As an extraction shooter, it's only natural that ARC Raiders would have a wipe mechanic. Most of the games in the genre do, and while it does it differently, Embark's game very much follows suit. But despite the fact that over a million people participated and wiped their accounts, I still struggle to figure out why you'd even do such a thing.
In other games like ARC Raiders, server wipes are global. A time comes when every player on a given server is Thanos-snapped into oblivion, forced to start from scratch. This resets the game's overall economy and progress, allowing everyone to catch their breath and begin anew. It's an interesting concept, since it removes the massive advantage power users had, putting the entire server on a relatively even playing field.
But ARC Raiders doesn't do that. It asks you to spend a tremendous amount of time gathering resources to be able to wipe, providing you few noteworthy rewards for doing so. Still, over a million people wiped (thanks PC Games N), despite the fact that they're making their overall experience less fun (the quests reset and have to be repeated, most valuable items are lost, etc.).
A lot is lost and not much gained, leaving those who participated at an abject disadvantage compared to everyone else who retained all their skills (now easily reset and redistributed), items, and everything in between.
At least in games like Hunt: Showdown, where the game's money system provides enough incentive to willingly wipe while others do not, there are proper reasons for wiping and "prestiging." That doesn't really exist in ARC Raiders, but Embark has acknowledged this and will introduce more benefits for Expeditions in the future.
I just hope they're tremendous enough that the majority of players will find them interesting, and that they'll start off by not including quest resets. If they do, at least make them different, more rewarding, or cooler for Expedition participants. The repetition ruins the fun.
The post One million ARC Raiders players wiped their accounts with Expeditions, but what’s the point of doing so? appeared first on Destructoid.
Clair Obscur: Expedition 33 didn’t win any awards for best plot twist, likely because they don’t exist. So we’ll have to talk about it because it deserves it, yes, but also because of how it reminds me of a game I’d expect to have nothing in common with it. Deep spoilers follow for both games.
I’m talking about Link’s Awakening from 1993, the first Zelda game to come out for the Game Boy. It takes place in Koholint Island, one of the few locations outside of Hyrule seen in the entire series, and with good reason. It's a really neat place, filled with likeable inhabitants, but over the course of the game, appearances of characters such as Yoshi, Kirby, and even some from Sim City hint at how this place is the strangest place ever visited in the series.
Still, no matter, as Link just needs to go back home anyway. To do so, he has to wake a mystical creature named the Wind Fish. Before doing so, however, Link discovers that the reason for all the wackiness is not a regular pre-Smash Bros. attempt at a multiverse, but rather that he’s not experiencing his waking reality. The dream of this fish fabricated the entire island, and incidentally absorbed Link as he crashed into it.
Most of Expedition 33 also doesn't take place in its world's base reality. Though its real world also features fantastical elements, such as people of various artistic backgrounds possessing magical powers, it's much closer to our 19th-century Paris than to the overly magical world we see surrounding the city of Lumiere. Learning that likely came as a shock during your playthrough. Even tougher, probably, was learning after you'd have to choose between staying in that reality at the expense of your own family and of your own health, or escaping, but in a manner that would kill every living being in that small world.
Similarly, Link’s Awakening requires Link to wake the Wind Fish from his slumber to be set free, even though that will also abruptly end that small pocket of reality, immediately ending all life on it. Worse yet, that game never gives players the choice to spare anyone.
Under normal circumstances, players would be able to excuse their actions, arguing that it was possibly all just a dream and that nobody was really harmed, since they never really existed in the first place. But the Zelda game's secret ending shows that one of the "fish's creations" actually managed to somehow break through and be materialized into this world after the destruction of their own. So, even though the secret ending is there to leave players on a more hopeful note, it actually confirms that a load of people and fun creatures actually died because Link would only get good at sailing in Wind Waker.
I don't know whether Expedition 33 was inspired by Link's Awakening, but it doesn't really matter. What earns E33’s plot a place among the greats is not really the surprise value or the originality. Most who are gushing about E33 were already familiar with The Matrix, The Truman Show, or even Dream-Zanarkand in Final Fantasy X. What truly makes the big reveal at the end of E33’s second act is the emotional weight it puts on our backs and has us carrying until the end.
That’s not the case with Link’s Awakening, which spends absolutely no time disentangling the complexities put forth by the game’s own plot. Link’s Awakening carelessly plays the whole dream scenario as just a cool idea, one that gets way too dark for a Zelda title upon even surface-level inquiry. Whatever the case may be, it’s always cool to see another thing that E33 did better than the big guys.
The original version of Link’s Awakening only ever came out for the Game Boy, Game Boy Color, and the Virtual Console, but you can now also play the Switch version. Alternatively, you can also play this game called Clair Obscur: Expedition 33 on your PlayStation 5, Xbox Series X|S, or PC.
The post This obscure Zelda title asked Expedition 33’s big existential question first, in a much darker way appeared first on Destructoid.
Spooky season is way past us, and the jollymaxxing hasn't ended yet (at least not in my very archaic Orthodox part of the world), but Phasmophobia never sleeps, and neither do its ghosts. The devs have now announced 2026 will be one of the game's biggest years yet, with the 1.0 release fast approaching.
As announced by the game's developers on X, Phasmophobia will finally launch in full in 2026, bringing its years-long early access program to a satisfying closure. Millions have already played the game, tested it, and helped develop it through their feedback, but more is coming ahead of the official 1.0 release.
This year will have many focuses, but key highlights are increased immersion, modernization, and better graphics. The game desperately needs the latter, and as you could tell from the outdated models, this was probably left for last. The atmosphere of each map and run is already top-notch, and these new finishes will just make the experience even better.
One of the most iconic maps, 6 Tanglewood Drive, is going to be reworked and brought in line with other reworked maps. A much-needed update will be given to the player models, which are frankly immersion-breaking at the moment. The new models will be significantly more realistic and pleasant to look at, which is always a plus.
Animations for both player characters and the first-person camera will be polished, updated, and refined to create a more immersive, grounded experience.
Though it wasn't mentioned in the plans, I sincerely hope some more attention is given to the ghosts and their AI. A lot of the game revolves around communicating with forces unseen, and I've been ghosted (pun intended) way too many times, making me dread a return to a game that doesn't respond. Demonologist drew me away because of that, even if it doesn't have as good a vibe and depth as Phasmophobia. It's just way more reactive, and I pray to see that improved by the time 1.0 comes around.
This update, aimed to release in the first quarter of this year, is a major step toward 1.0. The latter will also include the "reworked Horror update" once it arrives, bringing an end to what's been one of the most popular, fun, and interesting early access programs in the history of indie games.
After 1.0, a lot more could be on the way, given that the devs will have made the game feature-complete and ready for further expansion based on a solid gameplay foundation.
The post Phasmophobia promises that 2026 will be one of its best years—but here I am just hoping the voices in the dark will finally talk back appeared first on Destructoid.
The Steam Machine, announced in late 2025, is yet to make a proper price announcement, with Valve eluding that information since first mentioning the thing. Amid rising RAM costs, it's understandable that waters have been muddled, but recent leaks indicate the company is planning to sell the device at a ludicrous price, even with the current situation.
As per a Jan. 9 Reddit post, which showed a Czech retailer's listing for the Steam Machine, Valve's latest and greatest hardware release is allegedly going to cost between $950 and $1070 for the 512GB and 2TB models, respectively.
Even considering that this figure likely includes VAT (21 percent, indicating a $785 or $885 pre-tax price), this would put it leagues above the base PlayStation 5, which it rivals in terms of raw power, despite its advantages as a PC rather than a specialized console. At this stage, you can get yourself a used PS5 for around $300 in the second-hand market with no extra tax on top, making it more than twice as cheap as the Steam Machine, which can in no way compete even at the usual $499 retail price point.
The increased price is likely due to the steep jump in undiced DRAM prices lately that have affected not only proper RAM, but every single hardware module that uses memory, including storage, motherboards, graphics cards, and everything in between. It's an unprecedented market situation at the moment, worse than even those COVID years when Bitcoin mining ate through the entirety of the global GPU supply.
However, at this price, it's basically dead on arrival. No one who has any other options would settle for purchasing a frankly low-range machine for over a thousand bucks when that same money could be funneled into consoles or even a much better PC in the used (or on-sale retail) market.
You could literally buy a PS5 with two controllers, a 4K OLED, and probably a game to play on them for the same price as just the Steam Machine itself, which is a Linux-based, Steam-oriented PC coming with its own fair share of base limitations.
It just does not make sense to release the Steam Machine at this price, at least not if it's aimed at the average Joe and not corporations and their use cases, where Valve can't expect to make up for a loss leader strategy through game sales. However, as Valve usually sells its hardware through Steam and not retailers, it's safe to say that the price above also includes their cut, somewhat increasing the official listing. Even so, I don't believe it's a big factor, given how large the base price probably is. Soon, we will know for sure.
The post Pricing the Steam Machine at $1,000 would kill it before it even arrived appeared first on Destructoid.
Two days after Roblox introduced a new age verification process across all platforms, the results are creating problems for many users.
On Jan. 7, Roblox made "facial age checks" a requirement to chat on the game, requiring you to use a camera and scan your face to use any chat feature. It will then give you an age estimate based on what it sees, shaping your chat experience and defining who you can and cannot interact with.
One of the problems with the feature, at least at the outset, is that it seems to come to incorrect conclusions. In many cases, it's overestimating the age of children and then placing them into a bracket where they can chat with users deemed older than them.
"As the first large online gaming platform to require facial age checks for users of all ages to access chat, this implementation is our next step toward what we believe will be the gold standard for communication safety," Roblox said on Jan. 7. "It enables age-based chat, which promotes a positive, age-appropriate experience for all users globally, and limits communication between adults and children younger than 16."
Roblox said that "tens of millions of daily active users" completed an age check as the feature was rolled out in Australia, New Zealand, and the Netherlands in early December before being widely implemented this week. But the results since then are quite spotty.
One mother from the US told me that the game estimated her 10-year-old daughter was 16 years old. The new facial age check will overwrite whatever actual age the parent entered in the first place, and the information can only be corrected by then scanning some form of identification.
"Even if [my child] had an ID, I wouldn’t scan hers into their system to correct it," she told me. "The age verification process often resulting in young kids being placed in older age groups defeats the purpose of trying to keep them safe online."
And if you encounter similar errors or misidentification and want to try to correct the error via Roblox support, it then requires appealing through layers of AI agents before ever reaching a human who can fix it.
"I (37) like to play Roblox with my son (10) pretty frequently," another Reddit post said. "I just age-verified both our accounts and now I can't even chat to my own child in-game? Why the frick are Trusted Connections only available for 13-plus? We spend so much on this game over the years and now it takes away my ability to talk to my own child?"
Roblox has come under heavy scrutiny over the past few years for being a "breeding ground for predators," according to the Florida attorney general, among several similar probes. Last month, the game was completely blocked in Russia for "LGBT propaganda."
These new security measures look to be trying to keep children safe from nefarious users, but their implementation so far is leaving a lot to be desired for many, causing frustration for kids and parents alike.
I tried out the facial scan on a new account myself, and it correctly identified me as "21 or older." But the RobloxHelp Reddit page is overflowing with complaints from many who are reporting issues with the tech, which looks to be largely AI-powered.
Destructoid has reached out to Roblox for comment on this story.
Update on Jan. 9 at 1:35pm CT: Roblox has responded to the article stating that "users can appeal their age check not only with ID verification but also parental controls, which allow parents to update their child’s age."
More stories and complaints of facial age check issues have been steadily appearing on Reddit throughout the day.
The post Roblox is now scanning kids’ faces with AI to protect them from predators, and to no one’s surprise, it isn’t working properly appeared first on Destructoid.
Sometimes, on my better days, I think I know the answer to what keeps me up at night. Or that I have it in me to figure it out. I like those days because even though they start with a problem, I know where to go, what to do, or who to ask to solve it. That's a pretty good day. Not too many of those lately.
Perhaps this is why, when considering the year that was, mysteries – particularly video game mysteries – come to mind. Of all the entertainment released in 2025, I was drawn to these the most: I know the dirty secret of the Roottree family. I know why Evelyn Deane disappeared from Blake Manor. I know the truth about Mt. Holly Estate. Some questions wormed into my head, and I answered them. I had problems, and I solved them.
When executed well, sleuthing suits video games even more naturally than violence, a contest between the programming logic of video games and the human ability to think laterally. One of the first things you learn about coding is that computers are literal to a degree that is, frankly, madness-inducing. The genius of any particular application, including video games, lies in how elegantly it hides the fact that it is reducing your every input into a cascade of simple binary decisions. However, even with a program designed to do all of the heavy lifting for you, even with all the cumulative experience of the internet at your disposal, sometimes the thing that lies between you and your goal is the wildly frustrating task of figuring out how to ask the right question.
This also happens to be the engine that drives a good mystery.
On a basic level, a video game mystery narrativizes one of the most fundamental computational functions: Querying a database. (The narrative designer Bruno Dias has called games expressly built around that function "database thrillers" for this reason, going so far as to jam out his own – quite good! – text parser version of one, Kinophobia.) Defining the right parameters that will separate the endless sea of useless data from the precious and narrow set of information you can actually use, perhaps to form another query in turn, rendering previously useless data into something vital. Once again: Asking the right questions.
The Roottrees Are Dead, Jeremy Johnston and Robin Ward's 2025 remake of Johnston's browser game of the same name, operates on this fundamental level. It casts the player as an amateur genealogist, asked by a mysterious client to trace the family tree of the Roottree sisters. Recently deceased in a private plane crash just before the start of the game, the sisters are heirs to a massive family fortune, and their untimely demise means a significant windfall for the extended family.
The pleasures of The Roottrees Are Dead lie in doing the task it sets out for you in its simulated tactility. The game is set in 1998, and in researching the Roottree family, the player bounces between a table with relevant documents and photographs to examine, a corkboard where they lay out the family tree, and a desktop computer with a blistering 56k modem for surfing the information superhighway. A notebook, available at the push of a button, allows you to type notes or collect highlighted passages from your research materials. Using all these tools, a family's history becomes a giant jigsaw puzzle, a deductive riddle that feels impossible until you just buckle down and do the work. One good lead yields another, and then another, and finally you have names and faces and the puzzle begins to take shape.
But these aren't just puzzle pieces: They're people. The connections and if/then questions that determine where they fit in the Roottree pedigree are just part of the story. What makes The Roottrees Are Dead such an exceptional game is in the way it tells you from the start that one branch of the family tree is off-limits until the end, an optional question where the answer isn't so much there to be found as it is inferred. In laying out the endgame this way, Johnston and Ward provoke the player: Were you merely solving the puzzle? Or were you paying attention to the story it told? You know the what – how about why? Can you see the people hidden between the data points?
In the twilight of the 19th century, the massive disruption of the industrial revolution left European high society in a state of unease, as the edges of a carefully-constructed social order began to crumble. Literacy spread among the middle class, the world shrank as steamships sent people all over the globe, new customs and experiences shook the once–strong foundations of Christian institutions. For many people of means and those who aspired to such status, the church was insufficient at addressing their moment of malcontent. The occult took root.
Set in the final three days of October 1897, The Seance of Blake Manor follows Declan Ward, a detective from Dublin, after he receives a mysterious commission to investigate the disappearance of Evelyn Deane. Deane was one of a number of mystics and magic-curious from all over the world invited to Blake Manor, a hotel in Western Ireland, for a Grand Seance to take place on Samhain, the day when the veil between the mortal world and the spirit realm is thinnest. Assuming the role of Ward, the player wanders the eponymous manor, snooping through rooms and asking guests questions, each exchange or observation deepening the mystery of Ms. Deane's disappearance.
The Seance of Blake Manor is a work of folk horror, which means that history has something to say here, whether the story's characters are able to hear it or not. (They will pay if they don't.) While a far more traditional narrative than The Roottrees Are Dead, Blake Manor is similarly powerful in its subtext. Every character is haunted by some private thing that has brought them to the seance; each is fleeing something or in denial or mourning or desperation. It causes them to be cruel, selfish, reckless. You can piece these backstories together for as many characters as you wish – the game encourages you to solve them all – but what lingers for me is the weight of all that history.
In the search for Evelyn Deane, Declan Ward must repeatedly contend with the beliefs of others. He learns much about Irish folklore, of the fae and the Other World and the Tuatha Dé Danann, the pagan deities worshipped in Gaelic Ireland before Christianity arrived in the country. He sees evidence of the ways both Catholics and Protestants have incorporated those pagan traditions, turning them into saints or holy days. He meets people from around the world who have their own version of those same saints and gods.
Blake Manor requires you to note all this, and think about it some. Learning the faith of each character you meet is integral to solving its mystery. But in this story, Christ and Allah are both just characters in books. The pagan deities, however, are very much real.
I don't believe this is the game choosing a side, asserting that the pagans had it right and everything else is just a fairytale. Rather, I think The Seance of Blake Manor's choice to slowly, deliberately communicate that, in its fiction, the folkloric deities are real is meant to underline the ways in which the indigenous beliefs and cultures of a place are never really gone, even after waves of colonization, industry, and plunder. The spirits are real in Blake Manor because we have fooled ourselves into thinking that wealthy men who build monuments to their fortunes and family name are the only ones who get to write their stories upon the land, forgetting that the land might have stories of its own. Will you seek them out, even if you don't have to? Will you carry that history within you, and keep it alive just a little while longer?
Like many others this year, I have lost countless nights in search of the secret 46th room in the Mt. Holly Estate, and for the bewildering number of mysteries Room 46 is but a mere prelude to. I have many of the answers I set out to find, but I still have further questions beyond them. I also know that the point here may very well be learning to quit.
It's remarkable that Tonda Ros' Blue Prince is structured as a roguelike, a genre defined by its endlessness and infinite possibility. This brings the game in conflict with its narrative setup, which casts the player as Simon P. Jones, a young boy who has learned his wealthy uncle has willed his entire estate to him – provided he can find the hidden 46th room in the logic-defying 45-room mansion that changes its layout every day. Such an explicit goal implies an ending, and upon achieving it, credits do roll. But as anyone who has played Blue Prince knows, that ending is merely an ending. It is also not a solution. Simon's strange quest, the magical nature of the house – which, after enough excursions, is clearly diegetic and not just an allowance for gameplay – are the first of many whys that are left unsaid by that initial ending.
Thus the real mystery of Blue Prince begins, but what that mystery is largely depends on the player. What about this house and the family who built it did you notice, or care about? What in its many possible configurations, its hidden foundations, its many scrawled notes that double back and recontextualize previous findings, bedevils you? Is the game truly endless, like its genre structure implies? Can you be at peace with that? Or do you refuse to accept it?
Consider again how well-suited games are for mystery, how they can present players with impossible enigmas but also guide and nudge them towards asking the right questions. Games can assure players that the world is knowable. We talk about power fantasies, and perhaps this is the most seductive one, even more so than those that give us guns or impossible abilities or great destinies. The fantasy of a world that fits together.
I find that fantasy alluring. Justice has been lacking in my lifetime, and it may not be my lot to see it win the day. I like the idea that asking the right question is the first step to making sense of the world. And if I ask the right question and then answer it skillfully, I can find some kind of peace. Or at least, know what it is that will give me a direction to walk until I find it.
This is a delusion, but a useful one. Answers aren't what make questions worth asking, but go long enough without finding your way to one and, well. That's a lot of sleepless nights. Sometimes you need a ballast.
If there is a reason these games are the mysteries that have resonated with me most strongly this year, this is why: because while they provide all the pleasures of a solvable problem, of crimes answered for, they also present me with so much I cannot know. Of how much escapes the record of material evidence in the gaps of a family tree or a nigh-forgotten folkloric tradition or the inscrutable patterns of an ever-shifting mansion. There is tragedy in this, but also grace, and humility. In grappling with them, solving a mystery takes on another, more durable purpose: making peace with what I don't know, so I can be brave with what I do know. Every day I'm able to do that would make for a good day. Every year I strive for that goal would be a good year.
A reader offers his list of the top 10 games he’s most looking forward to this year, including those he intends to pre-order without any further information.
It’s 2026 now, which means many stellar and upcoming titles will grace us with their presence in the coming few months. I’ll be honest, I’m actually hoping to purchase a new phone in August, for my birthday.
But that doesn’t take away from some amazing games, that I will definitely be playing, so I’d like to take this time to list my 10 most anticipated games as, more than anything, these are the names that have intrigued me.
I will be leaving out sports games, battle royale titles, racing games, and live service debacles. Those don’t really interest me and I don’t play them. Just not my cup of tea. So here they are.
The first major title of 2026, this is dependant on the reviews and if Capcom stick to the horror aspect. I’m exceptionally tired of action set pieces and I’m worried it will turn into what Village became during the second half. Capcom better nail this hard. If it reviews well, I will be buying.
A very curious beginning and a new IP. Also from Capcom, this is another title I will be waiting for reviews. It’s a new project and I am interested, but it could flop and it’s quite risky to pre-order. It looks great and the demo has reviewed well. So I’ll keep an eye on the reviews and hopefully I end up buying Pragmata.
Underrated is the word of choice for Returnal and this is dependant on the difficulty for me, personally. I don’t expect it to be easier, or a cakewalk of sorts, but I’m hoping Housemarque take it easy this time around and if it is more difficult I’ll gladly skip this experience. If it reviews well and it’s easier I’ll buy.
Quite an appropriate number. I’m not the biggest fan of James Bond in general, but this game looks promising. I except espionage, stealth, and chilled champagne. Reviews will decide this one for me.
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I wish it was the first game, but I understand the choice to remake the second game is the correct decision. I’m beyond stoked for this and I hope it sells well, so the first and third titles are also remade. I’ll say that I am strongly considering pre-ordering this, but I’ll wait for reviews. Hopefully it does as well as Silent Hill 2 did.
From a web slinger to the adamantium slasher. I will be absolutely pre-ordering this, since I hope dearly that this is an improvement, from the rushed and disappointing Marvel’s Spider-Man 2. It looks fantastic and I can safely say it will be a banger of a game.
Ambition is the word for what Crimson Desert has showcased thus far. I won’t lie, I am very impressed by what I’ve seen so far and worried a slight bit. It seems too ambitious and it could be too good to be true. The risk is heavy and that’s why I will be buying. Because risks are meant to be taken.
As a player who managed to complete the first title, I’m very excited for the sequel and judging by my high love for Alan Wake 2, and the narrative, I’m absolutely stoked for what the folks at Remedy will be cooking up for the sequel. Another buy for me.
I would haven’t had this so high on a list at the start of this year, but I have been absolutely blown away by what I’ve seen so far of this game and I can’t praise it enough. It looks absolutely insane and I’m hoping this lives up to its expectations. It has the same hype as Black Myth: Wukong did, but I can see this performing extremely well. As soon as pre-orders open, I’m there.
What else could it possibly be? If Half-Life 3 is somehow released, that may well step up as a contender, but I can’t justify my absolute excitement and hype for the most anticipated video game of all time. Barring another possible delay, we may well be there for something special and I can’t wait to begin a new narrative and a new journey with Grand Theft Auto 6 in 2026.
Thank you so much for reading and here’s to a blessed 2026.
By reader Shahzaib Sadiq
The reader’s features do not necessarily represent the views of GameCentral or Metro.
You can submit your own 500 to 600-word reader feature at any time, which if used will be published in the next appropriate weekend slot. Just contact us at gamecentral@metro.co.uk or use our Submit Stuff page and you won’t need to send an email.
With news that Switch 2 sales have started to slow, a reader is worried that complacency and poor planning is spoiling the prospects for Nintendo’s new console.
Last year, the big story was that the Switch 2 had become the fastest selling console of all time. I think a lot of people found this a little odd, because there didn’t seem to be that kind of excitement behind it, but then Nintendo’s main audience isn’t necessarily hardcore gamers, so I think some of the appeal was lost even on long-term fans.
After launch, Donkey Kong Bananza was great and… the rest wasn’t. I didn’t get Pokémon Legends: Z-A but it seems to have got only mildly positive reviews. I did get Metroid Prime 4 though and that was a crushing disappointment, even though I thought I’d still appreciate it despite the flaws.
We’re now in 2026 and the only games that have a release date are Mario Tennis Fever next month and Pokémon Pokopia in March, not the most existing of games, I don’t think anyone would pretend. Beyond that you’ve got Yoshi And The Mysterious Book and a new Fire Emblem, which I’d also venture are not the most widely popular of Nintendo franchises.
They’re niche games, basically, and so was Kirby Air Riders, Hyrule Warriors, and Metroid Prime 4. I can see the logic in that that meant you had a Zelda and Kirby game for the launch year, but I think these games are only likely to put people off the main franchises, more than anything else.
I read with interest the report this week, about how Switch 2 sales have slowed, particularly in the US, and that Nintendo thinks that because it didn’t have any big Western games. I’m pretty sure that’s not the problem, so I can’t wait for that overreaction to make things worse. It wasn’t because the line-up was too Japanese it’s because it was niche games that aren’t popular in the West. I’d say that was a distinct difference.
And now that we are out of the launch year can we just admit that having no Zelda or Mario, or even the slightest hint of one, was a massive mistake. Given how well orchestrated the Switch 1 was I would’ve thought that repeating the same tricks would’ve been easy, but Nintendo seems to have ignored every lesson of their very long history.
We’ve got the 40th anniversary of Zelda, 30th anniversary of Pokémon, and a new Super Mario movie coming up soon and, as far as we know at the moment, no major games to tie in with any of them. Missing one anniversary is a mistake, missing three super obvious opportunities like this reeks of incompetence or being complacent.
I don’t know which it is but the more you look back at the Switch 2 with hindsight the more it seems like it was all rushed, with very little planning… which makes no sense, as Nintendo had all the time they needed to get ready and were not working under any kind of time limit.
I hate to say it, but they’re exhibiting Sony style arrogance, where they seem to think a minimum effort will be enough and that because their last console did well they don’t have to try so hard with the next one. I would never have guessed that’s how they’d be with the Switch 2, but I don’t know how else to explain it.
If there is a Nintendo Direct in February it needs to unveil a new Mario, some kind of Zelda game, and ideally a new IP. I do not want to sit through a 50 minute showcase telling me that they still don’t understand what was good about Mario Tennis 64 or that they the budget for the next Fire Emblem has been increased to £10 and a packet of crisps.
Unfortunately, I would be willing to bet that the second description is a lot closer to what eventually happens and that people are going to feel even more worried about the Switch 2’s future after the Direct is done.
By reader Gordo
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Despite constant frustration and badly dated gameplay, a reader can’t bring himself to completely hate the PlayStation 2 version of God Of War.
God Of War came out in 2005. I love the film Jason and the Argonauts and since gaming’s introduction to Kratos focused on similar themes and reviewed well, 20 years ago, the landmark title developed by Santa Monica Studio was a compulsory purchase for me.
Kicking off with a spot of giant Hydra trouble in the Aegean sea, the high level of polish and artistry in this game is immediately apparent. Ancient Greek exteriors and interiors are consistently atmospheric and handsomely realised. God Of War’s core mechanic is hacking and slashing, so it’s a relief that the combat here is beyond satisfying.
This is one of those games in which you look forward to a scrap, to unleash your many moves. As well as the iconic Blades of Chaos, and the lesser known Blade of Artemis, Kratos collects various magic attacks on his journey through the game’s levels. For me the highlight in this enchanted arsenal is the Army of Hades, obtained fairly late in the day, after defeating one of the game’s bosses. Activate the Army of Hades and a fiery demonic swarm materialises around Kratos and homes in, like a salvo of guided projectiles, on any local enemies.
Everything’s upgradable by gathering red orbs, which fly out of opened chests, vanquished enemies, and smashed objects. While you run around solving simple puzzles and slaying monsters you collect green orbs to replenish your health meter and blue orbs to fill up your magic meter. These meters can be extended by finding Gorgon’s eyes and phoenix feathers.
So there’s plenty to do while Kratos embarks on an epic quest which takes him and you to Athens, to the Temple of the Oracle, through the desert of Lost Souls, and on to Pandora’s Temple. The end goal here is to quell the bad dreams that haunt Kratos. In some sort of thematic duality, Pandora’s Temple is where the game starts to turn into a waking nightmare.
I’m fairly certain that 20 years ago I did finish this game. Tackling God Of War again now, I wonder how I managed. Reading other players’ comments on the internet the following hurdles are repeatedly mentioned:
That notorious jump over a certain second lava pit. The stingy amount of time allocated in the spike room. The desperate dash past spinning saw blades to access the Architect’s Tomb, before his door shuts in your face. And what about that bit in The Challenge of Hades, when you try not to fall to your death on narrow suspended planks, while at the same time double jumping over rotating blades that you can only see when they’re seconds away from hitting you?
Climbing those rotating spike towers in the Path of Hades often gets remarked upon as a place where one’s patience is tested to breaking point, but on this playthrough I found that fighting the Pandora Guardian was worse.
How could I complete those quick time events if the developers gave me insufficient time to do so? By doing a bit of research online it turned out that controlling the thumb stick with just my thumb was probably where I was going wrong. If I pinched the left stick around its edge with my thumb and finger I could match the lightning fast QTE prompts.
The final battle with Ares also uses QTE prompts, that appear and then cruelly disappear in a blink. I could only react fast enough to these prompts by holding down every face button on the DualShock 2. A messy and botched solution. Was it deliberate?
I have more issues with God Of War other than it started to make me hate gaming. Medusa was entirely wasted. Here the snake-haired Gorgon is sold short as a mid-level boss and a way of obtaining an, albeit interesting, magic attack.
Perhaps the best scene in the rather hit and miss 1981 movie Clash of the Titans is Perseus’s fight with Medusa. The sequence almost invites a direct video game conversation. Fight a terrifying foe by relying on your wits and the reflections in your shield. Try not to be put off by those lifelike statues that stand, crouch, and cower nearby.
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And the advent of Pandora’s Temple is disappointing. Instead of leaping onto the summoned titan, that carries the temple on its back Shadow of the Colossus style, a potentially epic part of your quest is handled by a cut scene.
But it seems picky to complain. There’s much to enjoy here. An ancient city under siege. A fearsome bestial roll call, straight out of Greek mythology. You’ll swim through underwater domains that are eerie and peaceful. A dramatic sense of scale is used to great effect in one sequence.
Due to a representation of perspective, Kratos shrinks down to the size of an ant and yet you’re still able to control him. And the game’s epic score suits the onscreen mayhem perfectly. Although the sound that you might learn to love is the angelic call of the save points.
I cannot wholeheartedly recommend God Of War 2005. Parts of it are the gaming equivalent of deliberately slamming a door on your hand. However, if you have a penchant for classic monsters, swordplay and high adventure then you should definitely check out a certain Spartan’s debut because it is, for the most part, a brilliantly realised classic.
By reader Michael Veal (@msv858)
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You can submit your own 500 to 600-word reader feature at any time, which if used will be published in the next appropriate weekend slot. Just contact us at gamecentral@metro.co.uk or use our Submit Stuff page and you won’t need to send an email.
It might be a new year, but most gamers still have a large backlog of games to play before they get to any new ones, as one reader reveals his priorities – from Baldur’s Gate 3 to Spider-Man 2.
By the time you read this it will either be the new year or new year will be around the corner. Either way, happy 2026!
I thought I’d list the games I’m interested in that I haven’t yet played from the previous year and the games I intend to clear from my backlog also.
I dread to think how many games I’ve yet to finish or play. Most, thankfully, were either stupidly cheap or free. Here are six that I intend to dedicate some time to giving a good go at.
The backlog
I think this might be one of the worst purchases I’ve made. I was taken over by the hype at the time and bought this for pretty much full price, for the Steam Deck initially, and now have it for the Legion Go. It’s not a bad game but I just struggle, having never played any similar titles previously, and the combat confuses me. I might need to watch some instructional videos to learn the basics. However, I just don’t know when I’ll have the time, given it’s a big game.
I’ve tried this a few times and never got far this time on Switch 2 was the furthest I’ve got into the game but got distracted by other games. I really want to like it but haven’t been gripped so far. I need to either commit and finish it or accept I’m just not that invested in it.
When I first saw the trailer for this game I was sold and bought it almost as soon as it released. However, it’s kind of just fine. It looks very pretty and the gameplay is fine, although I find the stealth elements very annoying. If this was a long game I’d probably cut my losses, but I’ve heard it’s only a few hours long, so I’ll try and finish.
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I’ve played through these previously and in the case of Village I’ve played it twice. I have been meaning to replay Resident Evil 7 again at some point and wouldn’t mind playing both before Resident Evil Requiem comes out. Although I think Resident Evil 2, and in particular the remake, is the benchmark for the series, both 7 and Village are worthy sequels.
Spider-Man and Miles Morales were both games that I’ve enjoyed immensely and even have the Platinum for Spider-Man, which is a big deal for me. However, I’ve only played a few hours of the game on my Legion Go, after buying the PC version earlier this year. I don’t know why but I think perhaps I played the previous too much. I need to play it consistently over a few nights and then I’m sure I’ll get into it.
I played this very briefly on my Legion Go via Game Pass. However, performance either natively or via cloud was inconsistent. Therefore, I got it for cheap at Black Friday for the PlayStation 5, as streaming it from the living room to my Legion Go via the PXPlay app works a treat. I think this will be the next game I play. My very brief first impressions are that the production, in terms of art design and soundtrack, seems very polished and the premise of the story seems intriguing but I’ve never really played turn-based games before, so worry that I won’t get through the reasonably long runtime.
My 2025 wishlist
I’ve never played any of the mainline Metroid games but did enjoy Metroid Dread. [Metroid Dread is a mainline entry; it’s the Prime games that’re spin-offs – GC] I was initially planning to get Metroid Prime 4 as I’m a bit of sucker for platform exclusives when I first get a new console. However, I’m slightly put off by some of the lukewarm reviews. I don’t know that I’ll get it for full price, but have seen it for £30 on Amazon Marketplace.
Again, I’ve never really played any in the series previously but did fancy giving this a try, especially now it’s on Switch 2. I did plan to get this with some money I’ll be getting for Xmas. However, I think I might wait. No doubt it’ll be heavily reduced in the near future and since it’s likely a hefty game I might wait until later in the year.
Although I do vaguely recall Metro’s review, this was a game that passed me by. However, after I saw it crop up on some best games of 2025 lists I watched the trailer. I haven’t played many point ‘n’ click type games but have enjoyed them when I do and I really like the look of Dispatch’s art style.
I played a bit of Ghost Of Tsushima earlier in the year via PS Plus and did plan on finishing it, but I had other games to play first and now my subscription to PS Plus has run out I might just splurge for the sequel instead. I haven’t played a Sony exclusive third person action game in a while and they used to be right up my street. If I’m honest though, I got a new TV free with my internet/TV package and I want a graphically impressive new game to test it out with.
This game seems to be well regarded and I do like puzzle games and a good puzzle game isn’t always easy to come by. I might have to give this a try before my Game Pass runs out. My only slight issue is that I’ve heard you need to make notes and frankly I don’t know how feasible that is to do when playing in bed.
By reader matc7884
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As an extraction shooter, it's only natural that ARC Raiders would have a wipe mechanic. Most of the games in the genre do, and while it does it differently, Embark's game very much follows suit. But despite the fact that over a million people participated and wiped their accounts, I still struggle to figure out why you'd even do such a thing.
In other games like ARC Raiders, server wipes are global. A time comes when every player on a given server is Thanos-snapped into oblivion, forced to start from scratch. This resets the game's overall economy and progress, allowing everyone to catch their breath and begin anew. It's an interesting concept, since it removes the massive advantage power users had, putting the entire server on a relatively even playing field.
But ARC Raiders doesn't do that. It asks you to spend a tremendous amount of time gathering resources to be able to wipe, providing you few noteworthy rewards for doing so. Still, over a million people wiped (thanks PC Games N), despite the fact that they're making their overall experience less fun (the quests reset and have to be repeated, most valuable items are lost, etc.).
A lot is lost and not much gained, leaving those who participated at an abject disadvantage compared to everyone else who retained all their skills (now easily reset and redistributed), items, and everything in between.
At least in games like Hunt: Showdown, where the game's money system provides enough incentive to willingly wipe while others do not, there are proper reasons for wiping and "prestiging." That doesn't really exist in ARC Raiders, but Embark has acknowledged this and will introduce more benefits for Expeditions in the future.
I just hope they're tremendous enough that the majority of players will find them interesting, and that they'll start off by not including quest resets. If they do, at least make them different, more rewarding, or cooler for Expedition participants. The repetition ruins the fun.
The post One million ARC Raiders players wiped their accounts with Expeditions, but what’s the point of doing so? appeared first on Destructoid.
Spooky season is way past us, and the jollymaxxing hasn't ended yet (at least not in my very archaic Orthodox part of the world), but Phasmophobia never sleeps, and neither do its ghosts. The devs have now announced 2026 will be one of the game's biggest years yet, with the 1.0 release fast approaching.
As announced by the game's developers on X, Phasmophobia will finally launch in full in 2026, bringing its years-long early access program to a satisfying closure. Millions have already played the game, tested it, and helped develop it through their feedback, but more is coming ahead of the official 1.0 release.
This year will have many focuses, but key highlights are increased immersion, modernization, and better graphics. The game desperately needs the latter, and as you could tell from the outdated models, this was probably left for last. The atmosphere of each map and run is already top-notch, and these new finishes will just make the experience even better.
One of the most iconic maps, 6 Tanglewood Drive, is going to be reworked and brought in line with other reworked maps. A much-needed update will be given to the player models, which are frankly immersion-breaking at the moment. The new models will be significantly more realistic and pleasant to look at, which is always a plus.
Animations for both player characters and the first-person camera will be polished, updated, and refined to create a more immersive, grounded experience.
Though it wasn't mentioned in the plans, I sincerely hope some more attention is given to the ghosts and their AI. A lot of the game revolves around communicating with forces unseen, and I've been ghosted (pun intended) way too many times, making me dread a return to a game that doesn't respond. Demonologist drew me away because of that, even if it doesn't have as good a vibe and depth as Phasmophobia. It's just way more reactive, and I pray to see that improved by the time 1.0 comes around.
This update, aimed to release in the first quarter of this year, is a major step toward 1.0. The latter will also include the "reworked Horror update" once it arrives, bringing an end to what's been one of the most popular, fun, and interesting early access programs in the history of indie games.
After 1.0, a lot more could be on the way, given that the devs will have made the game feature-complete and ready for further expansion based on a solid gameplay foundation.
The post Phasmophobia promises that 2026 will be one of its best years—but here I am just hoping the voices in the dark will finally talk back appeared first on Destructoid.
Two days after Roblox introduced a new age verification process across all platforms, the results are creating problems for many users.
On Jan. 7, Roblox made "facial age checks" a requirement to chat on the game, requiring you to use a camera and scan your face to use any chat feature. It will then give you an age estimate based on what it sees, shaping your chat experience and defining who you can and cannot interact with.
One of the problems with the feature, at least at the outset, is that it seems to come to incorrect conclusions. In many cases, it's overestimating the age of children and then placing them into a bracket where they can chat with users deemed older than them.
"As the first large online gaming platform to require facial age checks for users of all ages to access chat, this implementation is our next step toward what we believe will be the gold standard for communication safety," Roblox said on Jan. 7. "It enables age-based chat, which promotes a positive, age-appropriate experience for all users globally, and limits communication between adults and children younger than 16."
Roblox said that "tens of millions of daily active users" completed an age check as the feature was rolled out in Australia, New Zealand, and the Netherlands in early December before being widely implemented this week. But the results since then are quite spotty.
One mother from the US told me that the game estimated her 10-year-old daughter was 16 years old. The new facial age check will overwrite whatever actual age the parent entered in the first place, and the information can only be corrected by then scanning some form of identification.
"Even if [my child] had an ID, I wouldn’t scan hers into their system to correct it," she told me. "The age verification process often resulting in young kids being placed in older age groups defeats the purpose of trying to keep them safe online."
And if you encounter similar errors or misidentification and want to try to correct the error via Roblox support, it then requires appealing through layers of AI agents before ever reaching a human who can fix it.
"I (37) like to play Roblox with my son (10) pretty frequently," another Reddit post said. "I just age-verified both our accounts and now I can't even chat to my own child in-game? Why the frick are Trusted Connections only available for 13-plus? We spend so much on this game over the years and now it takes away my ability to talk to my own child?"
Roblox has come under heavy scrutiny over the past few years for being a "breeding ground for predators," according to the Florida attorney general, among several similar probes. Last month, the game was completely blocked in Russia for "LGBT propaganda."
These new security measures look to be trying to keep children safe from nefarious users, but their implementation so far is leaving a lot to be desired for many, causing frustration for kids and parents alike.
I tried out the facial scan on a new account myself, and it correctly identified me as "21 or older." But the RobloxHelp Reddit page is overflowing with complaints from many who are reporting issues with the tech, which looks to be largely AI-powered.
Destructoid has reached out to Roblox for comment on this story.
Update on Jan. 9 at 1:35pm CT: Roblox has responded to the article stating that "users can appeal their age check not only with ID verification but also parental controls, which allow parents to update their child’s age."
More stories and complaints of facial age check issues have been steadily appearing on Reddit throughout the day.
The post Roblox is now scanning kids’ faces with AI to protect them from predators, and to no one’s surprise, it isn’t working properly appeared first on Destructoid.
Embark Studios is one of the most community-oriented development teams out there, focusing on what the general player base wants instead of only listening to so-called "authority" figures.
Streamer Ninja, who in some other live-service circles would be considered as one such figure, is now fully advocating for ARC Raiders' continued "casual" focus.
"Cater to the f**king casuals, pro play is secondary," Ninja said in a recent stream (thanks CDL Hater Central). He highlighted how the game is primarily casual in nature, and stated that it's these players who are "spending money and playing the game," whereas pros are in the minority. He added that he formerly advocated for more focus on professional play, which he thought would lead to more balance overall, but has since changed his mind.
I think ARC Raiders and any online shooter out there should genuinely always focus on the casual side of things. Professional play is entirely separate and exists on a plane far removed from the one everyone else is on. The builds are never the same, neither are the strats and tactics, and no matter how much casuals try to mimic pro players in casual environments, it'll never result in the same kind of gameplay.
These two categories are so separate that they should never mix, and some developers understand this well. Pros play on standalone servers, have tight-knit queues and environments to operate in, and are kept largely separated from casuals, who make up the vast majority of each game.
What's more, ARC Raiders is an extraction shooter, and its potential as a huge esport isn't so great. Sure, you can form a competitive scene around the game, but it's not a team-based title like Counter-Strike 2 or League of Legends, which serves to drive the "casual" point further. Casual play is at the very heart of the experience, and so it would make no sense as to why Embark should ever cater to this small minority of so-called professionals.
A lot of voices are, unfortunately, advocating for the latter, but Embark has maintained good communication with the broader community so far, catering to its needs and woes, instead of ignoring them and only listening to a gatekept clique of streamers and pros.
The post ARC Raiders is right to focus on casual rather than professional players—even Ninja agrees appeared first on Destructoid.
After several incredible releases, big-name titles, and surprise hits, 2025 in gaming is rapidly coming to an end. It's time to look forward.
Below, we've gathered just some of the games we're looking forward to playing in 2026. Make sure to let us know what you want to play, which games you're curious about, and which ones you'll pre-order the moment it's possible.
And you know what the best part is? These are just scratching the surface. There's a whole calendar of 2026 titles to look forward to, plus plenty more surprises that will drop and take the gaming world by storm.
It starts and ends with GTA 6 in 2026. It's currently slated to finally launch on Nov. 19, and is not just the most anticipated game of 2026, but probably of all time. It's got impossible expectations, and its pricetag will be a point of discussion up until it's finally out (will they actually charge $100 for it?), but everyone in the industry and world is waiting for this one to drop.
First-person? Check. Survival horror? Check. Third-person? That too. Action gameplay? You got it!
Leon S. Kennedy and newcomer Grace Ashcroft take the stage in what's being described as the end of an era in the Resident Evil franchise for its 30th anniversary. Whatever comes next will be different, but for now, RE9 is looking and sounding like the best of both distinct identities the series has had.
Get ready, bub, because Insomniac Games' follow-up to its Spider-Man games is finally coming in the fall of 2026. The action-adventure game promises lots of rage, even more blood, and a whole lot of mutants and X-Men cameos.
Imagine a LEGO Batman game that's based on several different movies and appearances of the character (like The Dark Knight and more), but with the open-world, action combat gameplay of the Batman Arkham games. We can't wait to visit LEGO Gotham in this one.
From Software's next title is a Switch 2 exclusive that features both PvP and PvE in multiplayer fashion. It's still unknown what this game truly is all about, but Elden Ring: Nightreign has shown that the Dark Souls maker is venturing into full-fledged multiplayer a bit more.
Lara Croft is officially back in 2026, with a "reimagining" of her original 1996 PS1 classic. Crystal Dynamics promises some surprises in this remake-that's-not-a-remake, so franchise fans everywhere will be booting this one up with excitement and curiosity.
This one may turn some heads, but I'm looking forward to seeing what Marathon accomplishes as a new extraction shooter when it drops in March. Will the game be good? Will it matter, after months of bad PR? Will ARC Raiders' popularity have a negative or positive effect?
After months of feedback and testing, once the game was delayed, it's looking and sounding like a better title than what players experienced in last year's closed alpha. It remains to be seen just how the game will feel on day one.
The post Destructoid’s most anticipated games for 2026 appeared first on Destructoid.
I like a good isolated gaming experience as much as anybody, but sometimes, the real joy is the friends you make along the way.
That's where multiplayer games come in, and in 2025, there were plenty of awesome ones across the gamut of genres available. Whether you like co-op or competitive, FPS or third-person shooters, or maybe climbing a mountain with friends, there was a lot to choose from.
Here's what we think were some of the best multiplayer games in 2025.
We may look back on this as the game that really ignited the extraction shooter genre. There have been plenty of similar titles before it, but ARC Raiders' ability to capture a wide berth of players, both hardcore and casual, is an achievement by Embark Studios. Now, the game begins its live-service schedule with updates coming to add more content and keep players engaged.
Each match is an adventure. Do I go solo? Do I group up with others? Do I betray them? Do I try to fight the massive spider robot? Do I leave once I completed a task? Do I stay and try to get more loot? It's all part of the excitement that is ARC Raiders.
Monster Hunter is simply one of the best co-op experiences out there. Grouping up with buddies to hack, hammer, and slash away at giant creatures so you can chunk away their body parts to build new gear sounds morbid, but it's always a blast.
The Battlefield series' triumphant return offers some incredible multiplayer gaming experiences, and the free-to-play REDSEC battle royale component only extended that just a few weeks after launch. Tons of vehicles, big maps, and large squad counts create a hectic experience that is the series' expertise in the FPS genre.
Josef Fares' Hazelight Studios has perfected the two-player co-op experience in Split Fiction with wild setpieces and varied gameplay sequences, and the Friends Pass that allows you to enjoy it with someone who doesn't have to buy the game themselves. The concept is amazing, and the execution was even better.
Whether it's the campaign, new Endgame mode, Nuketown pub-stomping, or new Zombies maps, the entirety of Black Ops 7 is multiplayer-enabled and chock full of content for players to enjoy.
What do you get when you combine From Software's iconic Soulslike gameplay, friends, and a battle royale-like experience? A good amount of fun. Nightreign is far from perfect, but still a very enjoyable game and a likely indication of where the studio's direction is heading. And it already got its first of presumably multiple expansions to continue the journey.
One of 2025's biggest surprise successes, PEAK is the peak of the "friendslop" genre that's popped up over the past few years. Whether you want to work together or just troll your pals, it's always a good time. And it's just $8 on Steam, which is wild.
The post The best multiplayer games in 2025 appeared first on Destructoid.
Welcome to 2026. We’ve officially defeated 2025 and moved on to the next level, and if life really is the ultimate co-op game, we’re sure there are plenty of boss battles waiting for us. As always, a new month means a fresh batch of indie games to get excited about, and January is bringing a seriously varied line-up.
Here are some of the coolest indie PC games launching this month.
This month’s survival game comes with some serious visual flair. StarRupture drops you onto a constantly changing alien planet where you’ll gather resources, build up a base, and fend off enemies in FPS combat. It feels like a mash-up of Satisfactory and Sanctum 2, which is a pretty exciting combination. It’s also from the team behind Green Hell, and that alone makes it worth keeping an eye on.
BrokenLore: UNFOLLOW is a psychological horror game exploring isolation and the darker side of online culture. Expect eerie environments, unsettling imagery, and a heavy focus on atmosphere. It looks like the kind of horror experience that sticks with you long after you stop playing.
Tailside: Cozy Café Sim puts you in the fluffy paws of a fox running a café for the locals. Brew coffee, make latte art, decorate your space, and keep customers happy as you go about your day. It’s charming, laid-back, and exactly the kind of cosy game you might want to kick the year off with.
Hooded Horse are once again coming for your free time with Nova Roma. This city builder has you managing your people, supplies, and even the gods themselves as you shape your empire. There’s a surprising amount of depth here, too, including systems like running water, letting you get as detailed as you want with your city planning.
The Spirit Lift is a horror-tinged roguelike deckbuilder set in a haunted hotel. It’s packed with creepy enemy designs, strong ’90s vibes, and plenty of mysteries to uncover. You’ll choose from classic character archetypes to build your team and see how long you can survive the horrors waiting inside.
Steel Century Groove is a rhythm-RPG where giant mech battles play out to the beat. Timing your moves is key as you unleash stylish attacks and try to outplay your opponents. Between battles, you’ll get to know your team, tackle mini-games, and work your way toward the big leagues.
Cairn is all about the climb. This survival-focused game has you carefully scaling a massive mountain, managing stamina and planning every move along the way. There’s no combat here – just you, the rock face, and the constant risk of falling if you make a mistake.
Closing out the month is I Hate This Place, an isometric survival horror game dripping with ’80s vibes. Based on a comic book series, it fully leans into that style with on-screen sound effects and bold visuals. Spend your days scavenging and crafting, then fight for your life each night as the real horrors come out to play.
The post Indie Video Games Round-Up – January 2026 appeared first on Green Man Gaming Blog.
As the highly anticipated release of Resident Evil Requiem creeps ever closer, there has never been a better time to unearth the history of this pioneering series. Interconnected and deeply tangled like a tentacular T-Virus mutation, the events chronicling this nearly three-decade-long trailblazer are essential to understanding what will transpire in next year’s entry. So, grab your first-aid spray and check your ammo—let’s get started.
Long before a steroid-obsessed Chris Redfield was punching boulders, the nightmare began with three architects of ruin: Edward Ashford, James Marcus, and the chillingly calculated Ozwell E. Spencer. After discovering the “Progenitor” virus in Africa – an ancient strain capable of radical biological restructuring – the trio founded the Umbrella Corporation. Their goal was nothing less than weaponised evolution, refined into what would become the T-Virus.
While the world saw a benevolent pharmaceutical giant, Umbrella’s real business lay in black-site laboratories and military contracts. This hubris inevitably backfired, culminating in a localised outbreak in the Arklay Mountains. Rookie S.T.A.R.S. medic Rebecca Chambers and escaped death-row inmate Billy Coen became the first unwilling witnesses aboard a derailed train crawling with infected horrors. Their investigation led them to a grotesquely mutated James Marcus, resurrected and driven by a desire for revenge. Though Marcus was finally destroyed, the damage was done – Rebecca fled toward the Spencer Mansion, while Billy disappeared into the forest, his fate deliberately left unresolved.
Dispatched to locate the missing Bravo Team, the S.T.A.R.S. Alpha Team – including Jill Valentine, Chris Redfield, Barry Burton, and their commander Albert Wesker – sought shelter in the ominous Spencer Mansion. What appeared abandoned was anything but: the estate was a sealed ecosystem of zombies, experimental predators, and the Tyrant, Umbrella’s crown-jewel bioweapon.
The greatest betrayal, however, came from within. Wesker revealed himself as an Umbrella operative, orchestrating the incident to collect live combat data by sacrificing his own team. The plan unravelled when the Tyrant turned on its handler, allowing the surviving S.T.A.R.S. members to escape and destroy the mansion. Chris, Jill, and Barry emerged alive – but marked. Umbrella would never allow witnesses to walk away unpunished.
Only months later, the nightmare went public. A T-Virus leak spread through Raccoon City’s water supply, transforming a thriving Midwestern metropolis into a necropolis almost overnight. Rookie police officer Leon S. Kennedy crossed paths with Claire Redfield, who had come searching for her missing brother, Chris. Together, they fought through police stations, sewers, and laboratories, uncovering Umbrella’s sins piece by piece.
Central to the disaster was William Birkin, a scientist who had perfected the G-Virus, an unstable pathogen that drove relentless mutation and regeneration. His daughter Sherry became both a target and a symbol of Umbrella’s moral collapse. While Leon and Claire escaped with their lives, Jill Valentine was enduring her own hell nearby. In Resident Evil 3, she was hunted relentlessly by Nemesis, a bioweapon engineered specifically to eliminate surviving S.T.A.R.S. members.
With containment impossible, the U.S. government made the unthinkable decision to sterilise the city with a nuclear strike. Raccoon City was wiped from the map, and Umbrella’s public image collapsed alongside it.
Umbrella’s downfall did not mean its extinction. Claire Redfield’s continued search for Chris led her to Rockfort Island, a remote prison facility controlled by the unhinged Ashford lineage. There, the siblings reunited amid yet another outbreak – this time fueled by lingering Umbrella experiments and old family grudges.
More importantly, Albert Wesker returned. Having survived the mansion incident through viral self-experimentation, he emerged superhuman, ruthless, and fully independent. Though the Redfields escaped the Ashford Antarctic base, Wesker vanished with invaluable virus samples, ensuring that Umbrella’s research would survive, no longer centralised, but scattered across the global black market.
The series pivoted dramatically with Resident Evil 4. Leon S. Kennedy, now a hardened government agent, was dispatched to rural Spain to rescue the President’s kidnapped daughter, Ashley Graham. There, he encountered Las Plagas – an ancient parasitic organism capable of controlling hosts while preserving intelligence, signalling a shift from mindless zombies to deliberate, organised threats.
This evolution of bioweapons is carried directly into Resident Evil 5. Chris Redfield, now a founding member of the BSAA, deployed to Africa with partner Sheva Alomar. They uncovered TRICELL, a corporate successor exploiting Umbrella’s abandoned research. At its centre stood Wesker, intent on unleashing the Uroboros virus to “perfect” humanity through forced selection.
The conflict ended in spectacular excess (yes, including a volcanic showdown and the infamous boulder punch), but Wesker’s death marked a turning point. Bioterrorism was no longer an isolated conspiracy; it had become a permanent, global arms race.
That arms race exploded in Resident Evil 6. Spanning multiple continents and intersecting storylines, the game followed Leon, Chris, and Jake Muller – Wesker’s estranged son and a living genetic anomaly – as they confronted Neo-Umbrella and its C-Virus. This new pathogen blurred the line between infection and weaponisation, capable of tailored mutations on a massive scale.
While the heroes prevented total annihilation, the cost was staggering. Entire cities were lost, alliances fractured, and the illusion of control finally collapsed. The age of clean victories was over.
The series then narrowed its focus with Ethan Winters, an ordinary man searching for his missing wife in the swamps of Louisiana. What he found was Eveline and “The Mold” – a sentient fungal organism capable of imitation, control, and psychological manipulation. Gone were global conspiracies; the horror was intimate, claustrophobic, and deeply personal.
That intimacy carried into Resident Evil Village, where Ethan’s pursuit of his kidnapped daughter led him to an isolated European village ruled by Mother Miranda. The truth was brutal: Ethan himself had died in Louisiana, unknowingly sustained as a mold construct. Yet even that revelation couldn’t stop him from making the ultimate sacrifice to save Rose.
In the aftermath, a weary Chris Redfield took responsibility for Rose’s protection, having uncovered a final, unsettling truth – the BSAA, the organisation he helped create, had begun deploying bioweapons of its own. History, it seemed, was already starting to repeat itself.
This brings us to the present. Thirty years after the destruction of Raccoon City, Resident Evil Requiem seems set to bridge the gap between the franchise’s origins and its future. The story introduces Grace Ashcroft, daughter of Outbreak’s Alyssa Ashcroft, who returns to a decaying Midwest hotel to investigate a series of recent murders and, hopefully, solve her mother’s murder at the same time.
In a potentially legendary crossover, she looks set to join forces with fan-favourite Leon S. Kennedy as they both must face their pasts and uncover the truth behind the Raccoon City Incident. With rumours swirling about Leon’s own infection and a return to the restricted “Dead Zone” of Raccoon City, Requiem is set to be the ultimate survival horror experience – a culmination of three decades of fear, shadow, and the enduring resilience of the human spirit.
The post The Road to Requiem: Resident Evil Story and Timeline Recap appeared first on Green Man Gaming Blog.
Polish developer Paradark Studio has released new details about ExeKiller, their upcoming cyber western action-adventure game that puts players in the boots of bounty hunter Denzel Fenix. The three-minute gameplay overview, set to premiere at New Game+ Showcase 2026, promises to showcase the game’s unique blend of survival mechanics, choice-driven narrative, and creative combat approaches.
Set in a hostile wasteland where the powerful Helion Corporation holds sway, ExeKiller tasks players with tracking fugitives and extracting their SOULs, digital implants used to monitor and control the population. The game’s survival elements create constant tension, with limited inventory space, expensive supplies, and environmental hazards like radiation zones, sandstorms, and extreme temperatures all posing threats to players.
Combat in ExeKiller appears to favour creativity over traditional gunplay. Whilst firearms play an important role, the developers encourage experimentation through combining weapons, gadgets, environmental hazards, and special abilities. Players can also avoid combat entirely, with stealth and dialogue offering alternative solutions. Denzel’s cybernetic implants provide enhanced perception abilities, helping players uncover hidden elements and piece together narrative clues without relying on traditional waypoints.
The game’s mission structure emphasises player freedom, with non-linear objectives that can be approached through multiple methods. Whether choosing stealth, conversation, direct combat, or a mixture of approaches, player decisions will influence NPC behaviour, dialogue options, and the overall story, leading to different outcomes and multiple endings. Notably, not every contract needs to end in violence, giving players moral choices about how to complete their bounty hunting assignments.
ExeKiller is currently in development for PC and consoles, though no specific release date has been announced. The gameplay overview will be available to watch online shortly after its New Game+ Showcase premiere.
The post ExeKiller | Cyber Western appeared first on Gaming Debugged | Gaming Site Covering Xbox, Indies, News, Features and Gaming Tech.
