Teams selected for the maximum four-year agreement will provide specialist development advice to the quango, local authorities and other public bodies across England to promote happier healthy communities and better places to live.The framework is divided into three lots covering strategic outcomes planning and leisure services delivery, assessments of need, and urban design services. Key aims include ensuring new and renewed places support people to become more physically active.According to the brief: We know bespoke procurement exercises are frequently conducted to appoint specialist support in strategic planning, leisure procurement, urban design and planning.AdvertisementThis framework will provide access to specialist consultants (small and medium sized enterprises, as well as larger organisations) with extensive knowledge and expertise, who will be selected for their ability to deliver high quality, consistent services for contracting authorities to support active environments and to create places and spaces for people to be more active and build healthier active communities.Sport England was created in 1996 with a remit to promote government and lottery investment in new facilities to increase the number of people participating in sport and activity.The organisation aims to promote both regular sport and general activity among a wide range of people including groups which statistically engage less in sports. The organisation has provided support and guidance on a range of high-profile projects including the Olympics, Commonwealth Games and Wembley Stadium development.Key recent research by the organisation has included the creation of affordable models for new sporting facilities including school sports halls, sports centres and adult community swimming pools.Recent Sport England-supported projects have included a new timber-framed grandstand by Hopkins Architects at Herne Hill Velodrome in south London.AdvertisementThe latest framework will be open to local authorities, town and parish councils, non-departmental public bodies and leisure services providers to help them procure specialist services that help promote active lifestyles.Individual projects let through the framework will be awarded either by mini competition, call-off or direct award. Fees are expected to be worth around 3 per cent-to-5 per cent of the total framework value over its lifetime.Bids for inclusion on the latest framework will be evaluated 70 per cent on quality, 20 per cent on cost and 10 per cent on social value.Competition detailsProject title SE1184 Active Environments FrameworkClient Sport EnglandContract value 5.4 millionFirst round deadline Midday, 18 July 2025Restrictions TbcMore information https://www.find-tender.service.gov.uk/Notice/011842-2025

Construction begets destruction. Architecture has long been admired for being a slow art, but it has been slow too in facing up to the deeply-rooted historical prejudices that continue to cast a long shadow over the profession and its role in what the United Nations describes as the triple planetary crisis of climate change, pollution, and biodiversity loss. In September, I will begin a three-year piece of original research into the extractive history of architecture as part of a Major Research Fellowship awarded by the Leverhulme Trust.Situated at the intersection of architecture, coloniality and the triple planetary crisis, this work will confront the disciplines role in heralding the Anthropocene a potentially new geological epoch defined by our species planetary impact. The research intends to investigate the discipline not as a chronology or assemblage of built objects, styles, personalities, or experiences predominantly from the West, but as an extractive, invariably inequitable and planetary process of world-making.This work builds on my long-standing interest in researching non-canonical histories that have been overlooked, marginalised, or ignored and, more recently, their intersection with the Anthropocene.AdvertisementWhile debates still rage around the definition of the Anthropocene, the terms effectiveness as an overarching cross-disciplinary framework for researchers remains vital.As Chris Thomas,head of the Leverhulme Centre for Anthropocene Biodiversity at the University of York (UK) recently wrote inNature, The concept of an era of human-driven change provides convenient common ground to collaborate with researchers from other disciplines.This is something that people in the arts and humanities and the social sciences have picked up as well [] It is a means of enabling communication about the extent to which we are living in a truly unprecedented and human-altered world.It is in this spirit that this project was conceived, providing a response to this existential challenge from the discipline of architecture, both as a major study of its past and as an advocation for a different and better future.As someone professionally invested in the built environment and its history for over a quarter of a century,I have long been uncomfortable with how the discipline of architecture privileges the experiences of a global minority over those of what theeducator and anti-racist activist Rosemary Campbell-Stephens has coined the global majority.As we increasingly confront the reality of our planetary impact and limitations, this partial view of the environments we have constructed most of which have been built comparatively recently is not merely disingenuous, but increasingly and dangerously irresponsible.Today, the buildings and construction sector accounts for around 37 per cent of total global CO2 emissions, much of which comes from the production and use of cement for concrete. According to the United States Geological Survey, in the three years from 2011-2013, China consumed more cement than the USA did throughout the entire 20th century. In 2007, as the global human population was nearing 7 billion (it now exceeds 8 billion), humans became an urbanised species for the first time, with more people living in cities than in rural areas. Since the early 20thcentury, the mass of material humans produce (a large proportion of which are building materials) has doubled every two decades, resulting in the total mass of human-made material now outweighing all biomass on earth.Such statistics reveal a bigger picture of extraction over longer timeframes, evidencing architectures planetary impact.These facts not only reveal our species suicidal appetite for building anew, they also mask, as Professor Jeremy Till has stated, architectures addiction to extraction. The roots of this addiction run deep into extractive histories of coloniality, wherein architecture was deployed as a means of projecting and sustaining power intellectually and geopolitically the canon and the cannon.AdvertisementFor more than half a millennium, architecture has been rooted in the extraction of natural and cultural resources through colonial domination and cultural exploitation, from coal to humans, from data to indigenous knowledge and from energy to intellectual property. When published, my research aims to join and support the growing voices arguing for architecture to become a restorative, regenerative and reparative practice, encouraging an emergent and urgent change in architectural education and practice that shifts a centuries-old focus on building anew to repairing and improving the already built.Edward Denison is Professor of Architecture and Global Modernities at the Bartlett School of Architecture 2025-03-31will hurstcomment and share

The iPhone company is reportedly moving away from smaller phones to even bigger handsets.

March 30, 2025Shark Sounds, Molecules on Mars and Continued Federal CutsCuts to federal health and science agencies continue. Plus, we discuss the sounds of sharks, the meaning of Martian molecules and one big dino claw. Anaissa Ruiz Tejada/Scientific AmericanSUBSCRIBE TO Science QuicklyRachel Feltman: Happy Monday, listeners! For Scientific Americans Science Quickly, Im Rachel Feltman. Lets kick off the week and wrap up the month with a quick roundup of the latest science news.[CLIP: RFK Jr. announces the planned cuts on Thursday in a HHS video: We're gonna eliminate an entire alphabet soup of departments and agencies.]Feltman: Last Thursday the U.S. Department of Health and Human Services announced plans to cut 10,000 full-time jobs across the department. Another 10,000 individuals have already accepted voluntary retirement and buyouts. The layoffs will hit the Food and Drug Administration, the Centers for Disease Control and Prevention, the National Institutes of Health and the Centers for Medicare and Medicaid Services.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.[CLIP: RFK Jr.: Twenty-eight great divisions will become 15. The entire federal workforce is downsizing now, so this will be a painful period for HHS as we downsize from 82,000 full-time employees to around 62,000.]Feltman: HHS Secretary Robert F. Kennedy Jr. said in a statement that the aim of these cuts is to save money and boost efficiency.Meanwhile, last week the Trump administration also moved to cancel more than $12 billion in federal grant funding to state and local health departments. Axios reports that the main targets are grants for COVID testing, initiatives aimed at tackling health disparities, and vaccinations. As of last Thursday those cuts had reportedly already led to layoffs at the Virginia Department of Health.Well, of course, be watching these developments and keeping you posted. But for now, lets move on to some exciting news from Mars. According to a study published last week in the Proceedings of the National Academy of Sciences USA, NASAs Curiosity rover has found the biggest carbon-based molecules ever seen on the Red Planet. The long-chain alkanes are thought to have come from fatty acids, which are the building blocks of cell membranes in living organisms on Earth.Now, these long molecules arent necessarily a smoking gun for Martian life. We know that fatty acids can form by way of chemistry instead of biology. In fact, some scientists think we first got fatty acids on Earth thanks to the interaction of water and minerals in hydrothermal vents. So while fatty acids are necessary for life as we know it, its possible they formed on Mars without life ever finding a way. Still, this finding is another point for Mars in the quest to determine potential past habitability. Plus, since these compounds were found preserved in a 3.7-billion-year-old rock, the discovery gives scientists hope that if microbial life once existed on Mars, we might still be able to find signs of it.Speaking of size superlatives: paleontologists are showing off a really freaking big dinosaur claw in pristine condition. It belongs to a new species of therizinosaur, which was described in a study published in the journal iScience last Tuesday.Writing for National Geographic, Riley Black explained that therizinosaurs were, generally speaking, a weird bunch. The dinosaurs were descended from carnivores but had come to eat plants. They were kind of slothlike, apparently, down to their three giant clawsexcept that they were also giant and covered in feathers. But a specimen found in Mongolia's Gobi Desert back in 2012 has revealed a new species that stands out for having just two fingers instead of three.One of the fingers still has a sheath of keratin that would have protected the actual bone of the claw. This protective covering also added length, creating a talon nearly a foot long. Scientists think the new species likely lost its third digit as a result of evolution. While the creatures sharp claws look like something a raptor would use to tear at prey, these oddballs probably used them to hook branches while foragingwhich the authors of the new study think could have been done more efficiently with a two-fingered grasp than a three-fingered one.Well keep the animal theme rolling to wrap us up with a couple of new papers on animal behavior under the sea. First, a new study on sharks. The predators are known for their stealth, but research published Wednesday in the journal Royal Society Open Science is absolutely blowing up their spot. While the study authors note that sharks and other elasmobranchs, which is a group that also includes rays, are not historically viewed as active sound producers, the researchers managed to catch rig sharks making little clicking noises.The studys lead author reportedly heard some unusual sounds while working with sharks back in grad school but wasnt able to investigate further until recently. In the new study she and her colleagues observed 10 rig sharks in tanks tricked out with underwater microphones. They caught the sharks making extremely shortlike, shorter-than-a-human-blink short so literally blink and youll miss it stuff. And those noises reached a maximum of 156 decibels, on average. The sharks made a lot more noise when handlers first touched them, and the noises tended to subside as they got used to being held. That could mean these are deliberate sounds, like a whats the big idea or a guys, heads-up, these humans are pretty handsy. But well need a lot more research to be sure.And in case youre wondering those clicks sound like this:[CLIP: Rig sharks make clicklike sounds.]Feltman: Sharks lack the swim bladder that most fish use to make noises, but researchers suspect the rigs make these clicks through the forceful snapping of their teeth. As a habitual tooth grinder I can certainly relate. Since sharks are, generally speaking, a pretty toothy bunch, it stands to reason that other species could be producing sounds similar to these.And while sharks are potentially using sound to communicate, cuttlefish are apparently using visual tricks to mesmerize their prey. Cuttlefish are known for having specialized skin cells that allow them to rapidly change color and create patterns for camouflage. Last month a group of researchers published examples of different visual displays that one cuttlefish species might use to trick prey. The scientists recorded broadclub cuttlefish seemingly mimicking floating leaves and branching pieces of coral, as well as generating some pulsing patterns, an effect that makes it look like a dark stripe is moving down a cuttlefishs body. That's kind of a surprising tactic because to human eyes its like a flashing sign that says cuttlefish incoming. But in a new study published last Wednesday in Science Advances, the same researchers argue that this passing-stripe display helps a cuttlefish hunt by overwhelming a prey animals senses. From the perspective of a crab, for example, these fast-moving stripes could distract from the actual movements of the approaching cuttlefish. So its all very pay no attention to the cuttlefish behind the striped curtains!Thats all for this weeks news roundup. Well be back on Wednesday with special guest Wendy Zukerman from Science Vs to talk about the science behind a big debate surrounding a certain sexual phenomenon.Science Quickly is produced by me, Rachel Feltman, along with Fonda Mwangi, Kelso Harper, Naeem Amarsy and Jeff DelViscio. This episode was edited by Alex Sugiura. Shayna Posses and Aaron Shattuck fact-check our show. Our theme music was composed by Dominic Smith. Subscribe to Scientific American for more up-to-date and in-depth science news.For Scientific American, this is Rachel Feltman. Have a great week!

Minecraft movie is just what the world needs right now, says Jack Black, star of the movie, while promoting the movieBlock and roll.Image credit: Warner Bros News by Victoria Kennedy News Reporter Published on March 31, 2025 Actor Jack Black believes his latest film, A Minecraft Move, is just the tonic the world is in need of right now.Speaking with The Hollywood Reporter during the film's premiere, Black channelled his inner Burt Bacharach stating: "What the world needs now is love, sweet love."Everything You Need To Know About Minecraft Legends Gameplay. Watch on YouTube"We've got to work together, my God," Black - who plays Steve in the Minecraft adaptation - continued.The actor said there is quite simply "so much violence and war and hatred" right now, so what he loves about A Minecraft Movie is that there is "a lot of love in it and there's a lot of creativity". He added there is "some anger and violence" peppered throughout the film as well, but "in the end it's about friendship and working together to make [the world] a better place".Black's sentiment was echoed by Game of Thrones and Aquaman actor Jason Momoa, who stars as Garrett "The Garbage Man" Garrison in A Minecraft Movie."I think everyone needs to escape a little bit right now," Momoa said. "It's nice to sit back and have a really fun adventure and giggle and laugh."As for the rest of the cast, Black was full of praise for his co-stars, calling Momoa "worth the price of admission" alone. Then there's "Danielle Brooks, who is fantastic; Emma Myers, she's fantastic. You've got this new kid [Hansen], who is a genius. But then wild card! You didn't know you're gonna get Jennifer Coolidge?" Black enthused.Oh, and in case you were already wondering, Momoa is up for making another Minecraft film down the line. "We won't let you down. We worked our ass off for you, and I think we brought the world to life. I think everybody's gonna love it," the actor said. "There's so much more to tell; I just hope the fans will be delighted and let us make more." Image credit: Warner BrosA Minecraft Movie is set to release on 4th April, and while Black plays Steve in the film this wasn't always going to be the case. Believe it or not, he was originally going to portray a talking pig in the upcoming film.Meanwhile, if you fancy some themed-food ahead of any trips to the cinema, McDonald's is offering its customers the chance to purchase a 8.19 Minecraft Movie Meal, complete with "amazing collectibles" crafted for adults..

On PlayStation, Xbox, and Switch, thirty years after its release there's still no escape from I Have No Mouth, and I Must Scream's horrorsTo Harlan back.Image credit: Eurogamer/Nightdive Studios Feature by Christian Donlan Contributing Editor Published on March 31, 2025 Harlan Ellison used to say that I Have No Mouth, and I Must Scream was a game that nobody could win. I gather now, having looked at a few wikis, that this is not entirely true. But back in the mid-1990s when I first encountered this weird, horrifying video game, it certainly felt true. I Have No Mouth was... not a hit, exactly, but certainly the subject of a sustained mania in my student house at the tail end of the last century. Adventure games, or point-and-clicks, were our collective favourite genre, outside of endless sessions on Worms 2. Back then we recognised that, even amongst the Monkey Islands and Tentacles, I Have No Mouth was...special?I Have No Mouth, and I Must ScreamPublisher: Nightdive StudiosDeveloper: Nightdive Studios, Cyberdreams, The Dreamers GuildPlatform: Played on PCAvailability: Out now on Steam, PS4, PS5, Xbox One, Xbox X/S and Switch.The game is a sort of sibling to Ellison's short story I Have No Mouth and I Must Scream, which was written in the 1960s. This is a horror story in the purest sense - it's gloriously wretched, haunting stuff. Due to the organisational pressures of a three-way world war, America, Russia and China all build their own supercomputers to manage the movement of nukes and troops and all that radioactive jazz, and these giant machines lurk far beneath the earth in a series of caves and concealed tunnels. In the course of the war, one of the computers becomes sentient and combines with the other two. It then exterminates all of humanity except for five people, who it spends the next hundred-odd years torturing. It also keeps them alive artificially, which is, I guess, all part of the torture as well.In the short story, these five characters head off on a journey through the underground chambers in search of tinned food. In the game, the five characters, slightly changed for the shift in format, are sent out on individual adventures - although "adventures" is far too sprightly a word for the psychodramas that unfold. The game's just arrived on consoles for the first time in a faithful adaptation from Nightdive Studios. Nightdive's a team that specialises in these kinds of digital resurrections of cult classics. Rather than updating this particular game for the modern era, the studio has largely played it straight.Here's a trailer for I Have No Mouth, and I Must Scream.Watch on YouTubeThis means that the screen still contains an action window along with a series of verbs and phrases that can be used to direct on-screen characters. (One of these verbs is "swallow", which is a pretty good indicator of the grimness that awaits.) While there are now button shortcuts that mean you don't have to click on each individual phrase, you will still need to highlight parts of the environment using what amounts to a mouse pointer, now controlled with a stick, and with finessing available via the D-pad.Personal note. This pointer, combined with often tiny on-screen elements to click on, proved more than my twitchy, MS-addled hands could cope with for any length of time, but I suspect most players will find it fussy yet ultimately manageable. While I struggled to play, then, what I did appreciate was a chance to return to the memories of a game that I once spent a lot of time with, but which I've long since put out of my mind. I Have No Mouth, and I Must Scream. | Image credit: Nightdive StudiosI don't think I'd ever really played a horror game back in the mid-1990s, or if I had it was something fast-paced and shotgun-based, a game about hordes and ammo and dogs leaping in through shattering windows. Horror? That stuff would be light relief in I Have No Mouth. Each of the psychological gauntlets the game's characters head off on is tuned to the specific flaws or regrets of their individual personalities. Gorrister, for example, ends up on a sort of horrific zeppelin where he must explore what looks like a murder scene while he slowly reexamines the guilt he feels over what happened to his wife. Ellen, meanwhile, is an engineer who must overcome her fear of the colour yellow to explore a strange technological pyramid filled with monitors and sparking electrical wires.None of these scenarios sound particularly traumatising, but a few things come together to make the game not just memorably horrible but genuinely haunting. For one, there are the themes the game is willing to explore and the places it's willing to take players. I was playing I Have No Mouth alongside games like Sam & Max Hit the Road and Full Throttle - genocide and mental illness, to name just two of I Have No Mouth's preoccupations, were quite a departure from the road trips and windup bunnies.Then there's the graphical approach. I Have No Mouth unfolds, like most adventure games, as a series of screens that the player navigates as they solve puzzles. Back in the day, it felt incredibly subversive to use the kind of visual design I was used to in games like The Dig to offer up such an array of hellscapes and crime scenes. There's something of Bosch to the game's depiction of a future world run by an evil supercomputer. Bodies pile up or hang from meat hooks, the ground is rumpled like the folds of a brain, and even a relatively open vista feels claustrophobic, with a ceiling that looms and a vanishing point that suggests the wet tunnels formed by some awful creature's intestines. This stuff is beautifully done, but all the effort is bent on creating an oppressive environment. Playing for any length of time is a bit like watching too many Youtube spelunking videos. You need to go outdoors afterwards and just look at the sky for a half hour. I Have No Mouth, and I Must Scream. | Image credit: Nightdive StudiosThe most effective part of the whole thing, though, might come down to genre as much as anything else. I Have No Mouth is an adventure game, after all, and these games are famous for their fiercely limited agency. It's bad enough being trapped in a diner with Gorrister where desert stretches off in every direction and the only person left to talk to is a cryptic jackal, but what's worse is that, quite often, you're simultaneously left exploring a puzzle that seems designed to leave you stumped for long periods of time. The end result is that you, like the game's characters, exist in a kind of repetitive loop of carefully curated misery. I can't tell whether I Have No Mouth's puzzles are more villainous than those found in something like Zak McKracken, say, but I do recognise that they're puzzles that are designed to feel a bit like nightmares, which means that standard logic wouldn't really work here.Looking back on I Have No Mouth now, while I do think about Ellison's story and the queasy impact it had on me when I first read it, what the game really reminds me of - because of how similar and yet how different it can be - is something like David Cronenberg's Videodrome. This is a truly stunning film in which James Woods plays the president of a TV station who grows a VCR slot in his stomach. It's body horror just like a lot of I Have No Mouth, and yet I always find Videodrome exhilaratingly creative, while I find I Have No Mouth admirably oppressive.Here's a trailer for Videodrome - an absolute masterpiece and yet another film I was introduced to via Moviedrome, RIP.Watch on YouTubeThat's the point, of course, but I think this reaction of mine is ultimately down to the medium. Videodrome is a film made before CGI so there's a playful arts-and-crafts feel to even its most terrifying visions. I look at that VCR slot, for example, and while I'm thinking, wow, that's pretty gnarly, I'm also thinking, how did they do that? What did they use?I Have No Mouth, and I Must Scream accessibility optionsPlayers can change text speed. Tricky cursor input for players with tremors.With I Have No Mouth, the short story, you can't do that, because everything is made of words, and you can't really stop and ask your own imagination whether it used fishing line and chicken wire to work its grim magic. Equally, you can't do it with I Have No Mouth, the game, either, because it's all pixels, it's all made of the same stuff, and so the horror, while lacking in visual fidelity, has a kind of rigour and authority because it's made of the same things as everything else.That's the core of it, I reckon: both short story and game offer visions of reality from which it's very hard to escape. You can put the book down, and you can turn off the console - or, if you're particularly determined, you can puzzle your way through to the "good" ending Ellison would pretend didn't exist. But in the days, weeks, months and years that follow, some part of you is still trapped back there with those words and those images.Code for I Have No Mouth, and I Must Scream was provided by the publisher.

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games hereIts no secret that the games industry is unstable right now. With veteran devs claiming the industry is unsustainable and massive projects fail weeks after release, its smaller developers like Larian Studios that are keeping gaming alive.After speaking at The Game Awards last December about the fight between developer and publisher, Larian Studios CEO and Baldurs Gate 3 director Swen Vincke has become an icon in the industry. As it turns out, the BG3 creator is not alone as Rebellion CEO Jason Kingsley has backed the Larian lead as AAA publishers continue to fail not just gamers, but developers as well.Rebellion joins Larian against AAA publishersSpeaking to PC Gamer, Kingsley resonated with Vinckes statements at The Game Awards 2024. Ive been fighting with publishers my entire life, Vincke said on stage in front of the industrys biggest names. And I keep on seeing the same mistakes, over and over and over. Its always the quarterly profits. The only thing that matters is the numbers.Kingsley explained that not only was Vincke absolutely correct, but the story of the Larian leads struggles against publishers was very much the same as his. With a history of working with SEGA on Aliens vs Predator and Zenimax on a number of titles, Rebellion has a history of being put through the ringer by publishers.It cuts across every industry, the Rebellion CEO said. But I am aware a lot of my colleagues get frustrated from time to time by people who are potentially very good managers but arent specialists in the computer games area.While Rebellion is now isolated on its own, creating Sniper Elite and the just-released Atomfall with little external involvement, the studio is extremely familiar with interference from publishers.There are horror stories of people having external producers saying, Look, you just need to make fewer bugs, because then itll be faster to make.'REBELLION CEO JASON KINGSLEY ON AAA PUBLISHERSThere are horror stories of people having external producers saying, Look, you just need to make fewer bugs, because then itll be faster to make. And everybodys going Yeah, youre right, yeah. We really shouldnt have decided to put 1,500 bugs in,' the CEO said.Nevertheless, Kingsley explained that the massive wave of industry layoffs was inevitable due to the industrys reaction to the COVID pandemic. As user spending skyrocketed, companies over-invested in talent which only exacerbated cuts made by companies such as Xbox, PlayStation and other AAA companies this past year.I think possibly the games industry expanded a bit too fast during Covid, he said. You know, we had really good times, and everybody was locked in and was playing computer games. And then the correction came, yeah, and that correction has been very rapid and sudden, and, you know, bloody awful, quite frankly.While Rebellion hasnt made an internationally beloved title on the level of Baldurs Gate 3, its a studio with heart. There arent 700 developers working on a game at the studio which results in games that have not just an identity, but a soul.Ive loved running through the world of Atomfall far more than Ive enjoyed running through any COD mission in the last decade, and its because it actually feels like its made by people. Its the same as exploring Skyrim versus exploring Starfieldtheres just too many hands in the same pie and its resulting in mush.Baldurs Gate 3Platform(s):macOS, PC, PlayStation 5, Xbox Series S, Xbox Series S/X, Xbox Series XGenre(s):Adventure, RPG, Strategy10VideoGamerSubscribe to our newsletters!By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime.Share

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games hereThere are a lot of great games officially scheduled to come out in April. These include Xbox console exclusives Indiana Jones and Forza Horizon 5 coming to PlayStation. While these are two massive gets for the PS5, there are also rumors we are getting a remake of Oblivion. While Bethesda is yet to even announce the game, a leaker believes the Oblivion remake release date is likely end of this week.Leaker believes Oblivion remake release date is imminentBethesda hasnt announced a remake of Oblivion, but there are heavy rumors it is coming out soon. Previously, NateTheHate thought it would arrive in June, but their most recent update claims it could arrive in April, possibly as a shadowdrop.On March 13th, NateTheHate posted on X, As plans stand: Both the release and reveal are targeting next month (April). The gap between the reveal and release will be minimal a shadow drop is possible.Image credit: @NateTheHate2 on XThis doesnt confirm the game is coming out in April, but it is the biggest rumor so far. Its possible we could get a reveal and then a release in June as originally rumored, but a release would be amazing.While NateTheHate hasnt shared anything new about the Oblivion remake since, DetectiveSeeds has chimed in with when they believe the game is specifically coming out. On March 30th, DetectiveSeeds posted on X, I believe the Oblivion remake is going to release end of next week, likely Thursday April 3rd.Image credit: @DetectiveSeeds on XThis would be huge if true. Again, Bethesda hasnt even announced the game, so a shadowdrop so soon would be insane. We personally dont believe it will happen, and theres no hints at April 3rd from anyone else, but DetectiveSeeds has been accurate in the past. While there are no official details about the game, Eurogamer originally reported that it is fully remade in Unreal Engine 5, and that it features a new blocking system, as well as other reworked systems including stamina, sneaking, archery, hit reaction, and HUD.In other news, DetectiveSeeds has also possibly leaked the release date window for Ghost of Yotei, and it is very close.The Elder Scrolls IV: OblivionPlatform(s):PC, PlayStation 3, Xbox 360, Xbox OneGenre(s):RPG9VideoGamerRelated TopicsOblivion Subscribe to our newsletters!By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime.Share

submitted by /u/According_Humor_53 [link] [comments]

21One of Warframe's recent quality of life updates has turned a Nightwave weekly into a hilarious nightmareShorter defense missions are great, but there's a funny catch.Image credit: Digital Extr News by Connor Makar Staff Writer Published on March 31, 2025 Warframe's recent change to defense missions have proven to be a wonderful quality of life change that save player's time and make the mission type far more pallatable across the game, but there's a funny catch. A Nightwave weekly mission has proven a tad arduous due to the change, throwing players into a bigger grind than usual.To break it down, the recent change has reduced the number of waves per Defense rotation from five to three. What this means in super simple terms is now players only have to wipe out three waves of enemies before they get a reward, which is nice and makes that new Warframe 1999 Temple defense quicker and easier. However, a Nightwave weekly quest called "Defense" requires players to finish a Defense mission after reaching wave 20. This, with the new format, doesn't quite add up.To see this content please enable targeting cookies. In the past, to complete this Nightwave weekly, you'd have to extract from a Defense mission after clearing four rotations. This is a nice bit of design, ensuring players take home at least one prize from each rotation tier. The standard reward tier is AABC, so it made sure you'd get a two A-rank rewards, a B-rank reward, and a C-rank reward. For clarity's sake let's say you're doing a Dark Sector Defense mission and get two Meso relics, a Neo Relic, and an Axi relic.However to clear 20 waves now requires you to actually complete 21 waves. So that's seven full rotations of a Defense mission. In terms of rewards, the tiers would go AABCAAB. Following the prior example, that's four Meso relics, two Neo, and an Axi. It loops back around, all while enemies get stronger. As such, if you're doing Defense missions for any other reasons other than the Nightwave weekly, there's no real reason to stay after wave 12.Okay so why does this matter. Well, it terms of time spent in a Defense mission, it's not actually going to take significantly longer to clear this than it would in the past. Sure, you'll have to sit throw addition extraction screens which'll add a few minutes, but unless you're unlocking void relics it won't enflate the time spent in-mission that long.Well, this change makes it harder to keep a squad of four in-mission for the entire duration. As mentioned above, there's no real reason to stick around past wave 12, meaning those taking on the weekly without a super powerful warframe and loadout could get bodied by the later waves. Also, some may be tempted to quite out of the mission on wave 20 - don't do that! You've got to actually finish the Defense roation you're on for the weekly to complete - so get to wave 21 and then extract normally.But, aside from that, it's not the biggest deal in the world. In fact, it's a pretty funny holdover from the old Defense format. If you're struggling to do this weekly, you can either look for likeminded players in the group-finder chat, find yourself a big void trace Defense farm and lock in for the long haul. Or, if you're unable to find other players to help you out, bring the best loadout you can to Lith on Earth and blast through a bunch of low level Grineer until you're done.This will probably get fixed in the coming weeks, but honestly, there's a sick part of my brain that wants Digital Extremes to keep this. It's the same part of my brain that loved the old Ash farm. Look, it's a wackey little weekly mission that pushes players to do something weird. Just slap on a podcast and vibe out, mate. Or, if you aren't vibing with it, don't panic. Even if you don't complete the mission, you can recover it in later weeks no problem.Have you tackled this Defense mission yet? Let us know below!