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    There's already almost 100 mods for Oblivion remaster, even without official support from Bethesda
    After plenty of rumours, speculation and leaks, Bethesda finally announced and released the spruced up version of The Elder Scrolls 4: Oblivion last night. Read more
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    Ghost of Yōtei release date announced
    Ghost of Yōtei release date announced How do you Atsu? Image credit: PlayStation News by Victoria Kennedy News Reporter Published on April 23, 2025 The Ghost of Yōtei team has announced the release date for its highly anticipated sequel. Ghost of Yōtei will launch on Playstation 5 later this year, on 2nd October. Ghost of Yotei Just Sold Me on a PS5 Pro and Frankly, I'm Furious. Watch on YouTube "It's been nearly five years since we shipped Ghost of Tsushima, and in that time we’ve been hard at work making Ghost of Yōtei something special," wrote Sucker Punch's Andrew Goldfarb, announcing today's release date news. "While the stories are unrelated, it's important to us to make this a worthy follow-up to Jin's journey, and we can't wait for you to experience Atsu's quest for vengeance later this year." The studio also released a new trailer for Ghost of Yōtei, which you can check out below. This trailer gives us more insight into Atsu's aforementioned quest for vengeance. We already knew she was seeking revenge for her ravaged home and family life, but now we know just who it is she is hunting down - that would be a gang of outlaws known as the Yōtei Six. "They killed her family and left her for dead, pinned to a burning ginkgo tree outside her home. But Atsu survived. She learned to fight, to kill, and to hunt, and after years away she has returned to her home with a list of six names: The Snake, The Oni, The Kitsune, The Spider, The Dragon, and Lord Saito," Sucker Punch teases. Ghost of Yōtei - The Onryō's List | PS5 Games. Watch on YouTube Today's trailer is but a small taste of what players can expect on Ghost of Yōtei's release, the developer added. Sucker Punch previously said it is going to ensure Ghost of Yōtei has a less repetitive open world compared to its predecessor, with criticisms for Ghost of Tsushima often directed at its somewhat repetitive activities, so this remark is in keeping with the studio's overall plan for the sequel. Those interested in pre-ordering Ghost of Yōtei will be able to do so from next week, with those pre-orders starting on 2nd May (how is it May next week?!). As is the case with many releases these days, there will be a number of different editions to choose from. Regardless of which edition you plump for, those who do pre-order will receive a unique in-game mask, as well as a set of seven PSN avatars featuring concept art of Atsu and each member of the Yōtei Six (see below). Image credit: PlayStation Anyway, onto those editions, and what they include. The standard edition of Ghost of Yōtei which includes the game (obviously) will retail for £69.99 / €79.99. This edition will be available at certain retailers or via the PlayStation Store. A Digital Deluxe Edition of Ghost of Yōtei will also be available for £79.99 / €89.99. This chap will have the game itself, as well as some bonuses such as The Snake's armor set and an alternate dye for your starting armour. Ghost of Yōtei's Digital Deluxe Edition will also come with a unique horse colour and unique saddle dye, as well as an in-game Charm, gold Sword Kit, and an early unlock of Traveler’s Maps. These will help you find statues throughout the world, which in turn will be useful for upgrading your skills. Image credit: PlayStation Lastly, Sucker Punch is releasing a Ghost of Yōtei Collector's Edition. The developer is yet to announce pricing for this edition, but we do know what it will include. Those who opt for Ghost of Yōtei Collector's Edition will get: All of the pre-order bonuses All in-game items from the Digital Deluxe Edition A digital copy of the game, as well as a replica display edition of Atsu's Ghost mask A replica of Atsu's sash, complete with the names of all six members of the Yōtei Six A replica of the Tsuba from Atsu's katana A pouch of coins Instructions to play Zeni Hajiki, a game of skill you'll play throughout Ghost of Yōtei. A foldable papercraft ginkgo tree along with a wolf at its base A set of four 5 x 7-inch art cards featuring the sash, the wolf, Atsu's Ghost mask, and our key art As a general point, an account for PlayStation Network will be required to redeem things such as digital items available via a voucher code. Image credit: PlayStation Earlier this year, Sucker Punch said it remained committed to Ghost of Yōtei's 2025 release window on PS5. There had been some speculation the studio and PlayStation may nudge it back a touch to make way for GTA 6 - a game many expect will dominate the gaming landscape when it releases this autumn (unless it gets delayed).
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    Devolver Digital lays off almost half of Reigns studio Nerial
    Devolver Digital lays off almost half of Reigns studio Nerial To "address issues around recent releases". Image credit: Nerial News by Victoria Kennedy News Reporter Published on April 23, 2025 Indie publisher Devolver Digital has cut staff at Reigns developer Nerial by 40 percent. In Devolver Digital's FY24 investor presentation, the publisher explained Nerial had "undergone a team restructure" which aimed to "address issues around recent releases and to better shape the team for future releases". Eight wholesome 2025 cosy games. Watch on YouTube In the same presentation, Devolver Digital said it had downsized its Polish studio Artificer by 50 percent early last year. "Good Shepherd / Big Fan also reduced its headcount by 50 percent + over the course of 2024," it wrote. "Overall group headcount has reduced from a peak of 303 at end 2023 to c. 270 now, including the above reductions." Nerial is one of Devolver Digital's internal studios, which it acquired in 2021. As reported by Game Developer, Nerial's Reigns franchises is one the publisher's most successful, earning over $20m in lifetime revenue across five titles. Image credit: Nerial Along with its Reigns games, Nerial is also known for its "thirst-person shooter" The Crush House (pictured below), which was released last year, as well as Card Shark. "Even though some parts might momentarily break the illusion, The Crush House maintains its shiny sheen of plastic perfection (one that hides a dark, sickly goo inside). It touches upon multiple facets of reality TV with sharp satire and wit, including the nature of the relationships we have with contestants on these shows, the industrial churn of people and their lives for our entertainment, and the truth of what's captured on screen impacting what's happening when the cameras are off," reads Eurogamer's four star The Crush House review. "You'll definitely want to tune in for this one." Image credit: Devolver Digital As for Card Shark, here is what Christian Donlan had to say about it: "Card Shark is brilliant. It's a game about card games, but it isn't a card game itself - not really. It's a game about tricks, but you're in a world of con artists rather than magicians."
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    Nintendo clarifies Switch 2 GameCube controller will work with other games
    Nintendo clarifies Switch 2 GameCube controller will work with other games But it may have "issues". Image credit: Nintendo News by Tom Phillips Editor-in-Chief Published on April 23, 2025 Switch 2's GameCube controller has been the subject of some confusion since its announcement, regarding whether it would be usable with non-GameCube games on Switch 2 or not. Officially, it has been designed for use with the Nintendo GameCube - Nintendo Classics collection that will be available to Nintendo Switch Online + Expansion Pack subscribers when the console launches. But could you use a Switch 2 GameCube controller to play Mario Kart World, for example? Well, Nintendo has now provided some additional detail here - and the answer to that question is... maybe? Nintendo Switch 2 Hands-On Preview: Mario Kart World Impressions & More! Watch on YouTube "The Nintendo GameCube controller is designed for use with the Nintendo GameCube – Nintendo Classics collection of games and is an optional way to play those games," a Nintendo spokesperson stated to Nintendo Life. "Since it doesn't have all the buttons and features found in other controllers that can be used with the Nintendo Switch 2 system, there may be some issues when playing other games," Nintendo continued. "The Nintendo GameCube controller can only be used on Nintendo Switch 2 and is not compatible with Nintendo Switch." So, by the nature of confirming the Switch 2 GameCube controller may have issues with non-GameCube Switch 2 games, Nintendo is suggesting you can use it for other titles - at your peril. Hopefully, with a bit of button remapping, Mario Kart World play will be possible. And helpfully, just as Nintendo answers this question, it has placed the Nintendo GameCube controller up for sale in the UK on the official My Nintendo Store. Fancy one? It costs £59. At launch, Nintendo GameCube - Nintendo Classics will include The Legend of Zelda: The Wind Waker (the original version, so no speedy sailing!), F-Zero GX and SoulCalibur 2. Down the line, other upcoming games will include Super Mario Sunshine, Fire Emblem: Path of Radiance, Pokémon XD: Gale of Darkness, Mario Smash Football, Luigi's Mansion and Chibi-Robo! Skies of Arcadia: Legends, when? "Some of these have become quite rare to find in physical form, so it's great to see them become more widely accessible," Digital Foundry's Tom Morgan wrote in his recent look behind the scenes at how Nintendo is emulating the games, "even if we still wonder if perhaps all of this could have been achievable years ago on the original Switch".
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    PS5 classic PlayStation console background customisations return this week
    PS5 classic PlayStation console background customisations return this week My Little Sony. Image credit: Sony News by Victoria Kennedy News Reporter Published on April 23, 2025 Sony is bringing back those nostalgia-laced classic PlayStation console backgrounds for PS5 this week. If you cast your mind back to December, you will recall Sony rolling out a console update for the PS5 which added a range of custom sounds and startup options to make the console experience more akin to the likes of PlayStation consoles of times gone by. Yes, for a brief period during the festive season we could jazz up our PS5 to look like (at least, on the screen) the original PlayStation, or even a PlayStation 2, PlayStation 3, or PlayStation 4 if we so fancied. The Death of Console Exclusives Is Inevitable and I Don't Know How I Feel About It. Watch on YouTube Now, this was meant to be a limited-time thing for PS5 users, released to celebrate PlayStation's 30th anniversary. But, good news nostalgia-lovers! Due to an "overwhelmingly positive response from our community", those four console customisation options are making a return, allowing users to switch up their PS5 home screen once again. Hurrah! Thanks to an upcoming system update, those who want to do just that will soon be able to head to the PS5's Settings menu, and select Appearance. From there, they will be able to select which background era they fancy, and Bob's your uncle. Image credit: Sony As well as this welcome bit of news, this PS5 system update will also boast a new feature called Audio Focus, which aims to increase "immersion by providing presets to amplify soft sounds to meet your hearing preferences, ensuring a clearer audio experience when using headphones or headsets". Sony says this feature will support "broader accessibility in audio experiences" for PS5 users, with a range of preset options available to choose from. These will make it easier for users to distinguish sounds like in-game character dialogue, subtle sound effects and more. As laid out by Sony, PS5 users will be able to choose from the following four preset focus type options: Boost Low Pitch: Amplify low-frequency sounds like roaring engines and rumbling noises. Boost Voices: Amplify voice chats, character voices, and other middle-frequency sounds. Boost High Pitch: Amplify high-frequency sounds like footsteps and metallic noises. Boost Quiet Sounds: Amplify low-volume sounds in a wide range of frequencies. Sony said this PS5 system update will roll out globally in a phased approach. It will all begin tomorrow, 24th April. Further details can be found via the PlayStation Blog. Audio Focus UI. Watch on YouTube Elsewhere in PlayStation news, earlier today Sony and Sucker Punch announced the release date of Ghost of Yōtei. The Ghost of Tsushima sequel will launch this October on PS5.
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    Apple slapped by €500m EU fine for App Store practices that deter alternative payments, third-party stores
    Apple slapped by €500m EU fine for App Store practices that deter alternative payments, third-party stores Company says it will appeal, despite 60-day deadline to make changes. Image credit: Adobe / Eurogamer News by Tom Phillips Editor-in-Chief Published on April 23, 2025 Apple has been hit by a €500m (£429m) fine from the European Union for violations of its Digital Markets Act (DMA) - and Fortnite maker Epic Games, which has been warring with the iPhone manufacturer amidst the rollout of its own app store, has been quick to respond. Today, both Apple and Facebook owner Meta have been handed the first major penalties to come from the DMA. Apple has been slapped for App Store practices. Meanwhile, Meta must pay €200m (£172m) over its advertising policies. Issues with Apple's App Store centre on the company's policy of not allowing iPhone and iPad apps to mention or link to alternative storefronts or offers elsewhere - meaning customers are directed to spend solely via the App Store, where Apple takes its 30 percent cut. This was a key issue behind Epic Games' original beef with the iPhone maker, when it launched the first strike in its now years-long war with both Apple and Google by slipping cheaper, direct payments into Fortnite (and swiftly getting booted from the App Store and Google Play as a result). Apple has always argued that its baked-in storefront was the most secure option for users, and that opening up its systems to alternatives posed risks to itself and to customers. The company has said today it will appeal the decision. "Under the DMA, app developers distributing their apps via Apple's App Store should be able to inform customers, free of charge, of alternative offers outside the App Store, steer them to those offers and allow them to make purchases," the European Commission wrote today, announcing its verdict. "The Commission found that Apple fails to comply with this obligation. Due to a number of restrictions imposed by Apple, app developers cannot fully benefit from the advantages of alternative distribution channels outside the App Store. Similarly, consumers cannot fully benefit from alternative and cheaper offers as Apple prevents app developers from directly informing consumers of such offers. The company has failed to demonstrate that these restrictions are objectively necessary and proportionate." On top of its fine, Apple has now been ordered to "remove the technical and commercial restrictions on steering and to refrain from perpetuating the non-compliant conduct in the future" within 60 days, or risk further fines. And there's further bad news today for Apple as the European Commission has issued its preliminary findings on the company's "user choice obligations", as well as its controversial Core Technology Fee - essentially a tax on major app store developers who choose to publish their games on alternative iPhone storefronts in regions (such as the EU) where Apple has been compelled to allow them. "The Commission takes the preliminary view that Apple failed to comply with this obligation in view of the conditions it imposes on app (and app store) developers," it wrote. "Developers wanting to use alternative app distribution channels on iOS are disincentivised from doing so as this requires them to opt for business terms which include a new fee (Apple's Core Technology Fee). "Apple also introduced overly strict eligibility requirements, hampering developers' ability to distribute their apps through alternative channels. Finally, Apple makes it overly burdensome and confusing for end users to install apps when using such alternative app distribution channels." These findings have now been passed to Apple, before further action is taken. Eurogamer has contacted Apple for comment. "Apple is breaking the law by imposing illegal fees, scare screens and restrictions on purchases made outside the App Store," Epic Games said in a statement today, meanwhile. "Apple's pattern of malicious compliance must end the following technical and commercial restrictions: "Apple must allow apps downloaded from the App Store to steer customers to third party stores. Apple must not charge any fees on purchases that are made outside of an app. Apple must eliminate restrictions on the language, style and flow that developers can use to link to their website or to access an alternative payment system. In simple words: Apple must end the scare screens they pop up in front of Epic Games Store to deter customers from doing business with us. "Apple must not track, surveil, or require developers to send Apple data about purchases that consumers make outside apps. Apple must allow developers to advertise lower prices and communicate directly with their customers." Back in January, the UK's Competition and Markets Authority announced a similar investigation into both Apple and Google, backed by fresh powers granted under the recent Digital Markets, Competition and Consumer Act.
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    Forza Horizon 5 on PS5 Pro delivers the best console experience
    Forza Horizon 5 is a truly superb game. This racer packs an enormous amount of content into stunning open-world environments, spanning regions of Mexico and a Hot Wheels paradise in the sky. It's a top-notch effort from Playground that's only been available on Xbox and PC, but porting powerhouse Panic Button has just delivered a version of the game for PS5 and PS5 Pro, even sporting RT boosts for Pro users. Is this the definitive Forza Horizon experience on console? The broad strokes of Forza Horizon 5's presentation remain unchanged in the move from Series X to PS5, with a 60fps performance mode and a 30fps quality mode. Flipping back and forth between Series X and PS5, there's virtually no visual distinction, with identical foliage placement, matching terrain and very similar image quality. I'd really struggle to tell the difference between the two platforms in almost any circumstance. That error-free rendition of Forza Horizon 5 is actually a pretty great accomplishment, given that this engine has never run on PlayStation before. Pixel counts aren't especially important here, as both consoles typically reach and hold a full 4K. I did notice more evidence of DRS on PS5 in some shots in performance mode, with one example indicating an 1872p internal resolution on PS5 and the full 2160p on Series X, though I don't expect this difference would be noticeable in actual gameplay. In quality mode, both consoles are locked to a full 4K throughout. Forza Horizon 5 rolls onto PS5 and PS5 Pro in style. Here's the report from Oliver. Watch on YouTube While there are few changes from Series X to PS5, your choice of mode is fairly impactful with more substantial visual differences between quality and performance than we typically see in current-gen releases. The quality mode packs a greater density of assets, stuffing a lot more foliage into every frame. Textures have more layers, and often have high-quality parallax occlusion maps to add additional detail. Pop-in also tends to be much less of a concern, as high-detail versions of the game's assets stretch far into the distance. Mexico's sprawling views look quite a bit better in quality mode, especially in the shrubby desert that typifies much of the game's landmass. Most console games rely on resolution changes to optimise their performance and quality modes, but Forza depends on visual settings tweaks instead. Image quality across the modes remains similar, though the tradeoff in environment detail is pretty large. It might have been possible to retain the frame-rate of the performance mode with the extended visual quality of the quality mode by using upsampling like FSR 2 instead of the game's default 4x MSAA, though there are image quality tradeoffs between temporal techniques and MSAA in this game. In frame-rate terms, both modes are essentially impeccable, offering a consistent 60fps and 30fps update in typical play. That's not too surprising, considering how well the game operates on the Xbox platforms, but it's still an impressive feat for how attractive the game is. Pre-rendered movies continue to run at 30fps in both modes, however. To see this content please enable targeting cookies. I did notice two small oddities though. The game's save size - even for a brand new save - is massive, clocking in at over 2GB. There's only one save per account so this isn't that big of a deal, but it's a lot larger than any other save on my PS5 consoles and much bigger than saves from the Series X version of the game. The game's car physics also seem to differ slightly depending on the mode. If you let the game run out of a cutscene with zero controller input, the car rolls further in quality mode than it does in performance mode, perhaps due to the differing frame-rates. This also appears to be the case on Xbox consoles, so it's not a new quirk on PS5 machines. PS5 Pro actually offers some pretty interesting enhancements over the base console, which are most compelling in the game's performance mode. There's a huge difference in the game's foliage. Note the denser and more vibrant greenery in these shots, with bushes and grasses and ferns that just aren't present on the base machine. Plus, further into the distance, the foliage that is rendered often shows a higher-detail variant relative to the base console, with less visible pop-in. Of course, when you're barreling through races at speed the advantage on Pro is less palpable. But the difference in density and pop-in is still obvious and highly appreciated. The Pro performance mode is essentially a match in foliage rendering for the PS5 quality mode in my comparisons, with an equally lavish depiction of flora detail. That's a great development, given that was the big advantage the quality mode used to have over the performance mode. It's not exactly the same - the game's very cool cone step mapping on building exteriors is a quality mode-only feature, for instance. But in typical play, the two modes look quite similar. PS5 Pro offers a noticeable step up in fidelity over PS5 (and therefore Xbox Series X), especially in performance mode. For example, foliage is denser, more vibrant and is shown further into the distance, mirroring the settings seen on PS5's quality mode at double the frame-rate. | Image credit: Digital Foundry Beyond that change, the PS5 and Pro in their respective performance modes appear much the same. Resolution is pretty close as well, though Pro has the advantage here - in the shot where the base machine got pulled to 1872p, the Pro managed to hold a native 2160p. It's not especially apparent in real-world gameplay in either case, but it does show that Sony's enhanced machine is pulling this off with frame-time to spare. The quality mode on Pro is bound to be a little more controversial. In most respects, it's identical to its base PS5 counterpart, with similar-looking tweakables in my comparison shots. But there is one key point of differentiation - ray-traced vehicle self-reflections during gameplay. Essentially, the player vehicle can now feature reflections of itself, which are layered on top of the game's real-time cubemap reflections. This is most obvious around mirrors and other protrusions, and cars with chrome or other shiny surfaces. Opposing cars don't seem to get this treatment, only the player vehicle. The garage and Forzavista feature these reflections on PS5, but they aren't applied during gameplay. If you go looking for the effect, it is noticeable I would say, even if it isn't especially visually impactful. Most of the game's reflections, though, are still based on other techniques. Their deficits aren't all that noticeable at the typical pace of play in Forza, so it's not like you're losing out on too much in the way of fidelity here. Still, I would have loved a more comprehensive solution for RT reflections - perhaps like the one in Forza Motorsport - though that would probably be outside the scope of a port like this. Outside of that improvement, the two consoles look essentially identical, matching in every significant respect in my testing. That includes resolution, as both machines seem locked to a full 4K pixel count. Frame-rates on both modes are also just as they were on PS5, which is to say that they reach their respective targets without drops. Expect a locked 30fps in quality mode, with the performance mode holding a steady 60. Here are two examples of the self-reflections possible on PS5 Pro's quality mode versus the quality mode on the standard PS5. | Image credit: Digital Foundry There is one curious issue on PS5 Pro though in the current patch. If you turn on the game's photo mode in quality mode on PS5 Pro during a race event, the game crashes. I was able to replicate this behaviour several times during multiple races, so I suspect this is an issue across the game. The Pro performance mode doesn't bear this issue, nor does the base machine in either of its modes. Forza Horizon 5 is an excellent title that is still one of the best-looking racing games ever made. Nothing really comes close to the level of raw environmental fidelity that Forza Horizon 5 so effortlessly accomplishes across its vast open world. Plus, the car models look great, lighting quality is excellent, and performance is typically impeccable across its target platforms. Panic Button's porting effort certainly does the job too, though the base PS5 essentially comes in exactly as expected. Relative to Series X, it's a near-perfect match. That's not a bad thing at all, as the port is consistently high quality and arrives without significant issues. The Pro is really where the action is at here, specifically in its performance mode. Getting quality mode foliage at performance mode frame-rates is a huge bonus for Pro users, and provides a big visual boost over the base machine. It's likely the base console could have achieved something similar with a hit to resolution, but this is essentially a compromise-free experience that still typically runs at a full 4K. PS5 Pro's quality mode is less appealing, just because the added RT makes a minimal difference in most gameplay. Regardless, Forza Horizon 5 is a great port on Sony's current-gen consoles. Hopefully we'll see more from this series soon, but for now this is a great way to enjoy this genre-defining title.
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    The Last of Us Part 2 Abby actress reflects on "intense" reaction, TV series story changes
    The Last of Us Part 2 Abby actress reflects on "intense" reaction, TV series story changes "A very rough period of time." Image credit: HBO/Naughty Dog/Eurogamer News by Victoria Kennedy News Reporter Published on April 23, 2025 Laura Bailey, who played Abby Anderson in The Last of Us Part 2, believes HBO made the right call changing several key points in the TV adaptation. Please note, there will be spoilers for The Last of Us below. 9 Exciting 2025 Open-World Games We Can't Wait to Play. Watch on YouTube Earlier this week, the second episode of The Last of Us' second season aired. While much of the episode's run time was made up of the infected's attack on Jackson, there was one particular moment that left fans of the series in shock: Joel's death. As in the video game it is based on, in HBO's adaptation Joel - played by Pedro Pascal - is killed by new character Abby with a golf club, following a harrowing and bloody beating. While Abby's reasons for killing Joel are not explained until much later in the game's narrative, resulting in a surprising twist for players, HBO's showrunners decided to change this, laying out Abby's intentions from the beginning. The second series begins with Kaitlyn Dever's Abby mourning the loss of her fellow Fireflies following Joel's rampage at the end of season one, vowing to kill him for what he has done. Now, Bailey has spoken about the changes in the script, stating she believes them to be a wise choice by the showrunners. Image credit: Eurogamer When it first leaked that Abby kills Joel in The Last of Us Part 2, Bailey received online abuse and death threats aimed at herself and her son. "Every time I went online, that's all I saw. Death threats and threats of violence," she said in the behind-the-scenes documentary, Grounded 2: Making The Last of Us Part 2, which was released in February last year. Now speaking with Vulture, Bailey says she feels it was a good decision by the showrunners to brace viewers for Joel's fate ahead of the event itself. "I think that's why HBO is doing what they're doing," she said. "You're prepared for it." Bailey called her own experiences with the online abuse "a very rough period of time" for her. "I knew it was going to be intense. I knew it was going to be controversial," the Abby actress said. "But I was still so excited to share it with the world, because I poured so much into that performance, and I was really proud of it. So to get that reaction right away was really tough. I don't think anybody predicted what the fallout would be from it. I was not prepared. But I don't think anybody on the team was." Bailey admitted there is still a part of her that is anxious Joel's TV death will stir things up again, and while things have "definitely calmed down" in the five years since The Last of Us Part 2's first release, "there's definitely still a contingent of people that have not calmed down" from the events of the game. "You know, anytime anything gets posted about [The Last of Us Part 2], or anytime I post anything random, there's going to be at least one comment from somebody," Bailey revealed. "And I honestly don't know: Is it just the same hundred people that keep commenting? And they just won't let go? It's one of the reasons I don't really post on social media anymore. I don't want to say I was scared away from it, because I don't think that's what it was. It just kind of made me more guarded, you know?" Image credit: HBO Image credit: Naughty Dog Naughty Dog and HBO have already confirmed The Last of Us will be back for a third season, with showrunner Craig Mazin stating: "We approached season two with the goal of creating something we could be proud of. The end results have exceeded even our most ambitious goals." For more, you can check out my feature on the show's latest episode: Joel dominates headlines, but it's Tommy who shines in The Last of Us season 2 episode two.
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    The Elder Scrolls 4: Oblivion Remastered off to a good start on Steam
    Who would have suspected Bethesda to shadow drop Oblivion yesterday! Well, quite a lot of us, in fact. Read more
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    Old Skies review
    Old Skies review Fia effect. Image credit: Eurogamer/Wadjet Eye Games Review by Matt Wales News Reporter Published on April 23, 2025 Acclaimed point-and-click studio Wadjet Eye's gently paced, time-travelling genre-hopper blends elegant puzzling and intricate, affecting storytelling to beautiful effect. As a dead poet once famously wrote (in this timeline, at least), "No man is an island, entire of itself". But what if you were? What if you were a single unmoving point in an ever-churning ocean of temporal uncertainty; where everything you knew, everything you loved, could suddenly cease to exist - to have never existed - in the blink of an eye? Who would you be in a world without constants or connections, and who might you become? Old Skies review Developer: Wadjet Eye Games Publisher: Wadjet Eye Games Platform: Played on PC (Steam) Availability:Out 23rd April on Switch and PC (Steam, GOG). Welcome to the far-flung future of Old Skies, where reality is in constant flux thanks to the commodification and corporatisation of time travel. For the right price, anyone can go back in time and interfere with history; righting wrongs, wronging rights, even saving the dead – just as long as its impact on the future isn't deemed too great. Here, whole histories can be unwritten and rewritten in an instant; people can pop out of existence, great works of art can be unmade, wars can be unwon, and entire skylines can change multiple times a day. And anchored unchanging within this temporal chaos is time agent Fia Quinn and her colleagues at the ChronoZen agency, striving to maintain some semblance of identity in this ephemeral churn. Watch on YouTube It's a wonderfully compelling – and existentially terrifying – starting point for Old Skies, the latest from indie developer Wadjet Eye Games, a studio you'll almost certainly be familiar with if you're a point-and-click fan. Wadjet Eye has been crafting critically acclaimed narrative adventures in the classic 90s mold since 2006, starting with its now five-part Blackwell saga (of which Old Skies shares a universe) through to 2018's Unavowed. The latter was particularly remarkable; an extraordinarily ambitious, RPG-inspired spin on the genre, delivering a malleable urban fantasy adventure in which whole chapters could shift depending on who you chose to be and the characters you brought along. Old Skies, though – perhaps surprisingly, given its thematic focus on the choices we make and the impact they have - dials back on its predecessor's ambitious design, instead following a largely fixed path, with seemingly only a few minor choices rippling out across the rest of the game. Image credit: Eurogamer/Wadjet Eye Games Old Skies builds its narrative around half a dozen or so several-hour-long excursions to different time periods, all essentially working as complete stories as Fia attempts to fulfil each of her ChronoZen clients' demands. It's an anthology approach that initially feels a little unfocussed as storylines wrap up and characters depart just as you're beginning to settle into them, but Old Skies slowly coalesces into a more intricate whole, clear parallels forming between Fia's excursions and her own emotional journey. But even ignoring the bigger picture, Wadjet Eye has crafted a series of wonderful stories here. Each begins with a request; a client wants to learn a secret from a long-dead hero, or recover a lost great work of art, or perhaps revisit a treasured memory before they die - but rarely do these tales follow a predictable path. There's romance, mystery, farce, intrigue, subterfuge, and even a spot of murder as Old Skies gamely leaps between genres - often multiple times within each tale - and Fia hurtles through New York's history, each era brought to life by a wonderful jazz noir soundtrack, and some beautifully evocative art. This is Wadjet Eye's first HD game (three times the resolution of Unavowed, its marketing material exclaims!) and the studio doesn't waste a pixel as its story leaps from its gleaming, pink-skied vision of the future to the cobblestone streets of the 1870s; from the smoke-wrapped speakeasies of Prohibition era 1920s to a New York in the shadow of the Twin Towers on 10th September 2001, and beyond. It's lovely stuff, invoking the spirit of each era rather than attempting to slavishly replicate them. Image credit: Eurogamer/Wadjet Eye Games Unusually, even refreshingly, Old Skies' interest in time travel isn't a particularly philosophical one. Rather than using the past and future to interrogate the present as is often the case with these kinds of things, Wadjet Eye's interest lies at a far more intimate level, its focus firmly on the human stories, and the centuries-spanning tapestry of emotional connections, at the heart of its narrative – a focus it sometimes uses to devastating effect. Even the specific time periods Fia visits aren't especially critical to the narrative beyond their basic chronology (aside from perhaps the symbolism of its Twin Towers segment, an affecting chapter handled with tenderness and tact), merely serving as evocative background texture for its diverse selection of tales. But that's not to say Wadjet Eye doesn't have fun exploring the possibilities of time travel, and that's felt especially keenly within the playful chronology of its individual stories and its elegantly intertwining puzzle design. At its most basic, Old Skies follows the point-and-click genre's familiar rhythms of kleptomaniacal object acquisition and incessant NPC bothering to propel players through its tale. But Wadjet Eye uses its well-honed design instincts to streamline the experience (the roll-over 'look at' descriptions are a nicely efficient touch) then build out from there, introducing elements of clue-gathering, cross-referencing, and reasoning that provide an unexpectedly strong investigatory focus. You'll pick locks, converse with characters, mooch through emails, crack codes, and amass useful objects to uncover new leads. And at the centre of it all is the Historical Archive; a grand database of literally everything that ever was or ever will be. Image credit: Eurogamer/Wadjet Eye Games This repository of lives, deaths, notable achievements, and familial ties can be accessed using keywords gleaned over the course of each trip and provides a focal point of sorts for Fia's investigations. There's a bit of smoke and mirrors here - the entries you're able to search are always tightly regulated, and the archive is used sparingly - but it's incorporated into the broader puzzling loop brilliantly. It pushes you toward new conversations, new locations, new possibilities, and eventually back to the archive, with Wadjet Eye frequently engineering situations where you'll need to puzzle your way to uncovering new keywords – sleuthing out a first name to go with a surname found on a screwed up bit of paper in a bin, perhaps – before you can proceed. It feels like proper detective work and, from a story telling perspective, lends your actions an unexpected sense of weight whenever you log back into the archive and discover a person's entire timeline has changed. Old Skies plays around with time in other entertaining ways too. There's a spot of paradoxical puzzling, for instance, and a few chapters that splinter across multiple timelines as players hop between past and future versions of the same locations in order to manipulate events and achieve their goals. Old Skies strikes an effective balance between different modes of puzzling, and while it's never a particularly difficult adventure, foregoing friction in favour of consistently paced storytelling, it's generally a rewarding one – offering a clear sense of puzzle logic that makes for satisfying solutions. Image credit: Eurogamer/Wadjet Eye Games Old Skies accessibility options Subtitle toggle; speech text size options; auto-advance text toggle; music, voice, and SFX volume controls; mouse and controller support. Where things start to come a little undone, though, is Old Skies' big time loop set pieces. Fia and her clients are essentially time locked while travelling, meaning fatalities are easily reversed by ChronoZen HQ. And with death no longer a hindrance, Wadjet Eye positively delights in peril, intermittently bringing Fia's adventures to an end in a spray of bullets or with a well-hurled meat cleaver. Conceptually, these crescendo moments are lovely stuff, building puzzles around foreknowledge gained after the fact in classic time travel fashion. By observing, interacting, and exhausting dialogue options before Fia's demise, players can gain new knowledge to exploit on their next loop around, perhaps finding a hiding spot or laying a trap where the killer will tread. It almost works, but Wadjet Eye struggles to offset the inherent tension-sapping repetition of these trial-and-error sequences, and aside from a smartly structured closing effort - one of the few with sensible checkpointing – they can feel a bit of a chore. Thankfully, these moments are relatively sporadic, and only a minor blemish on an otherwise strong game. Old Skies might not reach the dazzlingly ambitious highs of Wadjet Eye's remarkable Unavowed, but then it doesn't try to – instead building its quieter, gentler adventure around some bold narrative swings. It doesn't always work – its enthusiastic cast occasionally struggles to bring emotional authenticity to Old Skies' more challenging moments – but it succeeds far more often than it flounders over its 18-ish-hour runtime. It's beautifully written, intricately structured, and shows real elegance of design; that it does all this while turning its existentially bleak, high concept premise into a gorgeous, deeply human, and surprisingly moving tale of love, loss, and the legacies we leave is all the more impressive. A copy of Old Skies was provided for review by Wadjet Eye Games.
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    Bethesda say no official mod support for its Oblivion remaster
    Bethesda say no official mod support for its Oblivion remaster As game rockets to top of Steam charts. Image credit: Bethesda News by Matt Wales News Reporter Published on April 22, 2025 After years of leaks, Bethesda's Oblivion remaster is finally here and it's already going down a storm - if its place at the top of Steam's best-sellers list is any indication. However, Bethesda has now shared one bit of potentially disappointing news, confirming there'll be no official mod support for its fancy new Oblivion. Bethesda has, of course, long been a strong proponent of the modding scene - part of the reason many of its games have remained so popular years after their launch - going as far as to release official modding tools, AKA Creation Kits, for the likes of Skyrim, Fallout 4, and Starfield. That won't be the case for Bethesda's newly shadow-dropped Oblivion remaster, however, with the developer confirming the news in an FAQ on its website, simply writing, "Mods are not supported for The Elder Scrolls 4: Oblivion Remastered." That's potentially disappointing for Xbox Series X/S and PlayStation 5 players, especially given the increasing number of Bethesda titles able to access curated mods on consoles in recent years, but what this means for PC players - if anything - is a little unclear. Modders are currently poking around the Oblivion remake's innards to see what's what under its fancy Unreal Engine 5 hat, with one redditor having already discovered the remaster's files can be opened in the original The Elder Scrolls Construction Set. The lack of official modding tools might slow things down a bit, then, but maybe not for long. The Elder Scrolls IV: Oblivion Remastered - official reveal trailer.Watch on YouTube But mods or no mods, interest in Bethesda's Oblivion remaster is clearly high. It had reached the top of Steam's best-sellers list within an hour of release (it's currently enjoying a Very Positive rating on Valve's platform, with seemingly minimal complaints so far) and that's with its £50 price tag. It's also available as part of a Game Pass subscription on Xbox and PC. One group that won't be forking out for the remaster, however, is the team behind the Skyblivion fan modding project, which has spent the last few years remaking Oblivion in the Skyrim engine. It recently confirmed Bethesda's official remaster "changes nothing" as far as its own release plans go - and it took to social media earlier today, revealing Bethesda had just given game keys to the entire modding team.
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    Sega's OutRun getting movie adaptation from Michael Bay and Sydney Sweeney
    Sega's OutRun getting movie adaptation from Michael Bay and Sydney Sweeney Va Va Vroom. Image credit: Sega/Eurogamer News by Victoria Kennedy News Reporter Published on April 22, 2025 OutRun is the next video game to be reportedly getting itself a movie adaptation. As revealed by Deadline, sources say Universal is planning to release a film based on Sega's arcade video game, with with Michael Bay - known for the likes of Bad Boys, The Rock ("Welcome to The Rock!") and the first five films in the Transformers film series - acting as director. Meanwhile, Euphoria and The White Lotus actress Sydney Sweeney is attached to produce the film, with Jayson Rothwell on writing duties. Rothwell's previous credits include Polar (2019), Silent Night (2012) and Zemanovaload (2005). To see this content please enable targeting cookies. Fixed Camera Angles in Horror Games Are Scarier - Hear Me Out... Watch on YouTube At the time of writing, further details are fairly thin on the ground. In the words of Deadline, "plot details are vague". Given its source material, though, we can assume that it will have something to do with racing. Perhaps, more specifically, racing in a Ferrari. Eurogamer's former editor-in-chief Martin Robinson wrote a feature dedicated to OutRun back in 2019. "I've made OutRun's journey countless times over the years, whether that's in one of Shenmue's virtual Hong Kong arcades, via M2's phenomenal 3DS port or more recently its Switch effort," he wrote in his snappily titled article OutRun is still the pinnacle of driving games. "Such platforms can only deliver a sliver of the full experience, though - playing OutRun on the deluxe cabinet is a revelation. It's an all-body experience, a kind of funky alternative to virtual reality that plays to all of your senses." Elsewhere in video game to big screen news, earlier this month a new teaser trailer for Five Nights at Freddy's 2 was revealed. Additionally back in January, Sony announced Horizon Zero Dawn and Helldivers 2 were both being adapted into films.
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    Bethesda reveals The Elder Scrolls 4: Oblivion Remastered, and it's available now
    Bethesda reveals The Elder Scrolls 4: Oblivion Remastered, and it's available now Deluxe Edition includes new horse armour. Image credit: Bethesda News by Tom Phillips Editor-in-Chief Published on April 22, 2025 Bethesda has finally lifted the lid on The Elder Scrolls 4: Oblivion Remastered, shown off its shiny new gameplay - and launched it to play now. In a video posted this afternoon, we've got our first official look at the new Oblivion after weeks of leaks, blurry screenshots and other teases of information. Oblivion has been remade by port developer Virtuos' Paris studio, in collaboration with Bethesda, and this new version is a ground-up remake built in Unreal Engine 5, designed to run at 4K 60fps. The Elder Scrolls 4: Oblivion Remake reveal video.Watch on YouTube Oblivion Remake includes story expansions The Shivering Isles and The Knights of the Nine, as well as various other bits and pieces from the previous Remastered edition: the Fighter's Stronghold expansion, Spell Tome Treasures, Vile Lair, Mehrune's Razor, The Thieves Den, Wizard's Tower, Orrery, and Horse Pack Armour. You can purchase it now for PC via Steam and the Microsoft Store, on PlayStation 5 and Xbox Series X/S. It's also on Game Pass (PC and Ultimate). The base game costs £50, or £60 for a Deluxe Edition. If you're on PC, you can also buy a Steam code from Fanatical for £41.49 / $41.49 as well, a 17% saving. The Deluxe Edition includes "new quests for unique Akatosh and Mehrunes Dagon armour, weapons and horse armour sets", because of course, plus access to an artbook and soundtrack app. Changes include a refreshed levelling system inspired by Skyrim, additional dialogue (including unique voices for the game's various races) and more modern controls - including sprinting, which Bethesda says was something the team debated over adding, but ultimately decided was required in a modern game. Eurogamer's video team reacts to The Elder Scrolls 4: Oblivion Remastered reveal.Watch on YouTube On PC, you'll need 125GB of storage, and 16GB RAM to run the game. Minimum specs suggest you'll want an AMD Ryzen 5 2600X or Intel Core i7-6800K processor and either an AMD Radeon RX5700 or Nvidia GeForce 1070 Ti graphics card. Recommended specs ask for 32GB RAM, an AMD Ryzen 5 3600X or Intel Core i5-10600K processor, and either an AMD Radeon RX 6800XT or Nvidia RTX 2080 graphics card. "Obviously we're working on the sixth chapter here," Bethesda boss Todd Howard said in today's video, "but what's great about The Elder Scrolls is being able to look back at all of the chapters: Skyrim, Morrowind, Oblivion, Daggerfall, Arena. Each of them try to define role-playing games and open-world games for their generation. "Oblivion was a real defining moment in the series and how we make games as a studio."
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    "Most" Days Gone Remastered accessibility features coming to PC
    "Most" Days Gone Remastered accessibility features coming to PC Freaker in the sheets. Image credit: Bend News by Victoria Kennedy News Reporter Published on April 22, 2025 Bend Studio has announced "most" of the new accessibility features arriving with Days Gone Remastered are coming to PC as well. Days Gone Remastered is set to release on PS5 and PC later this week, on 25th April. Along with souped-up visuals, there are fresh Permadeath and Speedrun modes all waiting for players to enjoy on the game's release. Additionally, the team has included some new accessibility features for the remastered version of Days Gone. The Death of Console Exclusives Is Inevitable and I Don't Know How I Feel About It. Watch on YouTube "One of the biggest accessibility expansions coming to Days Gone Remastered is a fully customisable High Contrast Mode," wrote Bend Studio's Kevin McAllister, with the developer stating this "pairs with our High Contrast HUD that was implemented in the original game to assist with easier navigation and visibility". Players will be able to make the most of this feature from the off, with subtitles, High Contrast Mode and more options available via Days Gone Remastered's initial setup screen, which is another new addition. Speaking of subtitles, the development team has added 11 colours for users to choose from. These can be mixed and matched for things like the speaker's name and the subtitle text. Subtitle backgrounds can also be changed, with Bend adding more options for users than before. "Now, you can select between default (transparent), darkened, light, and black," McAllister explained. On the audio side of things, Bend has added UI Narration and Collectible Audio Cues for Days Gone Remastered. Image credit: Bend "At Bend Studio, we strive to create experiences that leave a lasting impact on our players," McAllister closed. "The pursuit of allowing players of all abilities to share our joy of play together inspires our work every day. We hope you enjoy the definitive version of our open world epic, and we can't wait to see you hop on the Drifter bike and experience all Days Gone Remastered has to offer." Those on PC who want to make the most of these new features will need to update their game to a version higher than Build ID 10034136 via Patch 1.08. The developer added that UI Narration is not supported for Broken Road DLC on PC. Meanwhile, users will need to make sure they have a compatible controller for things such as haptic feedback and customised controls. You can find further information on the PlayStation Blog. Image credit: Bend Not played Days Gone for yourself yet? Our review from 2019 complimented its "frequently gorgeous" open world, however noted the game could often be "generic" and one that "runs out of steam well before its extended play-time is over". "I wasn't expecting Days Gone to add anything new to the genre, but both in terms of its systems and its story it's uninspired, which is driven home by the fact that it's endlessly, needlessly long," Malindy Hetfeld wrote in Eurogamer's original Days Gone review. "I'm begging you, haven't we done this enough?"
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    Steve's Lava Chicken song from A Minecraft Movie goes viral, enters UK chart
    L-l-l-lava. Ch-ch-ch-chicken. Steve's Lava Chicken is tasty as hell. Read more
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    Even in the shadow of Skyrim's mountains, The Elder Scrolls 4: Oblivion still matters
    The Emperor Uriel Septim 7 is looking at me with a confidence I haven't earned in the ten minutes since he busted me out of his own prison. His uncomfortably fervent eye contact is only amplified by the crash-zoom Bethesda employs to bring us into conversation - pulling my own face from halfway across the city sewer to within a few inches of his. "Close shut the jaws of Oblivion," he intones in the voice of Patrick Stewart. He's still staring when, a few moments later, he's struck down by an assassin. Uriel's final words ring in my ears the next time I visit the Imperial City - not for their great portent, but for the irony. After a few days of haphazard adventuring in the surrounding countryside, I've been arrested. The night before, I'd spotted a row of wine bottles in a roadside inn and couldn't resist sweeping them off the shelf and down the stairs. The act was witnessed by the local black market dealer who, presumably grateful for the distraction from his own activities, flagged down a passing soldier. Now I'm waking up back where I started, as the guards close shut the jaws of jail. Watch on YouTube This is The Elder Scrolls 4: Oblivion, a chosen-one story that gives you an unusual amount of latitude to choose what happens along the way. A grand and absurd simulatory playground that defined RPGs for a generation. If you belong to one of the generations that came along in the two decades since, you might wonder why it meant so much to so many. What once was slick now looks clunky. Oblivion's first-person combat comes without a parry button, and a dodge-roll unlocked so late that many never knew it existed. Nostalgists talk fondly of sneaking into merchants' stores after dark to rinse their display cabinets, yet Oblivion's stealth systems are so basic and binary that NPCs don't even have a searching state - trailing behind the artificial intelligence of Thief: The Dark Project, released almost eight years prior. Then there's the no-frills dialogue, delivered by a pool of voice actors so small they could scarcely populate a village without doubling up, let alone a country. But more than any other game, Oblivion ushered in the multi-platform era that has shaped our medium ever since. After the freak success of a Morrowind port on the original Xbox, and facing the new power of the 360 and PS3, Bethesda found itself uniquely placed to fuse the two worlds of PC and console. The latter had, until that point, been largely dominated by Japanese role-playing games - but Oblivion was fuelled by a computer RPG design philosophy that valued player agency and freedom of exploration over tightly-plotted shenanigans with gods. It was an approach that suited the expanding draw distances of the nascent open-world genre, and captured the imaginations of the mainstream - even as Bethesda handed them a mortar and pestle and asked them to smash flowers together. The original Oblivion is clearly dated, but the lush environments still captivate. | Image credit: Bethesda / Eurogamer Oblivion's dev team were willing alchemists themselves, investing in graphical heft and full voice acting without sacrificing too much in the way of simulation - even incorporating the idea of a living world into their marketing pitch. Being a western RPG fan in the early noughties had meant accepting certain tradeoffs, but Oblivion promised we could have it all: the immediacy of first-person shooters, and the flexibility to pick our own path that had previously been associated with desktop and tabletop role-playing. All of this was wrapped in a fantasy readily digestible by the masses - still grudgingly coming to terms with nerd culture's hold on the entertainment industry. There's no understanding Oblivion without talking about Tolkien. Peter Jackson's Lord of the Rings trilogy was fresh in the public imagination, and the setting of Cyrodiil was exactly the right shade of green and temperate land to evoke Rohan and the Shire. The signature Ayleid ruins that dotted Oblivion's fields and forests, gleaming like bone, bore a striking resemblance to the ivory arches of Minas Tirith - while the turquoise-tinted glow of the dungeons below resembled the Doors of Durin that guarded the way to Khazad-dûm. What's more, the enemies of Oblivion were skeletons, demons and goblins - unapologetic high fantasy archetypes which stood in contrast to the ash creatures and cliff racers of oddball Morrowind. Some RPG veterans may have balked at the old tropes, but Bethesda embraced the challenge of making the familiar new through sheer fidelity and first-person immersion. If Oblivion was vanilla, it was to be made with the finest Madagascan pods and taste better than ever. This kind of visual jank may well be ironed out in the remake. | Image credit: Bethesda / Eurogamer Today, with nearly 20 years of checklist-chasing open worlds in the rear-view mirror, Oblivion no longer seems as safe and crowd-pleasing as it once did. It is a catalogue of extraordinary quirks, belonging as much in conversation with Dragon's Dogma 2 as with The Witcher 3. This is a game in which you can be shot with an arrow and find yourself suddenly overencumbered, until you pluck the offending missile out of your inventory or fire it back. In which you quite literally learn from your mistakes - gaining experience in armour when a wolf tears past your shield and rips at the leather on your chest, and in acrobatics when you trip off a cliff and survive the fall. Oblivion's dungeons are a celebration of physics and its wibbly-wobbly possibilities. Spot a tripwire before you stumble into it, and you've gained a trap of your own - one you can set off by slicing the thread with your own weapon, sending a cartload of logs barrelling into the necromancer you've tempted over from the next room. Those Ayleid ruins, meanwhile, are riddled with precious stones placed high out of your reach. Figuring out the trickshots to knock them from their perch will make you rich. The stones can also be used to absorb mana - useful if you've picked the marvellously counterintuitive Atronach birthsign, which leaves you unable to regenerate magic naturally. Atronachs must take their power from other sources - leaping into the trajectory of enemy fireballs to bask in their borrowed energy. They're not so far away from Fallout 76's newly playable ghouls, who bathe in the same radiation that kills their peers. The atmosphere in Oblivion's locations is thick. | Image credit: Bethesda / Eurogamer Combat in Cyrodiil is more tactical than you might remember: an exercise in reprogramming your opponents through the use of poisons. Catch a distant wizard with an arrowhead dipped in intelligence-draining potion and they'll be reduced to waving daggers around; seep a fatiguing venom into the blood of a goblin and you can watch as the stat change takes effect - slowing the frenetic swing of their arms just enough for you to start returning blows during the interludes. There's something about Oblivion's tone, too, when played in 2025 - strikingly earnest and disarmingly uncynical. When you first level up, you're met with the realisation that, "all your life, you have been coasting along as if you were in a dream. Suddenly, facing the trials of the last few days, you have come alive." The wide-eyed wonder starts to fade, of course, and that's when Oblivion is at its weakest - as you begin to feel the imperfect level-scaling at work among your enemies, and start to see the pattern to the dungeons. The latter wouldn't become more varied until Bethesda made a concerted effort to reduce identikit room designs in Fallout 3 - which leaves Oblivion gates in particular feeling like a chore. I'll close shut those jaws in a bit, Uriel, I swear. After I've unloaded the dishwasher. Some of these mid-game flaws will surely be addressed by the upcoming remaster; some likely cannot. Nevertheless, the messy magic of Oblivion remains. There comes a moment when, high in the hills of County Chorrol and newly infected with a Latin-sounding disease I worry might progress into vampirism, I turn back and spy the White-Gold Imperial tower on the horizon. And consider that, in all the days of walking and riding since leaving those sewers, I've never once been bored.
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    Ace Attorney developer responds as AI research pits various models against original game with mixed results
    Ace Attorney developer responds as AI research pits various models against original game with mixed results "It's supposed to be simple for a human." Image credit: Capcom News by Tom Phillips Editor-in-Chief Published on April 22, 2025 A developer who worked on Phoenix Wright: Ace Attorney has commented on recent research that pitted various AI models against the classic courtroom series' first installment. As reported by Automaton, Hao AI Lab used Ace Attorney to try and benchmark four AI models' memory, reasoning skills, visual understanding and strategic decision-making - with some performing better than others. While none of the AI models managed to beat the game, Google Gemini and Open AI's o1 managed to reason their way through to its penultimate episode. "This index uses Ace Attorney to evaluate the AI's practical ability to 'find inconsistencies in testimony, select appropriate evidence to support them, and refute them most effectively'," AI researcher K Ishi wrote. "As a result, the best 'lawyer' was o1." The research was designed to test each AI's ability to consider "the entire flow of the case and make decisions without being limited to current testimony", Ishi added, as well as having the "ability to consider the timing of 'meaningful' situations and create the most effective strategy". Each AI's understanding would also have to remain flexible enough to react to fresh evidence coming to light mid-trial, he continued. You can watch each of the four AI models tested play the game via the video in the embed below. To see this content please enable targeting cookies. "How should I put this, I never thought the game I worked on so desperately 25 years ago would come to be used in this way, and overseas at that (laughs)," wrote Ace Attorney developer Masakazu Sugimori, who composed the game's soundtrack and voiced antagonist Manfred von Karma. "I find it interesting how the AI models get stumped in the first episode," Sugimori continued, in response to seeing the research. "[Ace Attorney director Shu] Takumi and [executive producer Shinji] Mikami were very particular about the difficulty level of Episode 1 - it's supposed to be simple for a human. Maybe this kind of deductive power is the strength of humans?" "The reason why Takumi and Mikami were so particular about balancing the difficulty level of Ace Attorney's first episode was because 'there was no other game like it in the world at the time'," Sugimori added. "It had to be a difficulty that would be acceptable to a wide playerbase, but it had to avoid being insultingly simple too. They were going for the kind of difficulty that gives you a sense of satisfaction when the solution hits you." And as far as we know, no AI has been programmed to feel that same sense of satisfaction - yet. Come back in five years, though, and it'll be interesting to see whether the AI models of 2030 can beat the game. Eurogamer recently visited Microsoft to see more of Muse, its generative AI game tool everyone hates. What's really going on and why is it being marketed at Xbox fans? We took a look.
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    The internet reacts to The Last of Us season two's latest episode
    The internet reacts to The Last of Us season two's latest episode Joel in one. Image credit: HBO News by Victoria Kennedy News Reporter Published on April 22, 2025 The Last of Us season two is under way, and this weekend we were treated to the second episode. 'Treated' is, perhaps, the wrong word to use here. After all, there were some pretty major story beats in this episode, and well, you know voices on the internet have opinions on what happened. Please be aware of major spoilers for The Last of Us below. The Death of Console Exclusives Is Inevitable and I Don't Know How I Feel About It. Watch on YouTube We knew it was coming, but it happened perhaps sooner than many of us expected. In the second episode of The Last of Us season two, Joel is killed by Abby. Of course, there is no bad blood at all between Pedro Pascal and Kaitlyn Dever, who play Joel and Abby on the show. Soon after the episode aired, Pascal shared a heartwarming picture of the two on set, captioning the image: "Thank you, scene partner. You little miracle." Image credit: Pedro Pascal But, while Pascal and Dever are smiling in the photo, there is no denying that the moment of Joel's death was tough, for the cast and viewers. Perhaps it was harder for those coming to the show without any prior knowledge of the source material. This user seems to think so. To see this content please enable targeting cookies. But, then again, even those who already knew Joel is killed by Abby in The Last of Us Part 2 are still pretty upset. To see this content please enable targeting cookies. Some have said they will never emotionally recover from seeing Ellie lying next to Joel's dead body at the end of the episode. "Ellie crawling to Joel’s body and cuddling up next to it.. that was way worse than the game," wrote one viewer. "Does it ever keep y'all up at night knowing how Joel was ready to end it all? to accept his fate in death, until he heard Ellie yelling for him to get up? What little energy he had left was used in trying to push himself to live for her," another viewer wrote, referring to the way Joel lifted his fingers while lying on the ground in a beaten bloody mess. "THE WAY HIS FINGERS TWITCH. HE WANTED TO REACH OUT TO HER. OH MY GOD," reads yet another post. Here's another user so upset by the whole ordeal that full caps lock was the only way to write. "ELLIE LAYING ON TOP OF JOELS BODY WAS THE MOST FOUL THING I’VE EVER SEEN," they wrote. To see this content please enable targeting cookies. Some viewers have just decided to go into denial, and as far as they are concerned Joel is absolutely fine, thank you very much. "I'm still convinced Joel'ss death scene was a mass hallucination like no that actually did not happen," wrote one hopeful viewer. "Guys he got up !! He listened to Ellie !! im so glad hes alright that was a close one," one person said with an image of Bella Ramsey and Pedro Pascal on set. To see this content please enable targeting cookies. "Joel Miller dies? I'm not sure what episode you're referring to. In what I watched, the old man's fine," another added. "He's working in his office with a nice cup of coffee, already halfway in on rebuilding his connection with Ellie. They're watching a movie together in the next episode, actually." To see this content please enable targeting cookies. Others shared photos of Pascal's Joel with his daughter Sarah, played in series one by Nico Parker. "25 long years later, they’re finally together," wrote one viewer with a collection of images. Image credit: @urbluestdays Also, as pointed out by several viewers online, Tommy still doesn't know his brother is dead. And, let's be honest, he already isn't exactly having the best day. To see this content please enable targeting cookies. Some have now joked they need to take some time away from work on compassionate leave. Image credit: @tylerrispunk I think this user has summed things up quite well for all of us watching The Last of Us season two. They captioned an image of Pascal bobbing about in the ocean while on holiday as this: "New photo of Pedro Pascal swimming in our tears." Agree, we have probably all cried an ocean's worth since episode two aired earlier this week. At least he's still alive to look after Grogu in The Mandalorian, I suppose… Image credit: @wizardjarin On the plus side, though, at least Joel knew he was handsome before he was beaten to a pulp. Abby said it both this episode and the first episode. To see this content please enable targeting cookies. Naughty Dog and HBO have already confirmed The Last of Us will be back for a third season, with showrunner Craig Mazin stating: "We approached season two with the goal of creating something we could be proud of. The end results have exceeded even our most ambitious goals." For more, you can check out my feature on the show's latest episode: Joel dominates headlines, but it's Tommy who shines in The Last of Us season 2 episode two.
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    Nintendo lawyers want to force Discord to reveal Pokémon Teraleak source
    Nintendo is on the warpath after last year's massive leak of Pokémon game data, dubbed the "Teraleak". Read more
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    Hands-on with Switch 2: the Digital Foundry experience
    Hands-on with Switch 2: the Digital Foundry experience Future-looking hardware, impressive Nintendo games, solid third party support - this looks like a winner. Feature by Thomas Morgan Senior Staff Writer, Digital Foundry Additional contributions by Richard Leadbetter Published on April 21, 2025 This one's a touch delayed - we didn't attend either the New York or Paris reveal events - but Nintendo arrived in London on April 11 to showcase Switch 2 and Digital Foundry was invited. And by and large, we like what we see. Yes, there's a certain degree of continuity and familiarity moving from the original Switch to its successor, but from our perspective, the hardware hits the spot: bigger, brighter, better. And as for the games, well, it's early days of course, so there is an expected quality divide between first and third-party efforts, but Mario Kart World? That looks like a system seller, right there. Going into the experience, perhaps the biggest question mark for us concerned the size and heft of Switch 2 - and equally as important, the quality of the LCD panel. On the former point, comparisons against Steam Deck may reveal a similarly large device, but the fact that the new machine is essentially as thin as the old one gives it a far less cumbersome feel in the hand. It may sound obvious, but it just feels like a larger Switch, while the bigger display feels like a big upgrade over the original model - and especially useful for those of us of a certain age with long-sighted issues! We don't see much evidence of a mini-LED display with individual dimming zones, so the odds are that we're looking at an edge-lit LCD - far from OLED quality. That said, the screen is honestly beautiful, and while it struggles to match the contrast of the Switch OLED, it's very bright and vibrant. Viewing angles are also excellent at even the extremes. For HDR content, such as Cyberpunk's dark areas with vibrant neon signs, HDR is noticeable - but for those hoping for an experience akin to the Steam Deck OLED, Switch 2 does fall short. Also, it was unclear which games shown were benefitting from the VRR technology in the display - for certain titles that struggled, not even VRR with low frame-rate compensation can smooth out the experience. An occasion as important as experiencing Switch 2 for the first time deserves a DF Direct Special, so here it is.Watch on YouTube We did take a look at doing a screen comparison, packing OG and OLED Switches with Zelda: Breath of the Wild installed. Unfortunately, the nature of Nintendo's filming guidelines and conditions on site made a proper filmed comparison challenging. What we saw from the front-on view of all three was pretty clear-cut: Switch 2 is a huge leap in quality as an LCD panel compared to the original Switch's LCD, but can't come close to the Switch OLED model. Still, our overall takeaway from the event is that the screen quality is not an issue – Nintendo has picked a high quality panel, and we might get that OLED model some three to four years down the line. With regards to the new Joy Cons, the larger analogue sticks and buttons make an immediate improvement to the feel of the machine. The grip on the console is also better. Even though the depth of the machine is the same as the original Switch,the larger size of the Joy Cons means there's a wider distribution of the analogue sticks and buttons within that space, and more room for your hand to rest. The magnetic attachments are stubbornly firm too, and it creates a more reassuring attachment to the main device, without the millimetre gap that causes a slight wiggle on the original Switch's Joy Con attachment. To see this content please enable targeting cookies. Mario Kart World: an inevitably stunning system seller We've already pored over pretty much every piece of footage there is for Mario Kart World but the technical basics are confirmed - we are looking at a native 1440p based on our tests in docked mode, with effective anti-aliasing. It does feel as if the visuals are delivering a two generation leap, given we haven't had a new Mario Kart since the Wii U version in 2014 essentially. Material quality on the road, the tarmac and the gravel, all have much higher resolution texture assets than MK8 ever provided - and it's certainly a huge leap over the new DLC tracks added to MK8. Model quality and animations are significantly higher too, with a style much closer to the recent Mario movie. Shadows are much more dynamic, with softer diffuse shadows falling on the track when they stem from tall trees. In performance terms, everything we played rolled out at a locked 60 frames per second. However, gameplay in our demo is significantly slower in pace to the top-end Mario Kart 8 experience, due to the demo being limited to the 100cc mode. Perhaps the slower speed is for the best in the demo, to make sure players acquaint themselves with the new wall jump and rail grinding mechanics – and not overwhelm play given the 24 racers. The demo didn't feature any access to the open world, so there was certainly a degree of familiarity in play but the huge increase in racers - up to 24 - immediately creates more moment-to-moment chaos coming from Mario Kart 8 Deluxe's simpler 12 racer limit. This description may seem a little dry, because Nintendo delivers joy in spades with this game. It looks beautiful, it's super-smooth and it oozes character in every moment. Yes, it's expensive to buy - but perhaps the majority of its early adopters will be getting the bundle pack. You can count us among this number. Mario Kart World - Oliver Mackenzie dissects the reveal and Treehouse footage to deliver this breakdown of the game's new technology.Watch on YouTube Metroid Prime 4: Beyond played at 120fps This was an interesting experience to say the least as Nintendo set up Metroid Prime 4 exclusively in 120Hz performance mode, running only in docked view, meaning we are running at 1080p output resolution. Not only have we played the game at 120fps, we have some direct feed capture of this mode too, courtesy of Nintendo itself. In both cases, the evidence does suggest that the game is indeed running locked. It's fair to point out that this is very much a mildly tweaked version of the Switch 1 experience, with higher quality textures - with Switch 2 horsepower directed to higher resolution and frame-rate. There is aliasing in this 1080p120 mode, and we'd expect most people to opt for 4K60 instead in living room conditions. But this wasn't living room conditions: table-top Switch 2 mouse controls was also part of the experience. It's a great idea for this game to use mouse controls but in practice there are a few notes. Firstly, even though you have the high precision of PC mouse controls here, there is still a lock-on ability on the left Joy Con trigger to target an enemy. It makes sense for the traditional analogue control scheme - and goes back to the original Metroid Prime games - but when you have mouse pointer controls it's not necessary. Secondly, the ergonomics of the mouse controls are not what we'd expected. For any shooting segments you keep that right Joy Con faced sideways down on a table with your index and middle fingers wrapped around the top for the two firing modes. However, the face buttons on the side of the Joy Con still serve a purpose - transforming into the morph ball, requiring some finger gymnastics. You can either keep that position and learn to use your thumb while tilting that Joy Con at an odd angle, or as we did, return to a traditional controller grip, raising the Joy Con from the table, when I'm not shooting enemies (ie. for the morph ball marble madness segments). The final point I wanted to add is that we noticed a slight degree of mouse lag. Maybe it's the TV settings on site, but it did creep into the accuracy of aiming compared to a regular PC mouse. There are mouse sensitivity settings though, which is certainly useful. Metroid Prime 4 isn't the only Switch 2 Edition game - in this video, Oliver stacks up footage from both Metroid and Zelda against Switch 1.Watch on YouTube Donkey Kong Bananza: ambitious but the jury's still out Nintendo's keeping quiet on who is actually developing this title, but we love the ambition on display here. Volition's geo-mod technology lives on in this 'Red Faction Gorilla' where the amount of distraction wrought by Donkey Kong punching his way around and through the world creates a very different and perhaps sometimes a little overwhelming 3D platforming experience. This one runs at native 1080p according to the initial reveal - and based on hands-on tests, aliasing is very hard to catch. The coverage is impressive to the point where you do start to think about image reconstruction technology and maybe even DLSS. Players of this demo start at the mines of Ingot isle, punching and smashing through the scenery until reaching daylight. Once you get to the peak, a giant meteor suddenly crashes into the top of the city. The demo then cuts to a more open area where you're free to tackle objectives as you see fit in a sandbox environment. You're allowed to use rocks as shields, ride on them down hills, and use them as projectiles against enemies - so it's well integrated as a mechanic. I'm not 100% convinced this physics destruction focus translates to a more enjoyable game, but it is a fun twist. One highlight is Donkey Kong's design. It's a richly detailed, expressive model, complete with a head torch that lights up the environment ahead. His model is also covered in feather-like hair cards. They have this almost plastic-like, glossy material that harkens back to the Donkey Kong Country aesthetic, and each card animates separately, lighting up logically based on the surrounding lighting. Terrain deformation technology in Donkey Kong Bananza is similar to Red Faction's old 'geo-mod' tech, which can only mean one thing - an awful 'Red Faction Gorilla' pun.Watch on YouTube Bananza targets 60 frames per second, but it's not quite consistent - especially on the map view, where performance ping-pongs rapidly between 30fps and 60fps: classic double-buffer v-sync. Also the photo mode view appears to drop to 30fps more frequently than main gameplay, which suggests it's using a higher resolution, or settings, than the regular gameplay. Also, there seem to be different frame-rates in gameplay. The target is 60fps, but there are noticeable drops. Not only that, but some physics-based interactions – like any time DK punches a fence or barrel to the distance – may see animation update at closer to 30fps, while the foreground gameplay updates at 60 as usual. It looks like some physics-based logic runs with a frame rate cap, creating a disconnect between the camera movement – which runs at 60 – and the objects within the frame. The physics based destruction is interesting. Donkey Kong Banaza is almost proud of how many particles it's throwing around, often filling the screen. The chunks you pick up from the ground almost snap off and within a single frame the geometry and attached collision mesh disappears underneath you, meaning you fall into the hole you create. There are limits to how far – or wide – you can dig on the x, y or z axis – but the design language of where and when it's possible to smash geometry is clear. Also, going frame by frame, the transforming of the environment is hidden by a huge burst of particles – for debris, dirt, or sparks – around Donkey Kong. It's like a magic trick. There's the sense that this needs a little more time - the performance drops and occasionally odd camera movement is at odds with the first-party polish Nintendo is renowned for. Our hands-on impressions of Cyberpunk 2077 in its unfinished form on Switch 2 as seen at the London event. CD Projekt RED has now confirmed DLSS upscaling support.Watch on YouTube Let's talk third party Switch 2 games There's a definite divide between first-party games built by world-leading developers targeting the hardware specifically and third-party games from all comers, porting titles originally made for the cross-gen eighth and ninth gen console eras. We've already talked in depth about Cyberpunk 2077 and since discovered that DLSS is in play - but our opinions of third-party ports haven't really shifted since assessing their showing at the Nintendo Direct. However, we were very eager to see Street Fighter 6 on Switch, available only in docked mode at the London event. This is our first taste of an RE Engine Capcom title, which is exciting given the number of games I'm hoping to see on Switch 2 down the line. In this case, Switch 2's optimisation is a success where it matters - in holding a stable 60fps – but it does take a few trade-offs visually to get there. It renders at 1080p based on Direct footage (much like PS4 and Series S versions) and with a similar drop in shadow quality as those versions too. As a result there's some slight flicker/dithering to environmental shadows, and ambient shade around hair. Textures may be higher than Series S – based on online murmuring – but this is something we'll have to report back on with direct capture from Switch 2. In terms of graphics selections, it falls closer to PS4 than Series S (ie a mixture of low/medium settings based on the PC version). Screen-space reflections are removed outright here, much like the base PS4/Xbox One versions (which use cube mapped textures in the Genbu Temple lake). It's not a huge loss given how distracting RE Engine's SSR can be, but a surprise given even PS4 Pro/One X have SSR – and also Series S. It's missing certain dynamic elements in the stage too, like the interactive cherry blossom petals on the floor, present on PS5/Series X/S. Still, I will stress, for the power on tap in Switch 2 it still looks great, just accepting it is equivalent to PS4 visuals. Looking at first generation third-party ports, Switch 2 docked presents in a similar manner to the PlayStation 4 experience.Watch on YouTube Moving on to Hogwarts Legacy - a proper current-gen showcase in its launch iterations on PC, Xbox and PlayStation, the Switch 2 version was presented only as a docked experience. It's a rather stripped down take on the game visually, but it runs well most of the time at 30fps. Even while flying at speed on a broom, you get the huge draw distances of the regions around Hogwarts, with only some shadow pop-in across the trees. It is functionally 30fps in what should be the most taxing aspect of the game. The demo takes us from the outskirts of Hogwarts into a colosseum-like fighting pit where we take on a boss. Runs at a 30fps cap, though a side-on view of the pit drops us visibly into the 20s at one specific point here. The res metrics in the Direct suggest 720p typical resolution with some variant of TAA upscaling (possibly even DLSS) though whether that's true of this build is unclear. AA resolves most of the jagged edges nicely, but it does look somewhat blurry compared to the other versions while textures look pared back too. Also, there are no graphics toggles in this demo build (motion blur and depth of field options apart) so Avalanche is at least committing to a single way to play in docked mode – rather than offering a multitude of options. That seems to be paying off but it'll be interesting to see if consistent performance extends throughout the game based on known trouble spots in other versions, such as Hogsmeade. Yakuza 0? This was located in the over-18s segregated booth alongside Cyberpunk 2077. On basic inspection, it looked like a visual match for the PS4 version and in both cutscenes and gameplay operates at 1080p 60fps - a Sega trailer for the Switch 2 version emerged with 4K cutscenes, but on site, it was clear that all content rendered at the lower resolution. At this point, we were reaching the end of our allotted four hours and we really could have done with another four hours - we missed a fair amount of games. Our time was also cut short a little by having to re-visit the Cyberpunk 2077 booth - we'd identified that the screens at the pods were running in showroom mode (motion smoothing on, maximum brightness, artificial sharpening) but thankfully a friendly Nintendo of Europe staffer worked to get them back to the proper calibrated setting. And after replaying that, it was time to go. Switch 2's display presents as an HDR-capable edge-lit LCD - it's bright and punchy, but on site, it lacked the contrast of the Switch 1 OLED.Watch on YouTube Switch 2: a worthy successor? Early signs are promising There's a strong argument that of all the console platform holders, Nintendo has managed to maintain a certain 'magic' across the generations: its own way of doing things, original hardware designs, a focus on joyous gaming over cutting-edge specs and a continuous delivery of high quality games separate and distinct from anything Sony and Microsoft have to offer. The original Switch was so successful because it still did all of these things, while at the same time delivering a console that was also more open and accessible to third party developers. The big takeaway from the event is simple: Switch 2 is a continuation of the Switch 1 formula - and while many may have been hoping for some kind of brand-new, game-changing innovation, the fact is that the offering is still sufficiently different enough from the competition to make it a winner - it stands alone in what it does. Meanwhile, the collaboration with Nvidia continues to yield dividends: Nintendo has a hardware partner capable of delivering hardware with cutting-edge features - and I get the sense that we're only just beginning to see what the T239 processor is capable of. The third party games in particular may be showing the limitations of the design from a basic rasterisation perspective, but the hardware is capable of more - and the building blocks are in place for a new generation of 'impossible ports'. The hardware may not be state of the art, but it doesn't need to be - just like its predecessor, Switch 2 will thrive or fail based on the quality of its software. Mario Kart World sees normal resumption of duty from the platform holder, while Donkey Kong Bananza still has something to prove. Bearing in mind how long Switch 2 has been in development (T239 first leaked in 2021, Nvidia demoed DLSS around 2020/2021), we can only imagine that there's plenty more in Nintendo's studios that's quite far along in development that hasn't been announced yet. Meanwhile, the Metroid Prime 4 and Legend of Zelda Switch 2 Editions indicate another potential route forward for Nintendo in fleshing out the first party line-up: library titles spruced up for the new generation can sell through to new owners, while inexpensive upgrade costs for existing Switch owners could prove irresistible. We're optimistic about Switch 2 - but four hours with very limited time to see a lot of stuff means we still have a lot of questions about the machine. After a Nintendo Direct that was heavy on docked footage, we went into this experience hoping to see more from the handheld experience. The likes of Zelda and Mario Kart World delivered as expected, while Cyberpunk 2077 clearly ran in a more challenged state than the docked (work-in-progress, remember) code. We'd have liked to have seen more in that regard, but based on this showing, we're really looking forward to the review period.
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    Fatal Fury: City of the Wolves review
    Fatal Fury: City of the Wolves review More than just okay? Image credit: SNK Review by Connor Makar Contributor Published on April 21, 2025 A masterful sequel to one of the genre's most beloved games, but it carries an ink stain that's hard to ignore. Over 20 years ago, SNK blew the world away with Garou: Mark of the Wolves. Since then, Fatal Fury has become a relic of the past, loved only by those with wrinkles on their face and a place for gaming classics in their hearts. That flickering ember remains dormant no longer with Fatal Fury: City of the Wolves, a grand resurgence with more money thrown at it than the next unsustainable AI start-up. But does City of the Wolves have what it takes to carve a home for itself in a market dominated by Street Fighter, Tekken, and more? Judged on what I've played, I'd say it's got a damn good shot at doing so. Fatal Fury: City of the Wolves review Developer: SNK Corporation Publisher: SNK Corporation Platform: Played on PC (Steam) Availability: Out 24th April on PC (Steam), Xbox Series X/S (Game Pass), PS5\PS4 A sequel 26 years in the making, City of the Wolves comes from SNK, a company as familiar with stellar fighting game development as it is with throwing blonde blokes off towers. It's a 2v2 fighter that revisits many of the company's most iconic and adored characters, aging them up and revitalising the cast for a new audience. It's a big event for old school fighting game fans, with all the joy and fanfare of a childhood friend kicking off an old mates group chat. It is, as such, without a doubt one of the most exciting fighting game releases this year. It's making an explosive landing onto the modern gaming landscape, too. You get all you'd expect from a standard fighting game package: an arcade mode, online lobbies, combo trials, a detailed tutorial. On top of that you get a dedicated story mode called Episodes of South Town, which takes you through a fresh narrative for all the characters, a heavy haul of unlockable art, and even an extensive jukebox. It's a game overflowing with content, the real deal in terms of value for money as far as fighting games go. Episodes of South Town is a nice place to start, as it'll be the first stop for many new players. Discussions around what makes a solid single-player mode in fighting games is a long-lasting and tiring discourse. Frankly, while this may not have the cinematic appeal of a Mortal Kombat release, it's a great way of telling a new story in the world of Fatal Fury while also teaching newbies the basics. Packed with quality art and battle modifiers, you proceed through the city, taking on fights and learning more about the character you select. It's also a wonderful way of slowly teaching players how the inner workings of City of the Wolves function. Proceeding through this mode, you unlock more universal mechanics that slowly ease you into what is a fairly complex fighter. It's not exactly Street Fighter 6's World Tour, but it's nice to explore South Town again. | Image credit: SNK Your reward for completing this mode can be found across various collection tabs packed with art, little lore tidbits, and music. In fact, there's a whole catalogue filled with decades of Fatal Fury soundtracks, bringing you right back to the sounds of years past. In terms of extra goodies you unlock, it feels like a treasure trove for fans of the series. You can even create custom colour schemes for your favourite character. Now, this isn't a full-on costume and apparel system like you see in games like Tekken 8 or Street Fighter 6, but it's still a nice touch that adds that little bit of personal expression, and it makes all the difference. This all may sound like small, largely nonconsensual fluff, but it's these sorts of additions that help make City of the Wolves feel like a faithful sequel that understands how big a deal this game is for folks in their late 30s and beyond. A group that is often found gorging themselves on nostalgia. SNK has historically struggled with the transition from brilliant 2D sprite work to 3D. With the release of King of Fighters 15 it felt as though it really nailed it, giving fans vibrant, distinct visuals for a punchy, bombastic game. But it turns out with City of the Wolves, SNK could do better. It's a visual feast that your eyes can't help but scan for every detail. Stages are wonderfully animated, packed with little moving details and spectators cheering on your fight. We even get returning favourites from Mark of the Wolves remade with love that harken back to the good ol’ days. Almost every character looks like a true torchbearer for the old 2D art work SNK built its legacy on. Terry is looking better than ever. | Image credit: SNK What doesn't look good, however, are the menus. It's clear the team has gone for a minimalist approach, keeping things simple with a black and yellow scheme, separating key elements with plain boxes. It just… looks cheap. Rushed and not particularly engaging. Add on top of that how convoluted navigating these menus can be and it really rubbed me the wrong way. The online lobby, for example, looks as though it was pushed out by some office worker with some spare time to mess around with Google Sheets, not by a team working on a multi-million dollar project. All of these modes, all of these little treats in City of the Wolves, would matter little if the game itself was shallow - if it felt bad to play, if you didn't feel as though your first few matches were a step into an ocean of skill expression. I'm happy to say that SNK, which has long proved its ability to create exceptional fighting games, has really outdone itself here. City of the Wolves is a wonderfully built fighter. Especially during an era where playing aggressive feels like the overall direction its competitors are heading in. The secret of the game's appeal from a gameplay perspective is that it's a meticulously crafted defensive fighter. Blocking at the perfect time grants a Perfect Defend, allowing for a counter attack and healing a little bit of health. That's fairly standard, but you've got high and low dodges and REV Guarding, both of which add ways of mitigating incoming damage. Guard cancels are especially exciting - if you block just at the right time, you can instantly throw out a special move that can totally turn around a brawl in your favour. Then there are REV blows, armoured attacks you can only use when at specific portions of your life bar, that offer incredibly potent reversal opportunities. Adding a level of strategy, you can choose where you want this portion to be, a decision that could make all the difference in particular match-ups. What other fighting game offers this kind of defensive complexity? Well, there isn't one. Not even close. If you're reading this and thinking City of the Wolves sounds like a challenging game, you're right. You genuinely do need some aptitude when it comes to directional inputs, and it's harder to link together combos here than it is in other modern fighters. That's just what the doctor ordered, I say. But as happy as I am with this state of affairs I should note that a portion of players will try the game out and bounce right off it. Such is the perpetual curse of fighting games. There is a smart control option, which provides auto combos and a dedicated special move button, but more than other comparable control schemes in contemporary fighters it feels like a jumping off point. For how fantastic the rest of the game looks, menus are left shockingly bare. | Image credit: SNK You see, with smart controls your options in a match are severely limited. They don't feel especially competitive at an even intermediate level - fine for trying out new characters, seeing what their deal is, and ultimately making an informed decision on who you want to spend your time and energy learning properly by switching to the default, arcade control scheme. This, for me, works. It's just powerful enough to merit using in super casual matches against friends, without giving you the tools to overwhelm other players online. The final must-have for any modern fighting game is good netcode - long gone are the days of bad connections between yourself and your mate an hour down the road. Here again, SNK nails it. Matches I played online with people in the UK felt smooth as silk, and I could even get matches against other players in the USA without much issue. With City of the Wolves, the only real hurdle between you and online play with friends is the awful lobby system. Once you navigate that, it's all gravy. If I were to end the review here, City of the Wolves would get an overwhelming recommendation. It would be a true champion of a new era of SNK, made with real passion and oozing quality from almost every aspect of the game. But, there's a stain on City of the Wolves that's impossible to ignore, and which has prompted heated criticism among fans in the lead-up to release. That blemish comes from SNK's owners, who have morphed what is otherwise a near perfect package of a fighter to an endeavor in sportswashing. This blemish comes primarily in the form of famous footballer Christiano Ronaldo and DJ Salvatore Ganacci. One could argue that these were included in order to bring more players into Fatal Fury, which is certainly an understandable thing to do. Fighting games remain, of course, largely a niche genre, while Ronaldo is one of the best-known football players in the world. However their inclusion as playable characters here and their ties to the Saudi Arabian government's other sportswashing ventures mean that what should have been a game solely celebrating the Fatal Fury series also feels like an advertisement for a country ranked fourth globally in the use of slavery, which bombs innocents in Yemen and displaces native villages so the country can build eyewateringly expensive buildings that are never finished. It's pretty clear why Ronaldo is taking up a slot here. | Image credit: SNK The majority owners of SNK, the MiSK Foundation, have Saudi Arabian Crown Prince Mohammed bin Salman as its chairman, and there's been criticism of the perceived influence on the game's roster with both figures' inclusion. Ronaldo's real-world signing by Saudi Arabian football club Al-Nassr has been called out by Amnesty International as part of a wider pattern of sportswashing in the country. Ganacci, meanwhile, has received criticism for playing Saudi-backed music festivals and reportedly enjoying a close relationship with the Saudi royal family. Ultimately, what this means is that City of the Wolves, with all its absurd marketing spend, joins the ranks of Liv Golf, the Esports World Cup, and Premier League football team Newcastle United as a billboard for the country, meant to distract you with all its glitz and glamour from its real problems. Maybe you'll watch the Esports World Cup and see the game played at its highest level, you'll hear a Steve Aoki track in-game and travel there on holiday, or maybe you open a business there. Fatal Fury: City of the Wolves accessibility options Subtitle background opacity slider, Simple Control Scheme (allows for auto combos, one button specials, and two-button supers). There will be many of you reading this who go, okay look, who gives a shit? I want to play my video games. I do absolutely understand that perspective. SNK has, to give it well-deserved credit, created a brilliantly deep and compelling fighting game here. Even if you can ignore the ethical questions City of the Wolves poses, the guest fighters still irritate, though. They're a touch overly referential with their move list, clearly opting towards recreating popular stances and poses than sensible attacks that fit within the world of Fatal Fury. It's a bit weird that Ganacci and Ronaldo are here over other classic Fatal Fury characters, right? Especially when there are decades of familiar faces people love who absolutely deserve a spot in the game. It's a call each player will have to make for themselves. If you are willing to swallow the ethical dilemma, there's a solid gold fighting game here. But for me personally, it's too pressing a connection to ignore -a real ink stain on an otherwise masterful sequel to one of the genre's most beloved games. A copy of Fatal Fury: City of the Wolves was provided for review by SNK.
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    Palworld lawyers state existence of Titanfall 2, Ark, and even The Legend of Zelda invalidates Nintendo's patents
    Palworld lawyers state existence of Titanfall 2, Ark, and even The Legend of Zelda invalidates Nintendo's patents Pocketpair defends against accusations it violated Nintendo's copyright patents. Image credit: Pocketpair News by Vikki Blake Contributor Published on April 20, 2025 Pocketpair has responded to Nintendo's legal action by asserting the patents The Pokémon Company believes Pocketpair has contravened are invalid due to other games that came before it, including Ark: Survival Evolved, Tomb Raider, and even Nintendo's own Legend of Zelda series. As reported by Games Fray (thanks, VGC), Palworld developer Pocketpair challenged Nintendo's patent applications which were reportedly filed between February and July 2024, several weeks and months after the monster-collecting game debuted in January of that same year. Pocketpair maintains through prior preparatory briefs that Nintendo's patents-in-suit shouldn't have been granted given games using the systems and art protected by the patents were already in existence. PALWORLD Early Access Review: Is It Worth It?Watch on YouTube Specifically, the developer said the patents contravene art already in place in Ark: Survival Evolved, Pocket Souls, and its own Craftopia, as well as a whole list of other notable references, including Final Fantasy 14, Tomb Raider, Far Cry 5, Titanfall 2, Octopath Traveler, Pikmin 3, Monster Hunter Ultimate, and a range of prior Pokémon games. Pocketpair states that games like Rune Factory 5, Titanfall 2, and Pikmin 3 Deluxe "make it easy to see how a player character can perform an action to release a monster or a capture item (like a ball) and fire in a direction by releasing a button", whilst Pikmin 3 Deluxe, Far Cry 5 and Tomb Raider "already showed that there can be different types of throwable objects". Furthermore, Pocket Souls, Octopath Traveler, Monster Super League and Final Fantasy 14 "made it easy to imagine that one could pick targets on the field and then show an indication of how likely the capture operation is to succeed", and "generally speaking, it has been an element of the Pokémon series for more than 30 years that different capture items have different success rates". If, like Pocketpair believes, all these games already invalidate Nintendo's patents, "it doesn't matter whether Palworld does what such a patent describes: you can infringe an invalid patent all you want". "There is no question that Pocketpair and its lawyers have made a huge effort to develop many invalidity and non-infringement arguments," the briefing by Games Fray - prepared by a patent-specialist Japanese lawyer - states. "Again, a single such argument for a given patent is enough to be cleared with respect to that patent. But Nintendo is suing over three patents, and Pocketpair won’t want to lose over any single one of them." As Eurogamer sumarised recently, comparisons were made between Pocketpair's own monster-catching title and Pokémon ever since Palworld was first revealed. Dubbed "Pokémon with guns" ahead of its early access release last year, The Pokémon Company's former chief legal officer Don McGowan said he was "surprised" the game had "got this far" before Nintendo finally announced it was suing Pocketpair for infringement of "multiple" patents in September. It was later confirmed the lawsuit was targeting three patents in particular. As part of an update in December, Pocketpair subsequently removed the ability to summon creatures by throwing Pokéball-style Pal Spheres but despite this, Pocketpair has released a game on Nintendo Switch, and is considering bringing Palworld to Nintendo Switch 2.
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    Fortnite's getting the Force with Chapter 6 Season 3 Star Wars-themed season, Galactic Battle
    Fortnite's all-new Star Wars season, Galactic Battle, will launch on 2nd May, 2025. Read more
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    Nintendo Switch 2 ad campaign goes retro in the best possible way
    Nintendo of America hasn't just uploaded its classic 1991 SNES TV advert to make you nostalgic - it's also recreated it entirely for Nintendo Switch 2 in 2025, complete with the original leading man, Paul Rudd. Read more
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    Cyberpunk 2077 on Switch 2 uses DLSS confirms CD Projekt RED
    Cyberpunk 2077 on Switch 2 uses DLSS confirms CD Projekt RED Nvidia's machine learning upscaler is used in both docked and handheld modes. News by Richard Leadbetter Technology Editor, Digital Foundry Published on April 20, 2025 One of the most ambitious titles lined up for the launch of the Nintendo Switch 2, CD Projekt RED's Cyberpunk 2077 has been showcased via work-in-progress code seen at the console's launch tour. Digital Foundry had the chance to go hands-on at the recent London event and while our initial impressions are on the record, many questions remained unanswered. Is the port using Nvidia DLSS? CDPR has now confirmed that the answer is yes, making this the first known title to use the machine learning-based upscaling technology. "We're using a version of DLSS available for Nintendo Switch 2 hardware, powered by Nvidia's Tensor cores," the firm told us. "The game utilises DLSS in all four modes: in handheld and docked, and the performance and quality variations of each." DLSS has been viewed as a 'magic bullet' of sorts in the run-up to the Switch 2's unveiling. In a world where developers are pushing visual technology to the next level, running games at full native res with consistent performance becomes unviable, so rendering at lower rendering resolutions is commonplace, with upscalers used to produce the final output image. These upscalers can range from basic bilinear scaling to more advanced techniques, like TAA upscaling - where information from prior frames is fed into the current one to improve detail. DLSS is a form of TAA upscaling, but with a twist - by feeding the lower resolution frame along with history from prior frames and other data, such as motion vectors - a neural network is then used to reconstruct the image. As the Switch 2's GPU includes machine learning tensor cores, there's no reason why any DLSS technology couldn't come to the Nintendo hybrid - the caveat being that there's still a computational cost to using it. We discuss Cyberpunk 2077 on Nintendo Switch 2 - and a whole lot more - in the new DF Direct Weekly.Watch on YouTube 0:00:00 Introduction 0:02:39 News 1: Next-gen portable PlayStation allegedly detailed 0:20:16 News 2: Cyberpunk 2077 on Switch 2 uses DLSS! 0:31:30 News 3: Switch 2 docked VRR support in question 0:39:18 News 4: Alex explains Nvidia’s GDC 2025 presentations 0:56:50 News 5: Star Wars Outlaws looks questionable on Switch 2 1:04:49 News 6: Mario Kart World Direct impressions! 1:11:11 Supporter Q1: What would a potential Switch Pro have looked like? 1:15:57 Supporter Q2: What is the Switch 2’s true GPU performance, absent “flopflation”? 1:23:23 Supporter Q3: Should Indiana Jones use more ray tracing features on PS5 Pro? 1:27:51 Supporter Q4: What could the NPU in the Z2 Extreme do for gaming? 1:31:54 Supporter Q5: Could the PlayStation Portal connect to the upcoming PlayStation handheld? CD Projekt RED also confirmed that the current target for the Switch 2 version of the game is to offer different graphics modes - a quality and performance toggle for the handheld and docked versions. When connected to a TV, there's the choice of a 30fps quality mode and a 40fps performance mode. The latter would presumably operate only with the TV in 120Hz mode - a new frame for every three display refreshes, up against the 30fps quality mode which delivers a new frame for every other refresh. With consistent performance, both should look smooth, with the 40fps mode sitting between 30fps and 60fps in terms of fluidity. Both modes are using 1080p as the output resolution with dynamic resolution scaling in effect in combination with DLSS. The handheld mode - as things stand - is slightly different. Necessarily so as system performance is lower. In this scenario, the quality mode is still outputting a 1080p image with DLSS and dynamic resolution scaling, again targeting 30fps. The performance mode sees the output resolution drop to 720p, with the handheld screen in 120Hz mode and 40fps as the target. In terms of input resolutions, our initial pixel counts from the very, very short snippet of footage seen in the Nintendo Direct delivered readings from 540p to 1080p - and the fact we could pixel count it at all made us doubt whether DLSS was in play at all. CD Projekt RED has also confirmed that "scaling can range from 2x and up per axis", so depending on GPU load, the DLSS upscaler will be fed with anything from 540p to 1080p in the 30fps quality modes and the docked 40fps performance mode. For the handheld iteration of the performance mode, the 2x and up scaling would suggest DRS between 360p and 720p, depending on GPU load. To see this content please enable targeting cookies. DLSS compatibility had been mentioned by Nintendo and Nvidia in previous PR, but its use in Cyberpunk 2077 (and in both handheld and docked configurations, no less) is our first confirmation of the technology being used in a launch title. However, we are seeing a slightly different utilisation of DLSS compared to PC. There, it's typically the case that post-processing elements are rendered at the same output resolution. So, if you're outputting 1080p from a 540p image, there are still components of the image that should be rendered at full 1080p. It may be the case that Cyberpunk 2077 is still rendering those post-processed components at input resolution instead, which may explain why we're able to see obvious stair-stepping edges that make pixel-counting possible. As you'll see in the DF Direct posted today, it does look to be the older convolutional neural network version of DLSS that's being used - not Nvidia's freshly minted DLSS 4.0 transformer model. In our hands-on with Cyberpunk 2077 at the Switch 2 London event, our impression was that CDPR's work-in-progress code was recognisably Cyberpunk, but we encountered many situations where it appeared both CPU and GPU were over-taxed resulting in some lurching drops to performance. However, the code was seven weeks old at that point with a good deal of development time remaining until the Switch 2 launch on June 5. We view Cyberpunk 2077 as something of a benchmark game - and can't wait to see final code on the new Nintendo console.
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    Capcom has a message for Monster Hunter Wilds cheaters
    Capcom is once again warning that players cheating on Monster Hunter Wilds will find some sections "unplayable" if they persist in using unsanctioned mods. Taking to social media, the publisher/developer revealed it had confirmed the "unauthorised modification of game data in Monster Hunter Wilds for High Rank environment Investigations, Field Surveys, and more" and warned players to "stop playing immediately" if they suspect a quest has been modified after applying patch 1.010. Monster Hunter Wilds Review.Watch on YouTube "Modified data can interfere with normal gameplay and even render the game unplayable. If you suspect a quest has been modified, please do not play it, or stop playing it immediately," the statement said. Capcom then posted an image to help players identified modded data, such as missing monsters, too many item limits per slot, or "bonus rewards with six or more slots in quests for one target monster". You can see it below: To see this content please enable targeting cookies. A website update admits that Capcom "cannot individually determine whether a specific quest has been modified", but added in a subsequent post: "We plan to implement additional countermeasures in future updates to detect users who have engaged in unauthorised modification of game data to prevent other players from being implicated in such actions". If you do suspect that a quest you are participating in has been modified, Capcom recommends you leave "immediately" and "quit the game without saving". The free Title Update 1 for Monster Hunter Wilds was released at the beginning of this month, April, bringing with it new quests where players compete for the fastest hunt time. However, even then Capcom warned of potential cheaters, which will lead to account suspension and invalid completion times. In a statement shared on social media, Capcom warned against cheaters and the use of external tools. "To ensure a fun and fair experience for our players, we will take action against accounts participating in fraudulent ranking activity, such as the use of cheating or external tools," it said.
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    Star Wars Outlaws' next story update is A Pirate's Fortune, and it's coming next month
    Star Wars Outlaws' next story update is coming on 15th May, 2025. Read more
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    PEGI website leak suggests Assassin's Creed Shadows is coming to Nintendo Switch 2
    It looks like Assassin's Creed Shadows is coming to Nintendo Switch 2. Read more
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    Dying Light 2's spring update improves co-op and introduces new rewards to "enrich your main character's arsenal"
    Dying Light 1: Stay Human's Patch 22 - the spring update - is now live, improving co-op, offering "creative control" over Villedor's looks, and introducing new rewards in Tower Raid. Read more
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    Indiana Jones and the Great Circle on PS5: excellent game, solid port
    Indiana Jones and the Great Circle on PS5: excellent game, solid port But PS5 Pro only gets a resolution upgrade. Image credit: Bethesda Face-off by Thomas Morgan Senior Staff Writer, Digital Foundry Published on April 19, 2025 As one of the major titles to emerge from Microsoft's acquisition of Bethesda, Indiana Jones and the Great Circle proved a critical hit on Xbox Series X, S and PC in late 2024 - and now, four months later, it arrives on PlayStation 5 consoles. To cut to the chase, this translation to PS5 and PS5 Pro is a success all round. It compares well to Series X in particular, with developer MachineGames realising an authentic take on the Indiana Jones films using its Motor engine - a customised branch of ID Tech 7, which itself powered the likes of 2020's Doom Eternal. It's impressive stuff: from the near 1:1 recreation of Raiders of the Lost Ark's opening scene to the sprawling Vatican city, each level plays host to all manner of whip-cracking, stealth, puzzling and sleuthing. And once again, we get ray traced global illumination - RTGI - into the bargain on PS5 consoles, allowing for more accurate indirect lighting and shading at 60 frames per second. So how does the experience match up to Series X? And what about PS5 Pro? The Great Circle broadly has parity feature-wise with the Series X release though it's worth noting that PS5 adds adaptive trigger support on its DualSense controller. As a result, melee combat, pulling the trigger on a gun, or using the whip, come with varying levels of feedback. Beyond that, the visual setup is remarkably straightforward: MachineGames optimises PS5 purely around a 60fps experience with RTGI as the de facto means of lighting its environments. There is no graphics mode toggle, nor any alternative 30fps option pushing higher fidelity settings, but the upshot is that we get a polished single means of playing the game. Looking at the platform comparisons, there are mixed fortunes here, but in general terms, most of the core visual settings see Series X, PS5 and Pro matched. Texture quality, shadow resolution, and world detail draw across the forest all run at the same settings between the consoles. Likewise, the quality of the RTGI also translates to both PS5 machines. In effect, this setting limits the objects within the scene affected by the ray traced diffuse lighting pass, and continues to operate below PC presets. It's a concession to hit a 60fps target on consoles while keeping RTGI in place, but the result is still impressive overall. Otherwise, volumetric quality is also matched between base PS5 and Series X - though it appears we get a higher setting on PS5 Pro - the net benefit being there's marginally less aliasing along the streaks of light spilling through the college windows, though again it falls short of PC's best volumetric setting. Indiana Jones and the Great Circle on PS5 and PS5 Pro, stacked up against Series X. It's the Digital Foundry tech review.Watch on YouTube In every other respect, there is parity between the three. Frustratingly this also extends to the game's occasional rough points on Series X, notably in the presentation of shadows. Even four months on from release, there's a lingering issue with shadow filtering on Xbox, which stays in place on the PS5 consoles as well. In short, shadow maps lining the floors of the college will abruptly step up in detail based on your proximity to it - and this update occurs in set, metre-length increments to make matters more obvious. It's a shame that shadow filtering is such a distraction and it's really the only blemish on what's otherwise a well presented package. There is also a small discrepancy in brightness on Series X, owing to its default setting being five clicks higher by default - but that's the full extent of the difference. In terms of rendering resolutions, MachineGames keeps it simple on base PS5 but enhances the Pro version to allow a higher max pixel output. Dynamic resolution scaling is in play, with PS5 and Series X each running at a 1200p to 1800p range, while PS5 Pro adjusts between a higher 1440p lower bounds, rising to 4K at peak. All use id Tech's TAA method to clean up visual noise, with the only side-effect being the presence of occasional banding on movement across busy points within the frame - like fine stitching on clothing. These DRS ranges don't tell the whole story, either. As raw metrics they only point to the extreme best and worst cases, but the average, practical resolution tends to rest in between those values. For example, focusing on PS5 and Series X - which share the same 1200-1800p range - it's clear that Series X often runs at a higher resolution on average. In almost every scenario Series X renders more pixels per frame, resulting in a sharper resolve - especially visible in zooming into the dense jungle detail of the first level. This Series X image quality advantage is curious but consistent with another id Tech 7 game, Doom Eternal. In both cases we have a use of hardware-based variable rate shading - VRS - which was engineered by Microsoft's Advanced Technology Group. Also much like Doom Eternal, The Great Circle shares the same 1800p target resolution, where VRS reduces the bandwidth taken up by pixel shading threads. It's a huge benefit for taxing, ray traced titles in this mould, and ultimately frees up Series X's GPU to push to higher resolutions along its DRS scale. This would go a long way to explaining the sharper image next to PS5, where hardware VRS is not supported - and despite their matching DRS ranges. Just as with Doom Eternal though, compared to PS5, there are subtle downsides to this feature - notably a more obvious form of 'block noise'. Neither console is free of visual noise, even with film grain and chromatic aberration disabled - but artefacts are more apparent on Series X. It's not a massive distraction at a regular viewing distance, and these issues are outweighed by the way VRS affords Series X a boost in overall clarity. To see this content please enable targeting cookies. The PS5 Pro benefits are worth touching on too. While hardware based VRS is in theory a feature of Pro, it doesn't seem to use it here. Even so, PS5 Pro excels for one reason alone: its ability to generate even higher resolution frames, afforded by a beefier 16.7TF GPU. Going up to a native 4K means the fine thread-work of clothing appears pin sharp, especially compared to base PS5, as does the presentation of grass in the opening jungles. PS5 Pro pushes the cleanest image of the trio here - even if benefits in settings outside of this are rather limited. Jumping to performance testing, The Great Circle benefits from strong optimisation on PS5 and PS5 Pro alike, for any regular gameplay. Each is tightly optimised around a 60fps target, where areas flooded with NPCs, or the dense jungles simply fly by at 60. For any variances in on-screen load, their dynamic resolution setups are able to compensate - though it's not always a perfectly smooth ride. Much like Series X, there are two snags that carry over to PS5 systems. Firstly there is an auto-saving feature which triggers a small hitch - a frame-time spike that kicks at invisible thresholds around the world. It's more-so obvious around the Vatican city, with each mini stutter being followed by a small auto-save symbol - and it's a shame it's not more discrete. The second point relates to the in-engine cutscenes. As authentic as each cinematic is, every camera cut is coupled with a string of dropped frames. Most likely, this is a buffer used by the renderer to allow the physics-based elements - like clothes - to settle for a few frames first and avoid a distracting position refresh with every cut. Still, the end result is PS5, PS5 Pro and Series X all drop frames at these exact same moments and there's nothing to split them. With all that being said, there is one repeatable drop during an in-engine scene, later in the crypts of the Vatican. This is a rare, outlier case really, given that everything else runs so well, but it does underline a Series X advantage. While Indy studies a parchment, a vehicle crashes through the ceiling, causing a burst of alpha and particle effects to fill the frame. In this moment, Series X has the GPU headroom to get closest to 60 frames per second, with the expected hitches on every camera cut. PS5 takes a more drastic hit, down to the 40s, while PS5 Pro finds a midway point between all three machines - with some drops to the 50s. Again this is a rare moment, and worth highlighting - and shows another potential advantage of Series X's hardware VRS. Summarising, Indiana Jones and the Great Circle makes a successful leap on to PS5 platforms and despite its delayed release, everything we loved about the Xbox experience is intact. In comparison, the Series X is a preference over the base PS5 - given the often higher average resolution on Xbox - but the margin isn't wide enough to be a deal-breaker. PS5 owners still get a superb take on MachineGames' latest work. In every other respect the two are matched, right down to the consistency of their 60fps readings in gameplay and the use of RTGI. Meanwhile, PS5 Pro enjoys an extra benefit in image clarity over the other consoles with a higher 4K maximum target, while still hitting that same stable 60fps. The only criticism here is one I'd level at all three consoles: the poor shadow filtering remains a rough spot that only the PC version is currently able to fix. Beyond that, this remains a superb game that's highly recommended on all systems.
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