With its first gameplay reveal during this year's Day of the Devs, indie developer Something We Made finally showed off the sequel to their inaugural title TOEM: A Photo Adventure from 2021. This charming photography adventure brought an easygoing monochrome adventure to hundreds of fans and left us wanting more. TOEM 2 opens with the same plucky character from the first title dropped into the world with little more than ambition and a trusty camera. While the first game focused on ascending the TOEM mountain, I didn't catch nary a whiff of the actual motivations and reasoning for the journey this time around. Instead, I was given free reign to meander around the idyllic village and solve a variety of problems for the townsfolk, from trying to retrieve a potion of liquid courage for a scaredy-cat knight to taking photos of three goats in order to permit a bridge troll to let me pass. In my twenty or so minutes of play, I was able to help solve the small-scale problems of four individuals and be rewarded with a stamp for my collection each time. The camera remains the player's best tool in the world of TOEM 2 with players not only able to use their photography skills to solve the plights of the ordinary person, but also a variety of attachments to use as tools in your adventure. The very first unlockable upgrade I earned for my camera was a hammer upgrade that let me smash through select stone blocks that hindered my progression. Using the hammer is just like the other attachments from the first TOEM: simply point and shoot (or in this case, tap on the rocks). It took a moment to realize that there's a small minigame to using the hammer with players having to tap out morse code with short and long taps in order to break those rocks. 2 of 9 One puzzle I encountered was take a 3x3 cube of blocks and chisel away to make a matching sculpture to the quest giver. Rather than trying to memorize the layout or run back and forth between the source sculpture and what I was crafting, I stopped to take photos of each side of the cube and use those to remember the requested shape. The developers from Something We Made seemed surprised that this was a valid solution to their puzzle and it was nice to see the camera being used as a note taking device as well as the tool you'll use to take pictures of every animal around the landscape. New to TOEM 2 is also the addition of jumping, and in true platformer style, I had to test it out by jumping around on top of any short wall I could find and try to scale up the world. I couldn't find any unintended out-of-bounds areas, but I was at least able to find some climbable areas that would lead to new hats for the playable character. With jumping now on the menu, I wouldn't be surprised if the Honk attachment gets phased out for TOEM 2. Sadly, there's still a fair bit of time before TOEM 2 is ready to be in players' hands. Developer Something We Made and publisher popagenda have penciled in this quaint photographical adventure for 2026 across a slew of unannounced consoles as well as PC. Deal of the Day

Not to be outdone by his one-time rival, Sonic’s new racing game takes the fight to Mario with genuinely surprising mechanics we've not seen before in the genreTech20:00, 07 Jun 2025Where will you end up?Who doesn’t love a kart racer? The trouble is, they’ve started to fall into a pretty staid rhythm now. You battle it out for lap one, everything sort of settles down in lap 2, and then lap 3 can be similarly formulaic if you don’t get hit by a power-up or two.While Nintendo Switch 2's launch title Mario Kart World has moved to change this with a system that links tracks together, iconic hedgehog Sonic is doing something a little different with his return to karting.‌Not only does it make for much more chaotic racing, but there’s more going on under the hood than it first seems.‌Tracks are varied, making jumping from one to the other very excitingSonic Racing CrossWorlds initially starts off like most other kart racers. Players pick their character from a starting roster of 23 characters, pick their vehicle, and then head off.And, while the first lap plays out as you’d expect, whoever is winning gets to pick lap 2’s location, meaning racers drive through a Travel Ring and end up on a different track, before coming back for lap 3.Article continues belowGetting ahead of another vehicle so you can pick a track you know better for the next stage of the race is great, as are the ‘Rival’ you’ll be assigned at the start of each Grand Prix.Not only do these racers react more aggressively to you, but they’ll also offer unique dialog when you appear out of nowhere to overtake them, hit them with an item, or fall behind the pack.This track sees you travel through a Dragon‌Once the Grand Prix is done, there’s a chance to secure further points by racing across each track from the prior Grand Prix in a sort of three-lap sprint.In my limited playtime, I was locked alongside my rival for points before pulling out the win thanks to that final spring.More competitive racers may baulk at such randomness creeping into tracks they’ve rehearsed, but it’s a breath of fresh air for the genre and stops those middle laps feeling too predictable.‌Each vehicle can be customised furtherAside from the Travel Rings, it doesn’t hurt that Sonic Racing CrossWorlds is a fantastic racer in its own right.Drifting to earn a boost and pulling off tricks to zip past rivals is great fun, although it did take a moment to knock me out of my Mario Kart muscle memory.‌Vehicles fall into a variety of categories, and each has customisable paint jobs, too, letting you make each feel bespoke. Want a purple car for Big the Cat? Go for it. Looking to add some colour to Shadow’s vehicle? You can do it.There are also gadgets you can use to tie into your playstyle, like hoovering up rings from further away, or simply improving your smallest boost.Is it a bird? Is it a plane? No, it's a hedgehog with a driver's licence!‌The game also brings back the “Land, Sea, and Air” transformation modes for vehicles, meaning one minute you’re driving, then sailing, and then flying.The latter is particularly enjoyable, letting your character of choice navigate jump hoops and tight turns, while there are secrets to find throughout each track to encourage replayability.Sonic’s video games feel like they’re in a pretty good spot at the moment, and CrossWorlds looks to be another fine addition.Article continues belowMuch will hinge on how fun its tracks are, but early signs are very, very promising that this will be a racer that shakes up the genre just as well as anyone else can.Previewed on PS5. Preview access provided by the publisher.‌‌‌

Giant Squid’s upcoming title, Sword of the Sea, is a well-crafted union of all the titles the studio and Game Director Matt Nava have worked on. The aquatic wonder of Abzû, The Pathless’s sense of adventure, and Journey’s beautiful desert world. Sword of the Sea weaves those influences together so skillfully that it feels like this atmospheric surfing adventure was the goal all along.  I got a chance to go hands-on with Sword of the Sea and talk with Giant Squid about the new game, coming day one to PlayStation Plus Game Catalog on August 19. Surfing across the sands and sea The game begins as the player awakens as The Wraith, a vessel waiting to be filled, who is given the task of bringing the oceans back to the world. Appearing to be the last being left alive to get the job done, you receive a mystical surfboard and hit the dunes.  The starting area is a vast playground where you can get accustomed to the board, perform tricks, and learn how to interact with the world. As you zoom across the desert, you come across different nodes known as Ocean Seeds that allow you to cleanse the land and restore parts of the ocean and marine life.  Beyond pleasing aesthetics, water and sea life directly impact gameplay. The Wraith is significantly faster on water, leading to greater speed for bigger jumps and more tricks. Some sea life create new paths, like buoyant jellyfish that make great jump pads and long strands of climbable seaweed. Watching the landscape terraform was a highlight, as was searching for all the land’s secrets.  “Sword of the Sea is really all about the spiritual magic of surfing,” Nava explains. “ It’s inspired by my own experiences snowboarding, skateboarding, and surfing throughout my life. When you think of these extreme sports, the first thing that comes to mind is probably the high speed and the danger. But there’s more to it than just an adrenaline rush. When you are surfing on waves in the ocean, you are literally on the boundary between our world and the world beneath the waves, a world beyond our understanding.”  Golden triangles known as Tetra populate the world, acting as currency you can trade to mysterious vendors to learn more tricks, acquire skills, and open new paths. Want to see it all? You’ll have to detour off the main path to see and afford it all. Different vendors, triangles, and Trick Attack arenas are hidden throughout the world.  Show off your tricks and feel the terrain Pulling off stylish moves in Sword of the Sea is straightforward. When surfing, once you jump you can press X again to perform a variety of double jump tricks. Once you acquire advanced tricks from the vendor, you hold L1 and press Triangle, Square, Circle, or X to do special grabs, flips, and spins. They score more points, and combining grabs and flips in different ways create new tricks. While the timing is a little trickier, you can give yourself a much-needed jump boost and score high-point combos when performed just right.  Sword of the Sea constantly keeps score of the tricks you pull and how advanced they are. Hidden Trick Attack arenas let you put those skills to good use. What does racking up a high Trick Score lead to? Yet another mystery we’ll have to wait to uncover. Though the game takes place in the desert, there are plenty of different objects to grind on besides sea and sand. I came across ruins, ceramic tile roofs, and helpful aquatic life. The team at Giant Squid takes full advantage of the DualSense controller haptics to ensure every surface feels and sounds distinct. As I surfed along rooftops, I could hear the melodic tones of tiles underneath and the tingle in my fingers. The sand offers a coarse sensation, and you feel and hear the rushing water as you speed through on the makeshift highways parts of the ocean create. “The haptic feedback of the DualSense controller reacts to each surface differently so you can feel it when you cross from one to the next,” says Nava.  “Combined with special sound effects that play from the controller, it gives a very realistic sense of touching the surfaces you see in the game. We are very excited by the extra layer of detail the haptics adds to the experience of surfing in Sword of the Sea.” You’re free to explore in any given direction, and hard-to-reach places usually reward you with something appropriate for the time and skill it takes to reach them. However, as you explore, you will discover murals and other environmental elements that keep the story ever-present. A tale of loss and destruction, and trying to find out how you fit into it all is an intriguing thread to follow. Especially since at the end of my session, it was clear that a mysterious character was following me. It appeared to be another wraith, but whoever the pursuer was didn’t give vibes of good intentions.  It’s easy to compare Sword of the Sea to its predecessors, but the game truly feels like an evolution of everything the Giant Squid team has worked on to this point. The game’s sights, sounds, and feel connected me with the land, and I can’t wait to hop on the board again and see what’s really out there.  “Our games have a really recognizable and unique art style, and tell atmospheric stories with their bold color and music,” says Nava. “We start with a feeling, an experience, and a message that we want the player to feel. Really, all our games are all about movement, and how it can connect you with nature and the world in different ways. Sword of the Sea builds on the ideas in all our previous games to create something that is both very Giant Squid and an exciting new adventure.” Looking to reel in more Sword of the Sea details? Check out the latest trailer and more details from State of Play. More from June’s State of Play State of Play June 2025: all announcements, trailers 

This is how to use the attention mechanism in a time series classification framework The post Hands-On Attention Mechanism for Time Series Classification, with Python appeared first on Towards Data Science.

Hell Is Us – not a Ubisoft adventure (Nacon) GameCentral goes hands-on with an original sci-fi action adventure where the emphasis is on unguided exploration, with some throwback Zelda inspirations. You might already have heard the name Hell Is Us, as the game was first announced way back in April 2022. We previewed the sci-fi tinged adventure title, developed by Rogue Factor, for the first time last year but now it’s now on the home-straight, with a launch slated for September 4, and it’s shaping up to be a peculiar but intriguing mix of influences and ideas. Our original preview covered the opening portion of the game, so we’ll avoid recycling the same beats here. But for the general gist, you play as a United Nations peacekeeper named Rémi who absconds to the war-torn country of Hadea to track down his parents. A stroll through the tutorial woods later, however, and you realise this isn’t your average civil war.  If you’re a fan of Alex Garland’s Annihilation, the strange, faceless alien from the film’s conclusion seems to have been a major influence here. The Hollow Walkers, as they’re called, are very creepy, as they lurch towards you unpredictably, with morphing limbs which give way to vivid, crystallised attacks or, in some cases, attached entities you have to kill first. Their glossy white exteriors act as a stark contrast to the muted eastern European landscapes and dungeons you explore.  As a game, Hell Is Us is somewhere between Bloodborne and The Elder Scrolls. Combat wise, it’s pulling from the former, as you manage a stamina bar, study enemy patterns for the best moment to strike, and rely on aggressive play to replenish a magic gauge for special skills. You also have access to a drone which has various uses tied to cooldown meters, between distracting enemies for crowd control andmaking a charging lunge to dash across the field.  Rogue Factor has stressed Hell Is Us isn’t a Soulslike though. You’re not scrambling for bonfires or any equivalent, but exploring and chatting with characters to piece together where you need to go next, discovering new places of interest, and encountering side objectives which bleed into the overall experience of navigating each semi-open world area. The ethos behind Hell Is Us is discovery and the organic feeling of finding your feet through clues in the world, rather than using obvious quest markers.  This might bring to mind acclaimed games like Elden Ring and The Legend Of Zelda: Breath Of The Wild, in their attempt to declutter open world exploration, but the game’s director, Jonathan Jacques-Belletête, believes the roots of what Hell Is Us is aiming for goes much further back. A cosmic horror vibe (Nacon) ‘Honestly, something like Zelda: A Link To The Past is much closer to what we’re doing now than a Breath Of The Wild,’ said Jacques-Belletête. ‘Sometimes people are like: ‘I really can’t put my finger on what kind of game it is, what is it?’ It’s just a bloody adventure game man. Look, you’ve got a combat system, you’ve got enemies, you’ve got a world to explore, there’s a mystery, you’re not exactly sure of this and that, there’s some secrets, there’s some dungeons, we did a game like that. It’s called an adventure game,’ he laughs. ‘There were even side-quests in A Link To The Past that didn’t tell you they were side-quests.’ Hell Is Us might have roots in classic adventure games but Jacques-Belletête, is keen to highlight the fatigue around Ubisoft style open world bloat, where checklists and quest markers are traditionally used in abundance. With the success of Elden Ring, there’s a sense many players are craving a return to the hands-off approach, where you discover and navigate without guidance – something which Hell Is Us is hoping to capitalise on after being in development for five years.  ‘It’s so much of the same thing,’ he says, when talking about Ubisoft style open worlds. ‘It loses all meaning. Things within these open worlds lose a lot of their taste because too much is like not enough. Do you know what I mean? You have to fill up these spaces with stuff and they just become a bit bland. Like once you’ve seen one, you’ve seen all of them.  ‘It’s not Assassin’s Creed, it’s not that, it’s all these things. We’ve all played them. I’ve got hundreds of hours in Elder Scrolls, all the Elder Scrolls, and that’s not the point. It’s not that I don’t like them. It’s just trends do their time and then you have other ideas. It’s a pendulum as well. Games used to be a lot more hardcore that way, we’re trying to go back to that.’ The crux of my time in Hell Is Us is spent in the Acasa Marshes, the second semi-open area where the game lets you off the leash. The swampy lands are crawling with Hollow Walkers in various forms, from hulking monstrosities to mage-like foes that hurl projectiles from clifftops. A swirling black vortex is a key focal point but it’s surrounded by enemies, while a settlement of villagers sits on a hill in the distance.  According to the developer, this area is one of the largest areas in the game, ‘if not the biggest one’, and it seems pretty expansive. We found ourselves heading towards the village, whose militaristic leader points you towards your main objective with only a vague mention of going ‘north east’. You have to dig out your compass to get a grasp on your position, as you try and navigate towards, and identify, the next location based on this information.  The lack of quest markers makes the experience more involving, as you have to pay more attention to your surroundings and what characters say, but I wasn’t entirely sold on the story or writing. It’s something which will hopefully become more engrossing as you get a better grasp of what’s going on, but I wish I was drawn to interact with the characters based on something beyond the need to progress.  When you are exploring aimlessly though, Hell Is Us offers some captivating chaos – even if some areas did appear to be gated off. We fought our way to the aforementioned swirling black vortex, encountering enemies beyond our skill level, only to find it was inaccessible due to not having a specific item. We later found an underground tunnel filled with enemies, where an individual connected to a side0quest was trapped at the other end.  Surprises lurk in the marshes (Nacon) Along with these open areas, Hell Is Us also offers dungeons built around puzzles and combat encounters. Aside from the opening introduction, we were shown a later example in the Lymbic Forge, which offered a nice dose of visual variety, with flowery gardens surrounding the boggy marshes. We didn’t get a whole lot of time to explore, but it did highlight the breadth of the combat upgrades and customisation with late-game weapons.  Hell Is Us is a melting pot of influences, and while we’re not sold on everything it’s trying to accomplish, it’s certainly another AA game with big, exciting ambitions – a trend amplified this year by the success of Clair Obscur: Expedition 33. For the game’s director, who has a long history in the AAA space working at Eidos Montreal, the jump to AA, with a smaller team and less financial pressure, means you have a better chance of striking gold.  More Trending ‘Look at what’s happened to the industry over the past few years,’ Jacques-Belletête said. ‘Everything is crumbling. The big ones are crumbling. It’s unsustainable. And the games are so bloody bland, man. Everything is starting to taste the same.  ‘I find there’s nothing worse than starting a game and right away, in the first two minutes, you know how everything’s going to work. You know how every single mechanic is going to work. They might have a little [extra] in how it’s going to feel, or this and that, the user interface will change a bit, but you’ve gone through the ropes a dozen times.  ‘A game has to occupy a space in your brain that your brain can’t really compute just yet. When you turn your console off and it stays there, that’s because something is going on. Your brain is processing. And I think that’s a lot easier to do in the AA space than the AAA.’ Formats: Xbox Series X/S, PlayStation 5, and PCPrice: £49.99Publisher: NaconDeveloper: Rogue FactorRelease Date: 4th September 2025Age Rating: 16 The combat it(Nacon) Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

You walk into a tech expo expecting the usual suspects – glasses with cameras, wearables that whisper AI prompts in your ear, maybe even a pair of glasses that let you take and make calls hands-free. But tucked away at BEYOND Expo was a pair of spectacles that did something very simple but extremely revolutionary – it used algorithms to improve your vision. The ViXion 01S is arguably the world’s first ‘autofocus’ spectacles, designed to work for any sort of vision ailment that requires vision-corrective devices or spectacles. The product’s creator, initially working with visually impaired children, saw how frustrating it was for them to constantly switch between glasses for reading and distance. That pain point sparked a concept: what if eyewear could adapt the way eyes naturally do? None of that ‘let ChatGPT identify objects for me’, just a pair of spectacles that enable you to see better. Designer: Nendo for ViXion And that idea, or rather that phrase stopped me dead in my tracks – autofocus glasses. Possibly the world’s first. But not in the way a camera might autofocus on a face. These use a depth-perception sensor embedded subtly between the lenses, analyzing how far away you’re looking and adjusting the focus of the lenses in real time. The result is magic in the truest sense: your focus shifts from a book in your hand to a sign across the hall, and the glasses reshape their optics in under a second. Block the sensor, and the illusion becomes obvious – your vision blurs instantly, reminding you that these glasses are doing some serious computing… in split-second moments too. Forget bifocals or progressive lenses. The ViXion 01S behaves like multifocal glasses with a brain. It doesn’t rely on zones etched into the lens. Instead, it features dual variable lenses that morph their curvature to suit your focal length, from up-close at 10 inches to a clear view across a room. Whether you’re myopic, hyperopic, presbyopic, or dealing with the messier combinations like anisometropia, the ViXion adjusts. it goes all the way from a power of negative 10 to positive 10, covering possibly the entire gamut. For me, a guy who’s had specs since 1997, it felt incredible. I’ve got a power of nearly -6.5, something that’s a little too high for most tech devices. For example, I can’t vision-correct images in most VR headsets because they don’t go all the way as high as negative 6.5. The average human has not more than minus 2 or 3, or positive 1 or 2. Setup is easy enough. A short calibration lets you fine-tune your pupillary distance and correct vision strength – up to +10 or -10 diopters, via a simple switch on either side of the glasses. From there, it’s mostly hands-free. The battery runs over 15 hours on a full charge and tops up via USB-C, making it an all-day companion that recharges while you sleep. The aesthetic comes courtesy of Nendo, Japan’s minimalism maestros. Lightweight at just 55 grams, the frame wears its technology like a tailored suit – sharp, unobtrusive, refined. The fact that such an elegant design houses motorized lenses and a depth sensor almost feels like a flex. Awards followed, naturally. The ViXion 01S has been recognized at CES, IFA, and the Good Design Awards in Japan. Most recently, it clinched the Beyond Award this year, validating both its design and innovation chops. At $500, this isn’t an impulse buy, but consider the math. If you’re someone juggling reading glasses, computer glasses, and regular prescription lenses (not to mention the cumulative cost of eye exams and replacements), it starts to look a lot more reasonable. Especially when one device replaces all the rest.The post The World’s First ‘Autofocus’ Spectacles: Hands-on with the ViXion 01S at BEYOND Expo 2025 first appeared on Yanko Design.

After Android XR smart glasses, I was most excited to try out Google Beam, a shrunken and commercialized version of Project Starline 3D video calling booth that Google has been plugging away at over the past couple of years. Seemingly everyone who has tried Project Starline has told me how mind-blowing it is to video call with someone inside of what’s essentially a glasses-free 3D TV, and feel like they’re really sitting in front of them. I finally got the opportunity to try the technology at Google I/O 2025—it’s impressive, but it’s far from some perfect replication of the person you’re talking with. Let me just repeat myself so there’s no confusion: that Google can replicate a person from a bunch of 2D videos that are then stitched together into 3D using a custom AI neural network is nothing short of wizardry. The 3D person inside of the screen really feels as if they’re sitting across the table. In my demo, which was actually using the older Project Starline setup and not the more compact one HP is making, a friendly guy named Jerome, who said he was being streamed from Seattle, Wash. to my screen in Mountain View, Calif., reached out to hand me an apple that was in his hand, and I instinctively tried to grab it. A few beats later, when he told me the demo was over, we high-fived—I, again, did it without much thought. All the while, during our 1-2 minute convo, we made eye contact, smiled, and laughed, as if we were together IRL. It was all very… normal. Ridiculously short as my demo was, the limitations of the current version of 3D video calling technology were immediately obvious as soon as I sat down in front of the TV “booth.” When Jerome appeared on the screen, I could see that the 3D render of him was jittering very slightly. The entire time, I could see the slightly horizontal jitters as he moved around. The closest thing I can compare it to is like slightly jittery TV scanlines—but it was something that I noticed right away and became fixated on. Another limitation is the camera tracking and viewing angle—it only really works looking at it dead center. Whenever I shifted my chair to the left or right, Jerome’s picture darkened and became distorted. Even with an 8K resolution, the light field display still looked grainy. I also noticed that if you try to “look around” the other person’s body, there’s nothing there. It’s just… empty particle-like space. That makes sense because Beam/Starline’s cameras are only capturing the front and parts of a person’s sides, not back angles. If you’ve ever seen the back of a person’s portrait mode photo (see below), you’ll know there’s just no captured data back there. I’m also suspicious as hell about how well Beam works in less-than-optimal lighting. The room I was in had nicely diffused lighting. I suspect that the image quality might be greatly degraded with dimmer lighting. There would probably be some real noticeable image noise. I should also note that my chat with Jerome was actually my second demo. My first demo was with a guy named Ryan. The experience was equally as brief, but Starline crashed and his image froze, and I had to be transferred to Jerome. Prototypes! Sure, Zoom calls can freeze up too, but you know what doesn’t freeze up? Real-life conversations in person. Because these units were Project Starline ones—the cameras and speaker modules were attached to the sides of the screen instead of built into them—there’s no way to know whether Google Beam is a more polished product or not. I really expected to have my mind blown like everyone else, but because it felt so natural, the whole experience didn’t quite make me freak out. And I’m known for freaking out when some new technology seems amazing. Maybe that’s a blessing in disguise—there’s no shock factor (not for me, at least), which means the Beam/Starline technology has done its job (mostly) getting out of the way to allow for genuine communication.

Rome wasn’t built in a day (Ubisoft) The fan favourite city-building series takes a welcome step back in time to second century Rome, as Anno 117 puts you in control of ancient Britain. Ubisoft’s Anno series, of historical city building sims, has quietly become one of the games industry’s hardiest perennials. Since 1998, it has mostly occupied a time period between the 15th and 19th centuries, albeit with two excursions into the future. Now, with Anno 117 (the eighth mainline instalment of the franchise), it is poised to take a large step back in time, to when the Roman Empire was in full swing and enjoying a period of extended peace. This is important because, as Anno players will be aware, the series is all about building, not fighting. We were given the chance to spend roughly three hours playing the new game, via Ubisoft’s streaming service on PC. Coming from the frenetic action of Doom: The Dark Ages, it felt like an oasis of tranquillity, with its considered gameplay requiring lots of thought and plenty of planning, along with a certain amount of waiting around for essential materials to be manufactured. As with all previous Anno games, it is very much a game for builders rather than destroyers. Given the technological sophistication of the Roman Empire – particularly by the time it had reached the second century AD – it’s surprising that the Anno franchise hadn’t previously explored the time period, but it’s obvious from the start that it’s a good fit. In the full game you’ll be given a choice between two areas of the Roman Empire, in which to establish your colony: Latium (an uncharted Mediterranean area which looks to be off the coast of Italy) or Albion – that is, what is now known as Britain. Much as we would have liked to have amazed the backwards natives by building a shiny Roman city on British shores, the constraints of the preview dictated that we would instead build in Latium. As such, our ship pitched up at a pristine, procedurally generated Mediterranean island, complete with a beach which could be developed into a port, flat land for farming, plenty of forests, a prominent river, and some mountains which could be mined. The first task – since we were taking on the position of governor of the new city – was to build a governor’s villa to accompany the trading post that had already been built on the beach. Once that was done, the from-scratch city-building started in earnest. Raw materials are obviously key, so a woodcutting operation was needed in the nearest forest, which has to be connected up to the trading post by road. As ever in a city-building game, close control over the network of roads is essential. Anno 117’s road-building system is exemplary – intelligent enough to let you curve roads to your satisfaction and snap them easily to form the connections they need to make. With a woodcutter and a sawmill constructed, and wood therefore in plentiful supply, we could then start building a number of homes for the workers who form the lifeblood of the city. Build those homes and you’re able to establish a workforce. In its early stages, Anno 117’s tutorial makes its objectives clear: you need to build 10 houses to establish that workforce. Unfulfilled criteria are clearly marked with little warning flags; Anno 117, mercifully, isn’t one of those strategy games which seems happy to leave you confused. After completing the tutorial, we were never at a loss as to what to do and the tutorial itself felt logical rather than manufactured. With our first residential area constructed and hooked up via a road network, we could start turning our attention to the needs of our burgeoning populace. Food, obviously, was required, so we built a fishery and established a wheat farm, along with a bakery and a porridge kitchen. We then began to have little interactions, as governor, with our inhabitants. We unlocked the ability to build a market and a tavern in the residential quarter, which bring helpful area effects. Pleasingly, what was now transforming from a village into a town began to exhibit some bustle, with carts of timber moving around and residents going about their daily work and heading to the tavern afterwards. Ancient Albion on the fringes of the Empire (Ubisoft) Our next task was to attract some more sophisticated, educated residents, by fulfilling a number of criteria in order to upgrade the basic housing. This brought considerations like fashion into the mix, by establishing a hemp farm and setting up a cloth-spinner. More sophisticated building materials such as tiles were also required, so we built a charcoal kiln and, on one of the river slots highlighted in the game’s geography, cleared a clay heap As that extended the city limits somewhat, it was necessary to build another warehouse. And we had to keep an eye on the mix of our population, between the basic Liberti and the more sophisticated Plebeians, by building more houses and upgrading some of them. Now that our town was really starting to take shape a level of exploration and interaction with other nearby enclaves came into play, with governors of nearby provinces appearing – giving us opportunities to indulge in diplomacy. Other residents then started asking to be ferried around the world map in the starting ship, which had previously remained moored as we established the basic structure of our town. More Trending During the tutorial period, we had concentrated on establishing a basic settlement rather than engaging in trade, so had been forced at one point to accept a loan from our superior in Rome. As the game progresses, trading becomes an increasingly important mechanism in the push to build a more sophisticated city. At this point you are given the ability to not only establish trade routes but also set religious criteria, by picking a preferred god to worship from the Roman pantheon. Even three hours in, we were quite happy with the progress we had made towards imposing a decent level of civilisation upon previously uninhabited territory. Those initial three hours with Anno 117: Pax Romana proved very satisfying and enjoyable. Although the series predates the phrase cosy game, it’s definitely that, while also being reminiscent of even older franchises like The Settlers (now also owned by Ubisoft). For a city builder, Anno 117 fells pretty exemplary in terms of its interface, which is clear and logical. It looks great and, with the local interactions and the trade route engine, offers more gameplay variety than most similar games. At the moment, it hasn’t been given a specific release date, but Ubisoft has said that it will come out this year on both consoles and PC. Formats: Xbox Series X/S, PlayStation 5, and PCPublisher: UbisoftDeveloper: Ubisoft MainzRelease Date: 2025 Ocean trading is an important gameplay element (Ubisoft) Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. 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