader historical RPG action – you can read all about that here – but we also got to sit down with Warhorse figurehead and PR Manager Tobias Stolz-Zwilling to talk about a game that’s been a whole console generation in the making.

TSA: It’s going to have been 7 years almost exactly between games, which is basically a full console generation which is a lot of time in terms of tech, gaming and people’s attitudes. As a developer, has your approach for Kingdom Come: Deliverance 2 changed compared to the original, beyond the studio simply getting so much bigger?

Tobias Stolz-Zwilling: Yes and no. No, it’s still very much the same kind of game, so we’re trying to stay true to Warhorse, stay true to KCD, and deliver what we believe is a true, authentic medieval experience, but then again, now with more people and the cushion of a successful KCD1, we can make things bigger – everyone always says it’s going to be bigger and better, but in our case we do have more people, we have the financial funding that can support the development, but we also have the technology and the skills now to bring stuff into the game that we couldn’t afford before.

For example, we and [Director] Daniel Vávra always wanted to have a city in the game, and in KCD1 they’re teasing and talking about how in Kuttenberg something is happening, but we simply couldn’t [go there], because we weren’t able to have more than a few people on screen, the task of building a huge medieval city was too big, and so in KCD1 we basically have a bunch of villages and one overblown village, which is Rattay. Compare Ratai to KCD2 and it’s like one street in Kuttenberg. Now we are confident to tackle bigger things and that is what I think has changed most.

TSA: You’ve almost already answered my next question, which is what ways KCD2 has changed from the original? The scope, of course, but are you sticking with the alchemy system, the style of combat and things like that?

Tobi: Yes, the scope is the easy answer, but pretty much every element from KCD1 is being tweaked, fine tuned and upgraded. Even the dice minigame will be deeper and there will be some badges you can earn.

I think the most prominent example is with the combat […] We said of KCD1 that combat was easy to learn but hard to master, and I think the hard to master we nailed, but the easy to learn, not so much. Many people liked it, but some struggled, so the idea now is to have different animators come to the studio so that they all feel different, but they ca also offer different playstyle. So if you want to play the intricate combat system, then you can take a sword and do all the combos and moves, but if you’re a character that doesn’t want to combat at all or want a more straightforward style, then there’s weapons like the mace where you pretty much just whack the opponent on the head!

Then in the UI there are less attacking zones, it’s a bit more straightforward, the combos are not so difficult, and so on. It’s also stayed true to each weapon historically and what it was used for – of course the crossbow was easier than a bow, that’s why they invented them, and of course a pole weapon is easier that fencing, that’s why they used them. The intent is for a more entertaining game that offers you this choice.

TSA: You mentioned hitting enemies on the head, and video game developers have got a rich tradition of exploding watermelons. Usually it’s for first person shooters, I think, but did you get through many watermelons during development?

Tobi: [laughs] I don’t want to spoil too much, but many watermelons were harmed!

TSA: It also feels like you’re taking a step forward in the storytelling and the cinematic stylings. Perhaps a lot of that is from experiencing the opening hours and getting people into the setting, but does that continue as the open world is exposed to you?

Tobi: Daniel Vávra is a huge cinematics fan, and one day wants to shoot a film himself, so of course you can see this in his games – you can also see this in Mafia and Mafia 2, his earlier products. He has this hand for dramatic scenes and sequences, and KCD 2 especially is not different.

In the beginning of the game, it’s a little bit more hands on and we bring you up to speed with the video sequences to introduce you to the game and the surroundings. This will be less through the rest of the game, however, I think we have 4, 5 or 6 hours of cinematics in the game, and they’re extremely powerful and important for us to deliver the story. We have a 100 hour game, after all, and it’s a story driven game first, and an action RPG and the fighting and so on, so therefore the cinematics are very important.

TSA: I like that you can really put Henry and Sir Hans together as two characters that have a lot of growing up to do in this game.

Tobi: And that’s what makes them so lovely! Hans Capon in the first game, if you check on Reddit and so on, most people are saying the same: “I hated this dude in the beginning, but then he became my most loved character!”

He had this interest arc in KCD where he became a friend to Henry, but still there’s the difference where he is a noble and Henry is a Squire, a bastard. This is still present, but KCD2 will focus strongly on the bromance between those two, as they face terrible situations through the game where they’re on the edge of surviving (maybe even further), and that’s a dramatic part that we have a big focus on.

Henry, in KCD1, pretty much solved everything by himself, but in KCD2 that will not be the case. He will find out very quickly that he needs friends and he needs other misfits to get things done.

TSA: I get the feeling that Hans would like Henry to still sort everything out for them! [laughs]

How important is that you kept Mutt in the game? Was that a day one addition to the plan?

Tobi: Yes, and you can finally pet him! That was a big thing and even our own guys said we have to have a pettable dog, and to go one further, we have a petable horse as well, which is great.

Some of the perks and stats we are taking over to KCD 2, like the dog for instance or Henry being able to read – it doesn’t make sense to make him learn to read all over again – however, things like combat and other intricate things, he has to rediscover.

I like to say it’s like he’s the champion of a Sunday league, but now he’s going to the Premier League, so he will suck at most things in comparison. However, he now knows how to play soccer, but now needs to step up the game to deal with armies, knights, lords, nobility and so on. It’s not like he forgot everything, it’s more like he needs to refine his skills.

TSA: He didn’t just take a mace to the head and forget stuff.

Tobi: Exactly.

TSA: There’s obviously still areas that you might still be able to improve and add in future, so you talked about not having jousting in the game, which I’m sure a lot of people would be nagging you to do. Is that the main thing that is still on the wish list?

Tobi: Honestly, I think everything that’s in the game and everything that’s not in the game is exactly as intended by Warhorse – this is how we do it, this is what we wanted to deliver, and we are looking forward to getting this out.

Jousting and these things are coming from fans that are very often used to Hollywood scenes, like A Knight’s Tale. Yes, jousting was a thing in the Middle Ages, but it definitely wasn’t as present as people might think…

TSA: Also, it was probably just for the rich folks.

Tobi: For the very rich folks. For the nobility mainly, and even then, when they were participating, it was a problem because you were actually hurting a nobleman!

But there will be tournaments: swordfighting tournaments, archery tournaments, horse tournaments and so on and so on. There will be cool stuff in there, but jousting would be a bit like a Quidditch game for Harry Potter. Of course everyone wanted Quidditch in there, but…

TSA: I mean, jousting you can understand, but Quidditch is impossible to figure out how to make into a workable game!

Tobi: Just catch the golden ball! [laughs]

TSA: Lastly, I was wondering about big picture for Kingdom Come. Obviously you will tell a story of its own in KCD2, but is there still another chapter in a grander saga? I’m not sure you’re allowed to say right now…

Tobi: I’m allowed to say anything! KCD1 ended with a cliffhanger, and KCD2 will end a story, but I don’t tell you which story. What the future brings, we don’t know yet.

In our history at Warhorse, we had two sink or swim situations. One was the Kickstarter, and the other was the release of KCD, because even then we weren’t sure if it would be a success or not. it’s not a sink or swim situation anymore, knocking on wood, but we have to wait and see how KCD2 performs. I am positive, I think the game is great and in very good shape already.

I can tell you already that Warhorse tries to aim to get bigger. We want more people, have bigger studios and again tackle bigger challenges.

Our hands on time and chat with Tobi with Kingdom Come: Deliverance 2 came thanks to a press trip to Kutná Hora, the modern day Kuttenberg, with travel and accommodation provided by Warhorse and Plaion.

May 31: Little Nightmares III has been delayed, and will not be making it out this year as originally planned. Bandai Namco now intends to publish the title in 2025. Little Nightmares III was first unveiled at Gamescom last August. It’s a notable shift for the series as the first two titles were made by Tarsier Studios. This one is...

The post Little Nightmares III delayed to 2025 appeared first on Nintendo Everything.

Following its announcement in June, we now have a release date and proper look at Civilization VII with a fresh gameplay trailer. The video just debuted at Gamescom: Opening Night Live 2024. Civilization VII now has a release date of February 11, 2025. The game will come in the form of a standard version and Deluxe Edition – if you...

The post Civilization VII release date set for February, first gameplay trailer appeared first on Nintendo Everything.

Source

2K and Firaxis have revealed more information about Sid Meier's Civilization VII at gamescom 2024. After first publishing a teaser trailer at Summer Game Fest 2024, the companies revealed the release date and gameplay details for the new game at the European gaming event.

A new trailer for Civilization VII appeared first during the gamescom 2024 Opening Night Live stream. It showed a quick montage of in-engine footage, including buildings from various civilizations and units from different ages. The main highlight of this trailer was the release date announcement.

The new game will be available on February 11, 2025. While prior entries used to appear first on PCs with consoles like Nintendo Switch getting them later on, this trailer's ending segment hints that Civilization VII will be available simultaneously on not only PCs but also the PS5, PS4, Nintendo Switch, and Xbox platforms.

Soon after that, Firaxis held an official gameplay showcase stream dedicated to the game on the series' official YouTube channel. The new game will have civilizations tied to each of the three different eras, and the leader character the player chooses is no longer tied to their original civilization.

For example, while Hatshepsut is originally related to Egypt, the player can choose to have her lead the Aksum civilization instead in the Antiquity Age. As the game progresses in age, the player will have to choose a different civilization for Hatshepsut to lead, such as Songhai or Mongolia in the Exploration Age, and Buganda in the Modern Age.

2K has also updated the game's Steam page with additional bonus editions that provide both in-game content at launch and post-launch DLC that 2K will release in the future. People who have pre-purchased any edition of the game—including the standard version before release—can get the native American civilization Shawnee and Tecumseh as a playable leader.

Sid Meier's Civilization VII will be available for PC via Steam and Epic Games Store, PlayStation 5, PlayStation 4, Nintendo Switch, Xbox Series X, and Xbox One on February 11, 2025.

The post Civilization VII Release Date and Gameplay Revealed appeared first on Siliconera.

There's nothing quite like the moment right before sitting down to see a new Civilization game for the first time – particularly since this is the longest we've ever had to wait for a new one – and I'm happy to say I came away with a pretty positive outlook …

Secret Level is an anthology series coming to Amazon Prime Video, and it brings several games to animated form to tell new short stories for those games. The series was finally revealed with a teaser trailer during Gamescom 2024's Opening Night Live showcase. It comes from Blur Studio, the …

If you’re reading this preview, it’s likely that you already know what Civilization is on some level. A 4X game encompassing the entirety of human history may sound like a bit of a stretch, but that’s exactly what Sid Meier and the rest of the team aimed for when creating the first - and every subsequent - Civilization game. I think it’s fair to say they’ve done a decent job at it.

It was only a short while ago that we got our first glimpse of Civilization 7, the much anticipated latest entry to the long running series. As with any fresh instalment to classics from the strategy genre—games like Homeworld 3, Company of Heroes 3, Total War: Pharaoh, or Age of Empires 4—there's a lot of excitement surrounding the next Civilization, especially regarding when it's set to come out. Gamescom's Opening Night Live has just revealed that date, and, fortunately, it's much sooner than many might have anticipated.

Enlarge / Firaxis has upped the ante on presentation for the cities. It's still a bit abstract and removed, but they have more vibrancy, detail, and movement than before. (credit: 2K Games)

2K Games provided a flight from Chicago to Baltimore and accommodation for two nights so that Ars could participate in the preview opportunity for Civilization VII. Ars does not accept paid editorial content.

From squares to hexes, from tech trees to civic trees, over its more than 30 years across seven mainline entries, the Civilization franchise continues to evolve.

Firaxis, the studio that has developed the Civilization games for many years, has a mantra when making a sequel: 33 percent of the game stays the same, 33 percent gets updated, and 33 percent is brand new.

Read 35 remaining paragraphs | Comments

Firaxis and 2K Games have slapped a release date on Civilization 7, the latest in the obscenely venerable empire management series. It's out 11th February 2025. Find a new trailer with a quick-and-dirty montage of units, buildings and posturing historical celebs below. Don't worry, it still has hexagons.

Read more

Oh, hey, would you look at that? Total War: Warhammer 3's patch 5.2.0 (arriving later today) has some new orcs and goblins in it.

Look at 'em! They've got swords and shields now!

Read more

Any gags I could make about an update that lets Total War: Warhammer 3’s dawi play tall are far too obvious for the discerning comedic palette that brought you such bangers as that time I just wrote “(penis)” a bunch so the Overkill’s Walking Dead page wouldn’t quote me out of context, so let’s just dive right in to the details. The strategy game’s 5.2 update is on the horizon, and tagging along with it are the first of the “extra bits” the team teased in June. I’m very excited about them. They sit somewhere between the usual patch fare of stat tweaks and errata, and the weightier faction facelifts that come alongside paid DLC. They’re also focused right where Immortal Empires needs them the most: depth, rather than width. In the dawi’s case, quite literally.

Read more

Firaxis and 2K Games have slapped a release date on Civilization 7, the latest in the obscenely venerable empire management series. It's out 11th February 2025. Find a new trailer with a quick-and-dirty montage of units, buildings and posturing historical celebs below. Don't worry, it still has hexagons.

Read more

Oh, hey, would you look at that? Total War: Warhammer 3's patch 5.2.0 (arriving later today) has some new orcs and goblins in it.

Look at 'em! They've got swords and shields now!

Read more

Any gags I could make about an update that lets Total War: Warhammer 3’s dawi play tall are far too obvious for the discerning comedic palette that brought you such bangers as that time I just wrote “(penis)” a bunch so the Overkill’s Walking Dead page wouldn’t quote me out of context, so let’s just dive right in to the details. The strategy game’s 5.2 update is on the horizon, and tagging along with it are the first of the “extra bits” the team teased in June. I’m very excited about them. They sit somewhere between the usual patch fare of stat tweaks and errata, and the weightier faction facelifts that come alongside paid DLC. They’re also focused right where Immortal Empires needs them the most: depth, rather than width. In the dawi’s case, quite literally.

Read more

It’s time for Gamescom, friendos. Geoff Keighley is back to host another big video game showcase, and this time it’s the Opening Night Live presentation before Gamescom. The German event is taking place from August 21 to 25 in Cologne, but before fans, press, and developers explore the showfloor, we get to see a big…

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Today, during Gamescom Opening Night Live, 2K Games and Hangar 13 announced Mafia: The Old Country, the next main entry in the long-running open-world series about gangsters.

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In Little Nightmares III, players follow the journey of Low & Alone, two best friends looking for a way out of the Nowhere.

Trapped within the Spiral, a cluster of distorted areas within the Nowhere, they will have to work together to survive in a dangerous world full of delusions and escape the grasp of an even greater threat lurking in the shadows.

Little Nightmares III returns to Gamescom with a brand-new trailer, highlighting the synergies between the two characters and teasing new environments to explore!

Play Video

Co-operative features and new puzzle-solving mechanics

Little Nightmares III is the first game in the franchise to feature 2 players online co-operation. The latest trailer shows some of the co-operative gameplay mechanics that will be useful when players play together in co-op, or solo with the other character controlled by AI. 

Low and Alone, the two playable characters, are both best friends and very complementary. They each have an iconic item: the bow for Low and the wrench for Alone. 

Working together will be key to progress in the game. For example, in the trailer we see that Low can bring down smaller enemies with his bow, while Alone has to finish them off on the ground with her wrench. 

You can also see Low put his bow to good use at the end of the trailer, saving Alone from the petrifying glare of Monster Baby. 

However, teamwork isn’t only about using items. It is also about clearing the way for your partner so they can help you move forward in turn. You’ll need to be proactive and take initiative for both of you to make it through. 

“The relationship between the two characters is very strong, and we were keen to explore that bond in the game. It is even more relevant when we see them working together to escape the many threats that make up the Nowhere”, mentioned Wayne Garland, Little Nightmares III Game Director at Supermassive Games.

New settings, faithful to Little Nightmares’ atmosphere

Teamwork is at the heart of the trailer, but it’s not the only new thing players will experience as they play through the game’s compelling story. By including co-op, we wanted to offer something fresh for the players, unique to Little Nightmares III, while retaining the beautifully disturbing atmosphere of the series. 

You’ll feel it in the new environments, which are full of mysteries and revelations. You’ll also find the same tension and suspense as these two charming new characters face even greater risks than before, searching for a glimmer of hope in a world filled with darkness.

Necropolis is a good example of a new type of location in the game. In spite of its abandoned state and warm desert colors, the city feels eerie and unsettling. Don’t be fooled by this windswept, brightly lit environment. Danger is everywhere, and Monster Baby is easily roused when new toys tumble into her crib… 

In the trailer, you can also spot a variety of other regions of the Nowhere, each one more unsettling than the last. Some of them might be reminiscent of places you might have explored in previous Little Nightmares games, like dank and gloomy vents and the gears and pistons of pitiless machinery. Some are more unfamiliar, like a rickety Ferris wheel, a shadowy circus tent, or a massive, complex clockwork mechanism. 

You’ll have to be patient before we can tell you more about these places and their inhabitants! More news about Little Nightmares III will be revealed in the near future, so stay together, little ones.

Little Nightmares III will be released in 2025 on PS5 and PS4.

It’s now possible to quickly and easily play the original 1997 Diablo on your PC or phone via a simple website. Just load it up on your browser and you can start killing demons and skeletons like it’s the ‘90s all over again.

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Video game release dates are more a suggestion than a promise these days, and understandably so. Making games is hard and audiences have never been busier and more fickle. Still, it’s disappointing when you find out that sci-fi shooter or fantasy adventure you’ve been waiting for won’t be out any time soon, and a lot…

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In Little Nightmares III, players follow the journey of Low & Alone, two best friends looking for a way out of the Nowhere.

Trapped within the Spiral, a cluster of distorted areas within the Nowhere, they will have to work together to survive in a dangerous world full of delusions and escape the grasp of an even greater threat lurking in the shadows.

Little Nightmares III returns to Gamescom with a brand-new trailer, highlighting the synergies between the two characters and teasing new environments to explore!

Play Video

Co-operative features and new puzzle-solving mechanics

Little Nightmares III is the first game in the franchise to feature 2 players online co-operation. The latest trailer shows some of the co-operative gameplay mechanics that will be useful when players play together in co-op, or solo with the other character controlled by AI. 

Low and Alone, the two playable characters, are both best friends and very complementary. They each have an iconic item: the bow for Low and the wrench for Alone. 

Working together will be key to progress in the game. For example, in the trailer we see that Low can bring down smaller enemies with his bow, while Alone has to finish them off on the ground with her wrench. 

You can also see Low put his bow to good use at the end of the trailer, saving Alone from the petrifying glare of Monster Baby. 

However, teamwork isn’t only about using items. It is also about clearing the way for your partner so they can help you move forward in turn. You’ll need to be proactive and take initiative for both of you to make it through. 

“The relationship between the two characters is very strong, and we were keen to explore that bond in the game. It is even more relevant when we see them working together to escape the many threats that make up the Nowhere”, mentioned Wayne Garland, Little Nightmares III Game Director at Supermassive Games.

New settings, faithful to Little Nightmares’ atmosphere

Teamwork is at the heart of the trailer, but it’s not the only new thing players will experience as they play through the game’s compelling story. By including co-op, we wanted to offer something fresh for the players, unique to Little Nightmares III, while retaining the beautifully disturbing atmosphere of the series. 

You’ll feel it in the new environments, which are full of mysteries and revelations. You’ll also find the same tension and suspense as these two charming new characters face even greater risks than before, searching for a glimmer of hope in a world filled with darkness.

Necropolis is a good example of a new type of location in the game. In spite of its abandoned state and warm desert colors, the city feels eerie and unsettling. Don’t be fooled by this windswept, brightly lit environment. Danger is everywhere, and Monster Baby is easily roused when new toys tumble into her crib… 

In the trailer, you can also spot a variety of other regions of the Nowhere, each one more unsettling than the last. Some of them might be reminiscent of places you might have explored in previous Little Nightmares games, like dank and gloomy vents and the gears and pistons of pitiless machinery. Some are more unfamiliar, like a rickety Ferris wheel, a shadowy circus tent, or a massive, complex clockwork mechanism. 

You’ll have to be patient before we can tell you more about these places and their inhabitants! More news about Little Nightmares III will be revealed in the near future, so stay together, little ones.

Little Nightmares III will be released in 2025 on PS5 and PS4.

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I'm not sure how funny Buster Keaton movies are these days - I assume there are moments that still work as pure gags. But these films of his remain wonderful, because Keaton was kind of the Tom Cruise of his age - or rather Cruise, who namechecks Keaton often in interviews - is the closest thing we have to the original. Keaton's gags were almost always stunts, dangerous, brilliant, clearly visual stunts that moved the action forward while giving audiences something to gasp at. There's nothing on the surface to make me think of the World of Goo games, and yet I think of Keaton constantly when I play.

Keaton's world moves. I think that's it. Its physics are dependable - and predictable, which is important for gags and for games - but the ground itself cannot be trusted. If Keaton's sat on a steamboat's wheel and he thinks he's safe, we know that wheel's going to start turning. If he's climbing a ladder, we know that the ladder itself will start sinking into the mud. What then? Keaton has to vamp - to make the moment work. He has to over-engineer things to create a sense of new stability. That's where you get the gag, where you get the fun.

This is everywhere in World of Goo. At the heart of the first game, which helped usher in the Indie era, and at the heart of the second, which has just arrived, bringing with it both new ideas and a lot of fond memories - at the heart of both you're dealing with treacherous foundations. These games are bridge builders at their simplest. (Granted, they never stay simple for very long.) You have a pile of black goo lumps, and you can extend the lumps outwards to create rudimentary frames. The goal for each level is a pipe you have to reach, which will suck in any remaining goo balls. So build upwards in a tower to a pipe that's lurking above you! Build outward as a bridge across a nasty gap.

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Both Remnant: From the Ashes and its sequel Remnant 2 offer thrilling boss encounters that require intricate strategy for success, cementing their place among gaming excellence in this genre. Bosses with unique movesets and abilities offer encounters full of variety; Remnant 1/Remnant: From the Ashes, who also has more varied bosses, stands out in particular by encouraging multiple tactics against each adversary precisely because they are varied. so you have to adapt to each situation.

Soulslike Combat

Remnant (both its predecessor and sequel) presents players with captivating and unforgettable combat experiences through its boss battles, marked by individual traits, detailed backstories and visually arresting displays of aggression. It's time to explore and buy PS5 games that have as their model the celebrated Demon Souls but are at the same time different and innovative enough to be worth playing: Remnant is one of those. Souls-esque games provide formidable challenges while providing profound depth that allows players to decipher animations, anticipate attacks and ultimately emerge victorious without succumbing to damage; an extremely satisfying feat!

Examples of Boss Fights in Remnant: From the Ashes and Remnant II

Here are some examples of boss fights from each game:

Remnant 1

• Gorefist: A large, lumbering beast that attacks with melee and ranged attacks.
• Shroud: A shadowy figure that teleports around the arena and attacks with a variety of projectiles.
• The Mangler: A grotesque creature that uses its long tongue to grab and pull players towards it.
• Brabus: A heavily armored knight that wields a large greatsword.
• The Ent: A massive tree creature that attacks with its roots and branches.
• Singe: A fire-based boss that uses a variety of fire-based attacks.

Remnant 2

• Obryk: A towering warrior who wields a massive shield and hammer.
• Erfor: A cunning assassin that uses stealth and poison attacks.
• Tian: A skilled archer that attacks from a distance.
• Ikro: A powerful ice mage that controls the elements.
• Brudvaak: A skilled horseman who fights alongside his war dog.
• Harsgaard: A powerful sorcerer that wields a variety of arcane magic.

Do not be deceived by its dull introduction! At first, Remnant: From the Ashes may appear unassuming with characters seeming interchangeable and an ineluctable narrative producing no thrills or spillover. Don't fall prey to its subpar opening sequence though! You will soon be hooked! But once you begin shooting at demons, the atmosphere changes significantly: clicking of reloads and hits are instantly familiar, reminding us of horror shooter classics such as Clive Barker's Undying or recalling Left 4 Dead's hectic atmosphere.

Conclusion

Gunfire Games stands out among recent attempts such as Immortal: Unchained in its ability to bring Dark Souls' framework into a shooter context with satisfying results, especially through shotguns and hunting rifles that deliver a satisfying punch. Solo experiences often fall short in meeting challenges posed by difficult bosses compared to teamplay dynamics enjoyed by three players or more. Bosses that come accompanied by dangerous mobs make solo play an unpredictable cat-and-mouse game that puts even experienced gamers to shame! I was convinced to buy Remnant: From the Ashes by other players and reviews who compared it with Demon Souls. I liked other Souls-like games too... Nioh may lack Bloodborne's captivating game world and characters, yet its extensive long-term content trumps this fact; nevertheless, it offers an enjoyable, stimulating, and intelligently orchestrated journey similar to what can be found within Souls games.

Publisher THQ Nordic and developer Grimlore Games recently released a new trailer for the upcoming action RPG Titan Quest II. The trailer showcases several abilities, locations, enemies, and more. Titan Quest II will launch for PlayStation 5, Xbox Series X/S, and PC via Steam. A release date has yet to be announced. In Titan Quest II, players “return to the classic mythology-inspired setting of Titan Quest and go toe-to-toe with the legendary monsters”.

The game’s details via the publisher:

Return to the classic mythology-inspired setting of Titan Quest and go toe-to-toe with legendary monsters as you journey across a fantastical reimagining of ancient Greece.

Nemesis, Goddess of Retribution, is out of control. She is corrupting the Threads of Fate and condemning all those who oppose her to eternal punishment—including you. Take up your weapon, fight alongside gods, and change fate itself in order to stop Nemesis, free those she’s punished, and weave your own epic tale.

From the creators of SpellForce III comes a handcrafted action RPG for a new generation of mythical heroes.

Key Features

Flexible Character System – In Titan Quest II, you are in control of you own fate. Customize your hero, then form your own class by combining two masteries. Build your character around the strengths and weakness of both masteries, exploring different combinations of skill modifiers, attributes, and items to create your own hybrid class and find your favorite playstyle. Grow your powers from those of a young mortal to a hero to rival the gods themselves!

Meaningful Loot – Every item serves a function, and every character class has many options when it comes to finding the perfect equipment. Even the most common spear can be upgraded via affix crafting, and with the right ingredients, you may even forge it into a unique item spoken of only in legend!

Challenging Action RPG Combat – Enemies form factions and work together, combining their unique skills and abilities to keep you on your toes. Use the deep character build system and access every skill at your disposal to vanquish them in this unique action RPG experience.

A Beautiful, Handcrafted World Rooted in Greek Myth – Encounter stunning vistas and deep caverns, and traverse the world with your divine mount, Areion. Use the powers of the gods to uncover secret locations and explore lovingly designed levels full of verticality.

Online Multiplayer – Join up with friends to take on the Goddess of Retribution. Like Jason and the Argonauts, sometimes you need a group of heroes for your journey.
Rich and Immersive Sound – An atmospheric soundtrack blends traditional Greek music with modern orchestral elements to create epic, memorable themes, drawing you into Titan Quest II‘s unique world.

Stay tuned at Gaming Instincts via Twitter, YouTube, Instagram, TikTok, and Facebook for more gaming news.

The post Titan Quest II Gets New Gameplay Trailer appeared first on Gaming Instincts - Next-Generation of Video Game Journalism.

Front(line) Mission

HIGH Good tools enrich the solid gameplay.

LOW The controls and interface are a bit clunky.

WTF Excuse me, just going to drive this Sherman through a building now…

Despite World War II ending nearly 80 years ago, gamers seem no less interested in the subject, and Headquarters: World War II allows them to relive legendary battles via an incredibly well-built strategy framework that captures the spirit of commanding troops in some of the conflict’s most pitched encounters.

Headquarters: World War II is a turn-based strategy game, where players’ troops start at a predetermined area of the map, and must capture objectives. Each side has access to a limited number of units, such as tanks, ground infantry, artillery groups, and more.

The main campaign features three factions for players to choose from — the United States, the United Kingdom, and Germany. Each of the campaigns features iconic and legendary battles, such as the Omaha Beach landing, Operation Good Wood, and Operation Tillich. Each features a difficulty selection, alongside a custom difficulty setting with adjustable sliders for accuracy and damage, both for the player and enemy.

Every unit’s ‘health’ consists not of hit points, but instead, how many men are left in a particular unit. As each unit is damaged (loses men) its combat effectiveness is diminished. For example, an infantry unit may not be as accurate when firing, or a tank may not be able to drive as far in a turn. Each troop is visually depicted on the battlefield and in the status screen of the unit.

Ally and enemy squads also have morale, which will cause teams to run away if depleted — helpful in herding retreating enemies to a position where a trap has been laid. In one skirmish, I was able to drive an enemy away from hard cover and into the open once they lost their nerve, at which point the rest of the unit was dispatched. Morale affects allied units too, though, so the player’s morale should be kept as high as possible. This really made me think about which units to send ahead, and which to have fall back.

When attacking, each combatant is subject to fire from the other side. Terrain, cover, and manpower determine how accurate each group will be. There are also some units impervious to specific types of fire. For example, an infantry squad is unable to destroy a tank under any circumstances, but I could use recon units to spot tanks so my artillerymen could blast them from afar — it never failed to make me feel accomplished in my strategy.

In addition to this, units also have unique abilities. Recon troops can spot enemies from farther away than others can. Transport trucks can move troops around without any action cost to the unit they’re moving, mobile artillery can deliver long-distance pain to faraway enemies, and so on.

There are also some special abilities that take a few turns to recharge after using them. The most helpful was the “reinforcement” command, which allowed one unit to completely replenish its troops, allowing them a chance to recover ranks (essentially healing the unit) every three turns. There are also spy planes which allowed me to see units I hadn’t spotted yet, as well as extra artillery and naval gunfire, which could soften or destroy targets, but had a longer cooldown.

These were all incredibly nice to have, as they provided me with some extra options that I didn’t normally have on hand, or had in short supply. These helpful resources made the playthrough more enjoyable, not because it gave me an unfair advantage, but because I had to be judicious with their usage.

There is also a player vs. AI skirmish mode, which allows players to set up a random battle on a predetermined map, or make their own. This adds replayability, as it offers a lot of control on the mechanics of this mode, so players who’ve beaten the campaigns can create their own battles.

The whole package is pretty extensive, and I had a great time going through each map, each with its own goals and objectives that tasked me to rescue allies or capturing convoy materials, for example. I was challenged with using all the tools given to me to attain victory, and I never felt like any of the missions were impossible. With a good understanding of the toolkit, there were no roadblocks to progress — every mistake was my own, and I made sure to learn from them.

While the majority of Headquarters: World War II is aces, one issue I had was with the UI – it gets very crowded with information at times!

While it was nice to have plenty of info, it made things a bit hard to read for me. It did become a little tricky to see units with how cluttered the screen was, and removing some elements (like completed objectives) would have freed up some of the real estate. Related, some elements were simply hard to see, not due to crowding, but because of the fonts and colors. Stats about my currently selected unit, the mini map, the available forces I had, and combat predictions were muddy and tough to parse as they were displayed on a brown background, with the text being only slightly brighter. Leaving the text white would have alleviated this issue.

Headquarters: World War II is an excellent game for WWII enthusiasts and strategy aficionados alike. It provides a great amount of tools for players to use on the battlefield, in addition to plenty of options to tailor the experience to their needs. Some UI and interface issues diminish the experience a bit, it will still provide many hours of enjoyable warfare for fans of the material.

Rating: 8 out of 10

Disclosures: This game is developed by Starni Games and published by Slitherine Ltd. It is currently available on PC. This copy of the game was obtained via publisher, and reviewed on PC. Approximately 6 hours was devoted to the game, and it was not completed. There is an online multiplayer mode for up to four players.

Parents: This game is not rated by the ESRB rating. This game is set in World War II, and allied and enemy units can be killed in a variety of ways, including gunfire, flamethrowers, artillery, and so on. However, the deaths are never gory or violent. Troops will simply collapse as they are dispatched, and machines and tanks will explode. There is some dated language and insults, such as use of the phrase “Kraut” when the German military is discussed by American troops.

Colorblind Modes: There are no colorblind options.

Deaf & Hard of Hearing Gamers: The game does offer subtitles, but cannot be resized. (See examples above and below.) All voiced dialogue is accompanied by subtitles. The text can be a tad difficult to read, and therefore this game is not accessible.

Remarkable Controls: No, this game’s controls are not remappable.

Hellblade: Senua's Sacrifice by developer Ninja Theory caught people by surprise way back in 2017. Widely acclaimed as a touching story of grief and regarded as a pillar of mental health representation, it won the Game Awards prize for Best Performance, Audio Design, and Games for Impact. Seven years later, the long-awaited sequel was quietly released to the public. Senua's Saga: Hellblade II was first announced in 2019, but due to the pandemic and presumably other reasons, it took longer than anybody expected. So, is it worth the wait?

Lacking in mechanical innovation and gameplay diversity, Senua's Saga still maintains a spectacular story and bone-chilling audio design comparable to its predecessor, enough to give anybody goosebumps. Thanks to its use of Unreal Engine 5, the game flaunts breathtaking visuals and atmosphere, with well-realized Icelandic landscapes and hybrid Norse-Celtic attire. A relatively short romp compared to contemporary AAA titles, it follows the trend of indie games, carrying heavy stories of emotional depth in six hours or under.

The Sacrifice

Set in the late 8th century, Senua's story starts with her struggle dealing with inherited psychosis that came from her mother, the mental illness that caused people around her to see her as a curse and blight to the land. She hears voices inside her head, ones that confirm her self-doubt, yet also at her darkest moments, become her only friends. Because of this, her mother died at the hands of Senua's own father, burning her on a stake as a sacrifice for the gods.

This act traumatized her so much that she had to repress the memory and imagine her mother's death as suicide. Other than her mother, the only one who saw her as she was and wholly accepted her was her lover, and the first game depicted her grief over his death as well. For that, she blamed herself, just as her father taught her. Being used to alienation, she accepted that she was to blame for every death and misfortune that befell everyone she ever loved. People around her saw her as a curse, and that narrative burrowed into her heart, becoming what she truly believed.

The game ended with Senua fighting through hell for her lover's soul, the singular thing keeping her going, without realizing that it was herself who held it in place. In a metaphysical battle against the hordes of hell and its goddess, the voices in her head pushed her to the realization that she had to let go, that the alternative was an endless unwinnable battle, and that the real hell was holding on. So she listened. By moving on, she accepted all the deaths in her past, her part in them, but also her innocence. Her odyssey made her welcome her supposed curse and introduced her to a new way of seeing.

"Never forget what it is like to see the world as a child, Senua: where every autumn leaf is a work of art; every rolling cloud, a moving picture; every day a new story. We too emerge from this magic, like a wave from the ocean, only to return back to the sea. Do not mourn the waves, the leaves and the clouds. Because even in darkness the wonder and beauty of the world never leaves. It's always there, just waiting to be seen again."

The morning after

The sequel asks the question of what happens after acceptance, and the responsibility that comes with it. Senua has made peace with the loss of her lover and the psychosis she carries. But peace does not mean forgetting, and she carries the memories of her lost ones still. Now, her challenge and struggle lie in what she has to do with just the memories that remain, and what to make of peace. Without the clear direction and purpose of anger, without the emotional drive of grief, she must find her own way, and carve a path that makes sense for her. Senua has sacrificed her innocence by remembering the truth about her mother's death and her father's part in it, yet she has also reclaimed her innocence by not blaming herself for her lover's death. Now, she must make both losses worth it.

So she went to the source, the first blade that took her love away, the reason blood was shed. The second game starts with her pretending to be a slave and getting taken away by the Northmen who once came into her village and gutted her lover. While the predecessor showed Senua's personal journey of self-acceptance, the sequel shows Senua's journey in attempting to understand her worst enemy and despite their bad blood, empathize. Maybe she could make them see what she saw, and her journey need not benefit herself only. By healing herself, she could start to heal others who are similarly wounded by the world they all share.

In the course of the story, she shows mercy to the slaver who killed so many, and in the process learns about three giants that plague the land. These giants are the reason her village was raided, slaves were taken, and her lover butchered, all done as sacrifices for them. But as her psychosis is not the bane that many saw it to be, these giants are also not as they first seem. They are not as typically imposing as their name implies. The giants of Senua don't even stand up, instead, they crawl like newborns in pain.

The way Senua defeats them is also atypical. She first has to learn their names. Once known, she can begin to relate with them and figure out their pain. Senua sees through the giants' imposing size and booming cries, to the little hurt soul cradled inside. Through her eyes, they can accept their mistakes and injustices. Having them be seen and understood by an outsider, they do not have to be alone ever again. Through Senua's acceptance of them, the giants can claim peace. Like ghosts tethered to reality by guilt and grief, the presence of someone living to remember their life cuts them loose.

However, not everyone is willing to open themselves up to new perspectives. The final giant couldn't see it, he didn't want to. It is revealed at the end that the last most powerful giant is in fact the slaver's father, the tyrant who sacrifices slaves from other lands proclaiming it was to keep his people safe. As it turns out, it was all a ploy to keep himself in power and keep his people obedient. Once Senua comes to challenge his rule and show people another way of living, one of compassion, the tyrant rejects her.

She sees her own father in this tyrant, the one who also weaponized lies and fear to diminish others. Coming out of the first game, Senua could now see past the lies of narcissistic men. She saw the motive, the original sin that took everything from her, how cruelty can come from fear, and evil from control. All of it is based on a lie that is only beneficial to its teller. Even in his absence, her father still gives voice to her doubts. Once gaining cult-like followers by soothsaying, her father had used his believers to gain control and murder Senua's mother. The true giant is the lie fed to us that we believe over our own truth, the one we must learn the name of to dispel it of its power.

Only after Senua redeems the slaver by making him oppose his father, that she frees herself of the fear of becoming her own father. By seeing another inspired by her and resisting their doomed destinies, she is inspired in return, instilled with the hope that she does not have to experience the same fate as her mother or father.

While the first game is more internal, dealing with Senua and her past and the voices in her head, the second game focuses a lot more on other people. She hears their voices, how they contradict or concur with her inner voices, and how their perceptions of Senua repair her broken self-image, an image cracked from trauma and grief haphazardly corrected by a shaking hand, needing outside perspectives to keep it from being fixed crooked. Other people's belief in Senua breaks her disbelief in herself. They are the tether to her reality. They make her realize that the burden of acceptance doesn't have to be carried alone, and that her grief and psychosis mean something good when turned into a helping hand.

Living with a different way of seeing

Both Sacrifice and Saga play with what's real and what's not, juggling the inner reality of Senua's mind with the objective outer world. It makes us question if the giants are real or just metaphors. But maybe they are real to her, and that's all that matters. Senua's Saga is partly about perspective, and by seeing the world through Senua's eyes, it does not matter much if a lie looks like a giant; all that matters is the problem takes shape in whatever way people see it. Maybe through seeing things in a new light, new solutions are born; maybe tyrants do not have to exist to replace each other' maybe none of us are our mothers or fathers.

There's a part in the game where Senua disarms herself, leaving herself vulnerable, to arm her future self. She passes on her trusted blade, her only defense, to a voice in need, and that voice is her own. By answering the call to help others, she is helping herself. She learns to take the leap of faith in helping others, despite her inner voices disputing her decision, despite her fear.

Where in her younger years she is condemned for hearing voices and being different, here she is seen as special, as blessed with the ability to perceive a better path. Her compassion redeems a son not become his cruel father, ending a cycle of unnecessary violence. Monstrous giants see her as kin, recognizing the burden she carries on her shoulders, and how she was once like them. Senua uses what she has learned from her sacrifice to help others, to help those who are going through what she has gone through. The giants could not move on for one reason or another like she couldn't. So she helps them like she helped herself.

Monsters are just names we call things we fear, that we don’t understand. But through these names, we can see flawed things in a different light, as vile and dangerous. Names tell us how to see, so perhaps we need to believe in a world with kinder names, for a better way of seeing.

"All monsters were once men."

The story of Senua is twofold, about coping with her illness and what it does to the people around her, but also about being responsible with her newfound perspective, using it to show other people facing similar issues what she has learned. As she was once lost, now she leads the lost. It is about choice and agency, regaining control of your narrative, from your parents, from your illness, and your doubts. It is about the name you are given, and the one you choose for yourself.

Maybe the more dangerous and invisible darkness inside someone is not the voices you hear in your head, but the lies you remember, the abuse you bore all your life, and how that is also a responsibility you carry, to change. Senua is not her father's sins, her mother's psychosis, or the voices inside her head. She is all of this, and so much more.

The games industry in the late 1990s was in the midst of a technological arms race. The industry had been rapidly expanding for many years on the back of the Dotcom Boom, and the Internet was helping to proliferate gaming culture faster than ever before.

With the introduction of 3D accelerator cards, the arms race witnessed the emergence of its latest weapon. Specifically, PC games were transitioning from the pixelated 2D abstraction of sprites to the realm of three-dimensional models, bump-mapped textures, and real-time lighting, thanks to groundbreaking technologies like 3dfx Interactive’s Voodoo graphics cards. Likewise, the console market was leaving the sprites behind, with the Nintendo 64 and PlayStation both pushing the console market deeper into the 3D frontier.

Technological leaps forward were synonymous with progress in game design, while victory was decided by benchmarks and unit sales were the spoils of war. However, in the 2010s, the previously unmatched reign of high-quality AAA games was being eroded by the rise of a new era - low-quality indie games and remasters. What happened, and why?

The spectre of technology

More than any other art form, games have a deeply intrinsic relationship with the medium used to create them. A painting requires nothing more than a canvas and a type of paint. A book requires ink and paper, or in more recent eras, an e-reader and digital file. A film requires a screen and some method of projection. But games are complex, the result of commands sent to hardware, rendering processes, and translation of user inputs. They are often written in languages that are tied to a specific type of technology or platform. You cannot simply load a Nintendo game onto a PlayStation or a Mac computer. A game written for the IBM XT personal computer in the 1980s will not work on a modern Windows PC without a great deal of tinkering and emulation.

Other art forms, for the most part, do not suffer from the perishability of their medium. Paintings, sculptures, and books have existed for centuries and even millennia. Paper does not undergo “upgrades” that make previous types of paper obsolete and incompatible. Even with film, the ability to record and reproduce a film in a newer format offsets the obsolescence of older mediums.

Games do not have that luxury.

The technology we use to experience them is perpetually evolving and changing, and the rate of obsolescence vastly outstrips the best efforts of game preservationists. While preservation continues to be a challenge in all fields of art and history, the issue is most pronounced in the games industry.

Though technology has been the source of an immense challenge for game historians and preservationists, it has also been an enormous boon to game designers. The rapid advance of computing technology over the past 50 years has provided developers with an exponentially expanding toolset to communicate their ideas. Only 20 years after 1972’s Pong, Nintendo released Super Tennis on the Super Nintendo. Fifteen years after that, thousands of living rooms worldwide saw friends waving their Wii remotes back and forth while they played tennis in Nintendo’s Wii Sports. It’s hard to imagine that Allan Alcorn could have predicted what tennis games would look like a mere three decades later.

Marketing departments have exploited this relationship between games and technology from the beginning. A 1996 magazine advertisement for The Elder Scrolls II: Daggerfall stated:

"Daggerfall's world is twice the size of Great Britain, filled with people, adventures, and scenery as real as reality."

In 1998, Epic Games (then known as Epic MegaGames) released Unreal, featuring the debut of the now-ubiquitous Unreal Engine. It was a huge leap forward for FPS gaming, and a chief reason for its critical acclaim was Unreal’s spectacular visual fidelity. I can recall my own feelings upon first stepping outside the crashed prison ship and seeing that iconic scene of a waterfall plummeting into a deep canyon below. “Games will never look better than this,” I naively told myself.

Competitors in the console market rivalry between Microsoft’s upstart Xbox and Sony’s sophomore PlayStation 2 frequently drew battle lines based on technical performance. Gaming magazines often compared the two platforms on hardware specs and game performance, rather than assessing games purely on their design merits.

Games rely on creating memorable interactive experiences, and when the latest tech allows you to craft an immersive experience unlike any that has come before it, then it is no wonder that critical success often accompanies technical innovation. But, as the perceived leaps forward become smaller, the benefits of technical superiority become less apparent.

The visual communication plateau

Back in 1998, I thought games would never look better than Unreal, and I was wrong. I'm not stupid enough to make that statement again, but the graphical leaps forward of previous decades are today more commonly “measured steps”.

Back in 2018, EA's Battlefield V arguably heralded the dawn of the "Ray-Tracing Era", being one of the earliest major releases to natively support a technology that had by then become relatively attainable on consumer hardware. However, for many gamers, the increased visual fidelity that ray-tracing offered in those early years wasn't worth the extra cost in hardware. This was compounded by the cryptocurrency bubble and then a global semiconductor shortage that vastly inflated the price of even entry-level graphics cards. Even today, with ray tracing being more widely supported, the performance cost is arguably not worth it for many games, which will opt for higher frame rates over greater visual fidelity.

Games rely on creating memorable interactive experiences, and when the latest tech allows you to craft an immersive experience unlike any that has come before it, then it is no wonder that critical success often accompanies technical innovation.

The Ray-Tracing Era has exacerbated what has been occurring since the early 2000s: diminishing returns on pushing performance. In 1996, a 3dfx Voodoo card retailed for around USD $299 on launch (that's about USD $600 today when adjusted for inflation), and the Voodoo was simply the best consumer-grade graphics card on the market. Compare that to today's graphics card prices, and the difference in the value assessment becomes quite staggering (even when you factor in that Voodoo cards were not standalone, and needed to be paired with a standard "2D" VGA card). More to the point, though, is that the difference in visual fidelity was staggering. Seeing a game with a Voodoo for the first time was a transformative experience, but the difference between a top card like the Nvidia RTX 4090 and a budget card like the RTX 4060 is hardly earth-shattering. The fact is that, even on lower-end cards, games can still look great.

Before going on, I want to clarify one point — the difference between game performance and visual communication. Game performance — framerate, number of computations per second, physics calculations, etcetera — has continued to advance at an impressive rate. On the other hand, visual communication is the ability of a designer to communicate a concept through graphics, textures, and animations.

With raw processing power, computing power has a limit – the speed of an electron moving through matter. Computing continues to push those boundaries, but the cost-benefit analysis for games is different from that of computer engineering, and there is a point where it stops making much of a difference to visual communication. The latest hardware offers incredible leaps in performance, with the ability to emulate accurately the path of light rays on reflective surfaces, create interactive physics between objects, or upscale textures on the fly. However, the concepts that this additional hardware is able to communicate are limited. There is only so much extra detail you can add to something like an in-game car, a dog, or a building. The average gamer won’t necessarily care if powerful and expensive hardware accurately models and animates the individual strands of hair on a character’s head. All they care about is whether it looks like hair.

Back to basics

Since the dawn of the indie and remaster boom in the early 2010s, there has been a noticeable return to lower-fidelity graphics. The reasons for this are many; developers are banking on nostalgia, of course, and simple graphics require less development overhead. One might have initially argued that this was a fad, but 14 years later, I think it is safe to say that lo-fi games are here to stay.

I’d argue that one of the big reasons for the emergence of lo-fi games is the growing maturity of the games industry. The combination of the growth in indie/retro games and progress in graphics becoming more granular, with resources devoted to less obvious technical details has created an environment where audiences that consume games are assessing graphics in a more aesthetic frame of mind, rather than a technical one.

Perhaps another contributing factor is the increasingly uninspired state of AAA gaming. AAA developers have always focused on utilizing the latest technology, but despite their visually appealing nature, they have burnt much goodwill with excessive monetization, buggy releases, and bland gameplay.

The days of games being punished in reviews for not looking cutting-edge are, largely, a thing of the past. It still occurs, usually when a game advertises itself as groundbreaking when it’s not, but most of the time, criticism of graphics is more focused on artistic coherence rather than technical brilliance.

One of the great positive side effects of this change in perspective has been the reinterpretation of many classic games that were once criticised for their dated look. Arcanum: Of Steamworks and Magick Obscura was one of these titles; it looked dated before it was even released and was judged accordingly. But as many players who braved the game’s many bugs found at the time (and many have since), Arcanum is an RPG with incredible depth and a truly unique world.

When there is no need to maintain currency with the latest tech, critics evaluate a game based on different aspects, such as mechanics, story-telling, aesthetics, and gameplay. The mechanics might still feel dated, but this allows for a reasonable comparison between many classic games and their modern counterparts.

Boomer shooters: A case study

The release of David Szymanski's DUSK in 2018 was a defining moment in the emergence of what would come to be known as the "boomer shooter" genre. After a decade of iron sights, regenerating health, and grounded settings, shooter fans were ready to return to the genre's roots: gore-soaked, lighting-fast, run-and-gun tests of player skills and reflexes. DUSK showed that, far from being a tired genre, there was still life to be found in classic shooter design.

The years since have seen an explosion of interest in the genre. HROT, ULTRAKILL, Project Warlock, Proteus, Ashes 2063, Amid Evil, Cultic, and Selaco are just some of the titles that have received acclaim. A poster child for this classic shooter rebirth was Ion Fury (Voidpoint Interactive, 2019), a game developed in the Build Engine. If that name sounds familiar to those who have been around the block a few times, the Build Engine was used for many of the games that were the inspiration for this genre rebirth, titles from the pre-millennium FPS heyday like Blood, Shadow Warrior, PowerSlave and of course, the mighty Duke Nukem 3D. Seizing on the popularity of this FPS renaissance, developers like id Software, Apogee and Nightdive Studios released remasters and remakes of classics like Doom, Quake, Rise of the Triad, Turok, and many more.

The days of games being punished in reviews for not looking cutting-edge are, largely, a thing of the past.

If you consider DUSK to be the beginning, then the boomer shooter genre has now reached the same age as Doom was when Quake III Arena was released in 1999. By most metrics, the genre is doing better than ever, but from a technical perspective, there’s been little progress. Released in 2024 by Altered Orbit Studios, Selaco was developed using the GZ Doom engine, a source port of the original Doom engine from 1993. Yet, while the tech hasn’t advanced at all, the technique has taken leaps and bounds. Developers are constantly finding new and novel ways to employ tech that is in some cases almost 30 years old.

The big reason behind the longevity of the boomer shooter revival so far, and other retro-revival genres like classic RPGs, driving sims, and strategy games, is that these aging engines and graphical styles can communicate design intent effectively, without relying on performance-taxing techniques. Yes, Cyberpunk 2077, Elden Ring, and Forza Motorsport look spectacular, but clever indie developers have been showing for many years now that gameplay always trumps technical complexity, and an adept designer can deliver artistic impact in a dated style just as well as a designer using the latest technology.

If games are truly art, then the medium used to create them is not central to their worth. I highly doubt that Pablo Picasso (1881-1973) viewed the works of Rembrandt (1606-1669) with any less admiration or respect, simply because Rembrandt was using a medium and style that, in Picasso’s day, was no longer current. Similarly, many contemporary artists strive to recreate the style and technique of Baroque masters like Rembrandt in 2024

Likewise, a game released in 2014, or 1992, or 1979 is no less important today than it was at the time. These games are not “obsolete.” They are merely of their era. The revival of classic genres is a testament to this. The games industry has reached a level of maturity where classics are being reinterpreted as a defined style rather than simply being dismissed as obsolete.

The intrinsic relationship between games and technology will continue to push the boundaries of what is possible in game design, but it is design methodology and artistic interpretation that continue to broaden game design horizons. Progress is not framerates, clock speed, and polygon counts. It is the creative minds that drive the industry, perpetually reinterpreting their influences and breathing new life, innovation, and richness into the hobby.