• Naughty Dog co-president Neil Druckmann says "a couple of very exciting" The Last of Us projects are in the works
• He says the games will expand the canon of The Last of Us beyond the first two games
• Druckmann adds that work on Intergalactic: The Heretic Prophet is proceeding, and the studio will do a "full reveal" in 2027

Naughty Dog co-president Neil Druckmann has confirmed the studio is working on more games to expand the world of The Last of Us.

To close out this year's The Last of Us Day, Druckmann shared new insight into the studio's current projects, including Intergalactic: The Heretic Prophet, and what's next for The Last of Us.

In a blog post, The Last of Us Part 2 director revealed that two new The Last of Us projects are in early development, saying Naughty Dog hopes to "expand the canon" of the first two games.

"Since Grounded II, we’ve talked about the possibility of telling more stories in the world of The Last of Us," Druckmann said. "We have a couple of very exciting new projects in very early stages – so we can’t say much about them at this point. I will tell you that both projects will expand the canon of The Last of Us beyond Part 1 and Part 2.

"The world of The Last of Us means a great deal to us, and we wouldn’t return to it unless we had something meaningful to say. We believe these stories are worth telling."

As for Intergalactic, which was revealed almost two years ago, Druckmann said the development team is "heads down on what is shaping up to be Naughty Dog’s most ambitious game yet."

"There’s an electricity around the studio right now as all the pieces come together, and we’re stoked to finally unveil Intergalactic in all its glory. But...we need to cook for just a little bit longer," he said.

Druckmann said the team will remain quiet for the rest of 2026, but in 2027, it will "fully reveal" the game and give fans "a proper look."

"We know it’s been a long time since we’ve had much to share with you. We don’t take your continued support for granted," he added. "We’re working incredibly hard to make something worthy of your patience. Until then…Endure & Survive!"

• Fable associate game directors Craig Littler and Will Kennedy say British humour is a "crucial" part of the reboot
• They say it's presented in all systems, from story to dialogue and combat
• Playground Games made sure to steer away "from anything that's too crude"

Playground Games has said its Fable reboot will feature the series' iconic British humour across all systems, but it avoided anything overly "crude."

During a press Q&A at Gamescom, attended by TechRadar, associate game director Craig Littler said British humour "is a core part of the Fable DNA" and the decision to bring it forward into Playground's reboot "has been a crucial thing that we're always thinking about, because for us it has to be interwoven throughout the entire game."

"It's not just in the story. It's not just in the dialogue, but you even see flourishes of it in the combat," Littler said, before talking about the spell that lets players turn enemies into chickens, which he laughs about every time.

"It's hilarious," he added, saying, "We believe that the core idea of Fable is that the humor is [shown] throughout."

Associate game director Will Kennedy said that even when enemies turn back from a chicken, they'll still flap around for a while, which is visually funny but also gives players the opportunity to land some attacks.

"To us, tone is something that we're thinking about all the time and in every system, really," Kennedy said. "Any opportunity to add that fabled British tone of humor."

The directors also said the team thought deeply about how to present the humour, particularly for a modern audience; not every joke or gag will land the same for everyone, and the humor in the older Fable titles may be outdated, and they made sure not to feature anything too rude.

"For us, we've steered away from anything that's too crude," Littler confirmed, "and I think the real test for Fable when it comes to the tone is that it does just have to be funny, and that comes from really great writing, having a brilliant narrative team, and honestly the actors that we've hired as well."

Those actors include British stars and comedians like Hayley Atwell, Matt King, Natasia Demetriou, and more, with Littler saying they "really bring themselves to the role and are also capable of the sincerity that really gets to the heart of fairy tales as well. You want somebody who has that humour, but can really deliver an enormous performance as well."

He also teased some improvisation from the cast, explaining that the actors are given a solid script, but do give them "some latitude" for some improv.

"At the end of the day, they're great British comedians," he added. "Sometimes they're going to say something that's just pure gold. So yes, there is some latitude, and absolutely we reuse it when we can."

Fable launches on launch on February 23, 2027, for PlayStation 5, Xbox Series X, Series S, and PC.

• Rainbow Six Tactics game director Martial Potron says Mario + Rabbids helped the team understand "the metrics of tactics"
• He says it borrowed the "DNA" of the series, and it was a different experience from working on Ghost Recon
• Potron adds that he had to change his developer habits when working on
• Rainbow Six Tactics

Rainbow Six Tactics game director Martial Potron has said the development team borrowed the "DNA" of the studio's turn-based game series, Mario + Rabbids, for tactical level design inspiration.

"Mario + Rabbids helped us shape some parts," Potron told TechRadar Gaming in a recent interview about the upcoming Siege spin-off. "The team, especially the level design team that came from Mario + Rabbids, really helped us to understand the metrics of tactics."

The game director explained that, instead of keeping in line with the series' first-person style, the team chose a turn-based tactics genre because it felt that Rainbow Six's DNA is already "tactical."

Speaking more on inspiration, Potron explained that some of the "core rules" for him as someone who worked on Ghost Recon are to design an experience that players would expect; "smoke and mirrors," as he puts it, in terms of lethality or enemy behaviors to "make the experience cinematographic," but the turn-based tactics genre is different.

"In tactical, everything is very precise," he said. "It's pure. It's like chess. So we had to change a bit of our mindset to adjust to this philosophy."

Poltron continued: "This is a bit of a paradigm shift for us in terms of habits. It's 15 years of my habits that I need to shift."

Rainbow Six Tactics launches in 2027 for PC, PS5, Xbox Series X, and Xbox Series S.

• Total War: Warhammer 40,000 battle product owner Dave Petry says the series' diplomacy will be present but "in a different form"
• He says players need to manage relationships with local forces and planetary governors to balance their reputation, renown, and suspicion
• Players will deal with planetary representatives and will have to manage their attitude towards them

Creative Assembly has confirmed that Total War: Warhammer 40,000's diplomacy system will affect players' standing with planetary governors and local forces, so they'll need to strategically manage relationships.

TechRadar Gaming recently caught up with battle product owner Dave Petry and lead designer Joy Dey at Gamescom to chat about the upcoming turn-based strategy game and what players can expect from the next installment.

Alongside a discussion about how player customization was a "must-have" in Total War: Warhammer 40,000, Petry said that the diplomacy that's a defining feature of the Total War series will also exist, especially within the Imperium, and players will be required to manage relationships with local forces and planetary governors to balance their reputation, renown, and suspicion.

"When it comes to diplomacy in 40,000, I think the focus is that the Imperium itself is an absolutely monstrous bureaucratic nightmare, effectively, and all of the arms of the Imperium need to communicate and coordinate in some fashion between one another too," Petry explained.

"So although there are going to be some factions which are extremely belligerent and extremely difficult to get on with, when you're dealing with, say, the Imperium, there are local forces and allies there that you also need to work with and get on board and make sure you get to where you need to get to. Space Marines are obviously incredibly powerful."

The developer also touched on the Astra Militarum, the largest military force in the universe, and being supported by them "means a level of negotiation with the Imperium itself and the local forces that you're fighting around."

"In a different form, diplomacy will be present," Petry said. "But when it comes to dealing with outright belligerents, they're obviously tricky points to get through."

Players will also need to deal with planetary representatives, Dey added, so players will have to manage their attitude towards them.

"There will be things they would like you to do," Dey said. "There will be things that they don't like that you do."

Petry added, "Planetary governors can be problematic, and how you manage them as a Space Marine, or in a Space Marine chapter, is kind of down to you. But it will then affect your renown or your reputation with the Imperium, and those things might not always align, which should put you in some fun spots."

Total War: Warhammer 40,000 launches in 2027 for PS5, Xbox Series X, Series S, and PC.

• Fable's achievement list has been nailed down, say associate game directors Craig Littler and Will Kennedy
• They say players won't have to do "30,000 playthroughs" to achieve 100% completion
• They want to keep the list secret for now to not "spoi the surprise"

Playground Games has confirmed it has locked down Fable's trophy list, but swears players won't have to do several playthroughs to achieve 100% completion.

Speaking in a press Q&A at Gamescom attended by TechRadar Gaming, associate game directors Craig Littler and Will Kennedy were asked about the game's achievements and whether players can expect a typically funny trophy list similar to the previous games in the series.

Although the developers confirmed the list is essentially nailed down, Plaground wants to keep it secret for now to avoid spoiling the experience.

"We'll say that we have the list, but we're not going to spoil the surprise," Littler said.

Fable is an open-world role-playing game (RPG), meaning players will spend plenty of time exploring during the game's 15-20 hour main story and interacting with over 1,000 unique non-player characters (NPCs).

When TechRadar Gaming asked whether achieving 100% completion, or the Platinum Trophy on PlayStation 5, is feasible without having to complete multiple playthroughs, Kennedy said, "It's doable," but couldn't say how long it will take.

"I will promise you, you won't have to do [something like] 30,000 playthroughs," Littler said, laughing. "We'll commit to that."

Fable will officially launch on February 23, 2027, for PS5, Xbox Series X, Series S, and PC. Playground has confirmed that the Xbox Series X version will have a 60fps performance mode.

• Alien Deathstorm was built on a new version of the Atomfall engine
• Head of design Ben Fisher says it's an "advanced" version that offers a new lighting system
• Producer Martin Willingham says this is "a must" for an action horror game

Rebellion has confirmed that Alien Deathstorm was built on a new version of the Atomfall engine, which also let the team bring the horror aspect to life.

Speaking in an interview with TechRadar Gaming at Gamescom, where we went hands-on with the upcoming first-person horror game, producer Martin Willingham and head of design Ben Fisher discussed how it's not a survival shooter with typical survival horror features; the team considers it a "dynamic" experience with sandbox elements where the player's actions can affect unscripted enemy encounters.

Willingham said the team values replayability and sandbox freedom, which means "we had to do something dynamic," and "building the encounters around the player and the player's activities means it's a different experience."

This sandbox survival experience was built on "a more advanced version" of the studio's Atomfall engine, Fisher revealed, which offered an improved lighting system and a deeper sense of realism as players explore their surroundings.

"Which for an action horror game is actually a must," said Willingham. "The tech team have just been absolute wizards with us being able to manifest and visualize that deathstorm."

He added, "We've been working on a lot of the GPU particles, visual effects, and fog system as well."

Alien Deathstorm doesn't have a release date yet, but it's coming to PlayStation 5, Xbox Series X, Series S, and PC in Spring 2027.

Ace Combat 8, the latest installment in Project Aces' long-running arcade flight sim series, is here. Packed inside this game's cargo hold is a medley of melodrama, mission types, and a beautiful new look, but it's somewhat over capacity when it comes to cutscenes.

You'll discover this right from the off: Ace Combat 8 is the first game in the series where its cutscenes are entirely from a first-person perspective.

You step into the shoes of Rex, a pilot in service with the navy of the Federation of Central Usea (FCU). Sotoa, a nation of former nomads, has decided to emulate the Mongols of our reality and has conquest in mind, with the FCU already almost completely subjugated at the start of the game. Said shoes are likely very damp, with events kicking off on a life raft after the helicopter you were in went down.

Soon, you're back in the sky as a navigator for Jan "Rex" Cope, the original Rex, who is the mythical Wings of Theve of the game's subtitle. This strongly evokes the Ghost of Kyiv, a mythical pilot heavily propagandized early in the ongoing Russo-Ukrainian War, but Cope soon comes a cropper and gets killed, forcing you to take over his role.

A huge part of the game's narrative is about propaganda and the role that social media plays in modern warfare. Wings, as a pilot, can't be allowed to die, so you need to fill in and lead his Joker Flight unit. The former Rex, however, doesn't disappear; his spirit serves as a near-omniscient narrator for the rest of the game's escapades.

Flying without wings

What escapades they are, too. Over the course of the game, which is significantly longer than Ace Combat 7 (with my playthrough clocking in at around 18 hours to complete all 30 missions), you'll do almost everything you could reasonably expect a pilot to do. Dogfights, close air support, attacks on enemy ships, and more.

Joker Flight will accompany you through most of it, and happily, every member has a well-fleshed-out personality. There's Ellington "Professor" Baxter, an easy-going and ever-professional former university lecturer; Tasha Severskaya, an ex-stunt pilot; and William "Noise" Coster, a taciturn musician who provides soundtracks to some of your battles.

While this lineup gets chopped and changed as you progress through the story, it's these three at your side for the vast majority of the game. They're great, and they make the entire squadron feel cohesive, and the stakes feel real when one of them gets in trouble.

The same can't be said for the wider crew of the Carrier Endurance, your home away from home. Your commander and D.D., a propaganda officer of the shadowy Enso Order corporation, are broadly cliched, and spending time with them feels tedious.

Unfortunately, you'll be watching a series of lengthy cutscenes before you're actually flying a plane, and the prologue mission is effectively another cutscene as you escape the vexatious aim of The Shadows, Sotoa's elite pilots.

There's occasionally mild participation encouraged of you, such as standing up at attention or shaking someone's hand by pressing a button. I'm genuinely somewhat surprised that the series is bold enough to give us QTEs again, after the infamous tragicomedy of the "press triangle to fist pump" moment in Ace Combat: Assault Horizon.

You're not out of the woods when you're done with the first mission, though. Scattered throughout the game like little narrative landmines are cutscenes that go on for far too long and rarely give you a payoff worth your time. It feels like an Ace Combat game that was co-developed by Hideo Kojima at several points. But for all of this opera, the ending feels remarkably flat.

Without spoiling anything, the game spends hours building up a foe who then crumbles within a few minutes of dogfighting. Then it does it again! It makes the stakes feel wasted.

Cloudy with a chance of missiles

None of that matters, though, when you throttle up, break the sound barrier, and punch through the clouds in pursuit of an enemy, or dive, shrieking, towards a tank that you're about to remind about the superiority of being able to move in three dimensions. What clouds, too.

If I may digress for a moment, Ace Combat 8 has by far the best-looking clouds in any game I've played. They rely on proprietary software called Cloudly, and it leads to them feeling far more lifelike than ever before. Beautiful and light on the outside, dense in the middle, like an inverse cookie, they look and feel absolutely stupendous.

Ace Combat has always had a knack for making you feel like an ace, and this new entry is no exception. Wheeling around the sky like Maverick, pulling off impossible maneuvers in a plane like an A-10 Thunderbolt, and pulling up from a collision course at the last possible moment all fulfil the fantasy that the title promises.

Here, you are the greatest pilot to ever live. Difficulty is very well-balanced, too, with the Shadows feeling noticeably tougher, harking back to the days of facing off against enemy aces in F-22 Interceptor on the Mega Drive, if you're as old as I am.

The problem is, spectacular clouds aside, there doesn't seem to be all that much that separates this game from Ace Combat 7. It harkens back to Ace Combat 5 in a lot of ways: for instance, you can give wingmen commands again and pick their aircraft, but it doesn't seem to make a ton of difference in-game.

Missions are broadly successful or unsuccessful regardless of how you command your wingmen, while loadouts only really matter to the extent of picking roughly the right aircraft for the mission. This leads to the issue of wondering why you'd choose to play this game rather than Ace Combat 7, other than the clouds looking nicer, especially as you can buy it with all DLC for a fraction of the price.

I'm realising how negative a lot of this sounds, and that really does just come down to how cumbersomely crowbarred in a lot of the story is. Once you've been through it and are willing to skip cutscenes, you're left with a brisk, exciting, fun game. It is perhaps emblematic of both the best and worst aspects of the Ace Combat series, with a narrative that feels it has earned plaudits that it doesn't deserve, while the meat of the game is absolutely fantastic.

One key measure of this is that I've been going back to it since I beat it, unlocking new aircraft from the large Aircraft Tree and replaying missions with different loadouts. I'll likely lose a lot of hours to the multiplayer, too, because, once again, it lacks a lot of what there is to dislike.

It's a game that is infuriating in its bloviation, but when you soar above the clouds and take down enemy jets, hearing their cries of confusion over the radio, you won't care anymore. A great, gorgeous game, but one that likes the sound of its own voice just a little too much.

Should you play Ace Combat 8: Wings of Theve?

Play it if…

Don't play it if…

Accessibility features

Accessibility settings are limited, but are present. The game features a colorblind mode that changes the green HUD to violet. There are also text-to-speech settings present.

In addition to these, you can also choose between two flight models: one that gives you more granular control over your aircraft and one that makes the game handle much more simply, making it more like After Burner.

How I reviewed Ace Combat 8: Wings of Theve

To review Ace Combat 8, I finished the entire main storyline and then went back to play several missions in Free Mission mode.

I ran the game at high graphics settings on my Nvidia RTX 4070-powered gaming PC and had a generally solid 60 fps that only dipped during particularly hectic moments. I’m yet to go online, but I'm looking forward to trying it out once the servers are populated.

I played the game using a standard Xbox Wireless Controller, which worked perfectly throughout.

• A new PlayStation Portal software update has been released
• The update introduces a new 80% default charging limit to ensure the device's long-term battery health
• Players can increase the limit manually, but Sony advises against it

Sony has rolled out a new PlayStation Portal software update to improve stability and support the device's long-term battery health.

As detailed in the version 7.1.7 patch notes, the update "introduces changes to how your PS Portal charges in order to support the long-term battery health of your device" and means that it will now charge to just 80% by default.

While 80% is the default limit, users can increase the cap at any time in Settings > System > Battery; however, Song strongly recommends the alternative as it could impact the PS Portal's longevity.

"Selecting a charge limit over 80% might impact battery performance and overall stability, reducing long-term battery health," the patch notes.

It's reasonable to want to charge your device to 100% every time the battery depletes, but Sony's new default charge limit sounds like a great solution if you want to keep your PS Portal in good shape for a long time.

The full version 7.1.7 patch notes can be read below.

• This update introduces changes to how your PS Portal charges in order to support the long-term battery health of your device. After updating, your device will charge to 80% by default. You can change the charge limit at any time in Settings > System > Battery.
  • Selecting a charge limit over 80% might impact battery performance and overall stability, reducing long-term battery health.
• Make sure to update your PlayStation Link device to the latest device software version to connect to PlayStation Portal.
  • To update your PlayStation Link device, connect it to a PS5 or PC using its PlayStation Link USB adapter. For more details visit the guides below.
• We've improved system software performance and stability
• We've improved the messages and usability on some screens

• Rainbow Six Tactics game director Martial Potron says the game's fatigue and injury system will encourage players to try other Operators
• Operators can go out of commission if they're injured, pushing players to shuffle through the roster
• Potron says this also reminds players that Operators are "human"

Rainbow Six Tactics won't let fans repeatedly play the same Operator like in Rainbow Six Siege, but will encourage players to experiment with the entire roster using two new gameplay systems instead.

Rainbow Six Siege fans have a favorite Operator, whether it's Ash, Smoke, Fuze, Hibana, or someone else on the massive roster. But in Rainbow Six Tactics, Ubisoft's turn-based tactics spin-off, the fatigue and injury systems will force players to try other characters across a variety of missions.

"It's a way to push players to use their tools and shuffle their roster," game director Martial Potron told TechRadar Gaming at Gamescom. "So fatigue is one way, injuries is another way."

Potron explained that Operators are human beings, so it makes sense that these special agents will be out of commission for some time if they get injured during a mission; unlike in Siege, where objective-based game rounds will reset a player's health each time.

"I think it's also a good way to remind people that Operators are humans," the director said. "A bullet is a bullet. It's very dangerous. That's why reconning is important. If you don't recon, it may happen that there is someone hidden and he shoots you, and and you get you get injured. You don't have your Operator for two missions."

He added that the fatigue system serves the same purpose and "forces players to readjust their roster" whenever they send Operators on missions; he said this may seem negative, but the game will inform players which Operators will fit certain missions.

For example, a mission that requires players to save targets wouldn't suit Ash, who uses explosives, so a more close-range or precise Operator would be best.

"So depending on who I am facing, I will also readjust my roster because they really are meant to counter other enemies," Portron said. "So there is this negative side of humanity, and there is a positive side of Operators being very good against some part of the challenges."

Rainbow Six Tactics arrives in 2027 for PC, PS5, Xbox Series X, and Xbox Series S.

• Rainbow Six Tactics game director Martial Potron says making the spin-off a turn-based tactics game felt like "a natural fit"
• He explains that the "DNA" of the shooter series is tactical
• Potron adds that the team already had experience with turn-based games, but "had to convince Ubisoft and the Rainbow Six team"

Rainbow Six Tactics game director Martial Potron has explained why Ubisoft chose to make the upcoming spin-off a turn-based tactics game instead of keeping in line with the series' first-person style.

Speaking in an interview with TechRadar Gaming, Potron said making the next Rainbow Six Siege game turn-based, in the same vein as XCOM, felt like "a natural fit" for the development team.

"When you look at Rainbow Six, its DNA is tactical," he said. "It's just that it's first-person. The camera is placed in the eyes of the players. It's a real-time game. But if you look at all the DNA, finding the best line of sight, finding the best cover, finding the best targets, taking care of your operators, destruction... In fact, it's very tactical in a sense."

He continued, saying that when designing video games, you always imagine the "what-ifs" of whatever project you're working on, and reiterated that the idea of making a tactical Rainbow Six game "was so natural; the fact that we wanted to do that."

"It happened that in [Ubisoft] Paris we have experience with tactical shooters, but we have experience with tactical turn-based games with Mario + Rabbids, and we love tactical shooters and tactical turn-based games," Potron added.

"So in fact, it became a natural fit for the team and for the genre to try to do that, and we just had to convince Ubisoft and the Rainbow Six team."

Rainbow Six Tactics launches in 2027 for PC, PS5, Xbox Series X, and Xbox Series S.

• Alien: Isolation 2 principal environment artist Archie Whitehead says the Xenomorph uses legacy animations that Creative Assembly designed for the first game
• He explains that the studio didn't have the technology to implement it at the time
• The sequel animations have been improved so the alien is "more responsive"

Alien: Isolation 2 principal environment artist Archie Whitehead has revealed that the game's Xenomorph uses improved legacy animations that Creative Assembly designed for the first game but didn't have the technology to implement 12 years ago.

In an interview with TechRadar Gaming at Gamescom, Whitehead confirmed that working around the alien's intelligence will be a core part of gameplay—even with the added exterior environment—and if players use a flamethrower or repeatedly hide in lockers, their actions will be less effective against the Xenomorph.

But the developer said the fear of hiding from the alien isn't just about its intelligence, but about how players perceive it visually; he explained that its animations and transitions have been improved from the first game, making it scarier.

"Intelligence is about perception," Whitehead said. "It's about what the player sees. If the alien was a cube sliding around, it might still kill you; it might still be scary, but you probably wouldn't perceive it as that intelligent if it was just a rotating cube, right?

"Obviously, the model, the character, the mesh for it; it's much more improved. There's a lot of layers there that I can't talk about the specifics, but it's more responsive, more reactive. It's really, really terrifying."

Whitehead went on to reveal that the Xenomorph uses animations and transitions that were initially designed for the first game, but Creative Assembly "didn't have the technology at the time" to use them. However, they've been polished for the upcoming sequel.

He explained that he chatted with animation director Simon Ridge, who worked on the first game, and saw some legacy animations that appeared to be unused, but were "really scary" and "amazing transitions" where the alien was looking at the player.

"I was studying when the original came out, so I wasn't on the first game," he said. "So, I was coming to this as a big fan, and I was chatting to him, and he was showing me these legacy animations he had, and I was like, 'I played the original a lot of times, I don't recognize these animations.'

"The vision was there, but they didn't have the technology at the time [or] whatever exactly they needed to implement it."

He added that this is a "benefit" for the sequel coming out 12 years later instead of immediately after the first game.

"We're able to use that kind of stuff, and obviously it's still going to be polished up, and it's a new setup and everything," he said, "but it's one of the things that makes it [the Xenomorph] feel smarter is its reactivity; making it feel like it's not just looking at the player, it's not just pointing its head in your direction. You feel like it's looking at you, and that's the kind of stuff that, again, when they show it off within the team, everyone's getting chills, and it's super exciting. We're super excited to show you."

Alien: Isolation 2 will be available on PS5, Xbox Series X and Series S, Nintendo Switch 2, and PC. A release date hasn't been announced.

• Creative Assembly says Alien: Isolation 2's protagonist will offer "a new perspective to the franchise"
• Blake is a Weyland-Yutani employee, with principal environment artist Archie Whitehead saying the Japanese side hasn't been explored a lot
• Principal UI artist Laura Mauterer says Blake isn't like any other Alien protagonist and "is such an interesting character to explore"

Alien: Isolation 2 will offer a totally new perspective on the Alien franchise by telling a story from the viewpoint of Yutani employee Blake, and Creative Assembly believes players will love her.

Speaking to TechRadar Gaming at Gamescom, principal environment artist Archie Whitehead and principal UI artist Laura Mauterer discussed what they're most excited for players to experience in the upcoming sequel, highlighting the game's protagonist, Blake.

Blake works for Weyland-Yutani Corporation, a mega-conglomerate and the major human-led antagonist throughout the sci-fi series, but is employed specifically on the Yutani side of the company.

It's a viewpoint that hasn't been showcased during the horror franchise before, and something the developers were eager to explore in depth.

"Weyland-Yutani is an English-Japanese-speaking company, and it's something that the Japanese side, I feel like, doesn't really get explored that much," Whitehead said. "It's something we're trying to explore more here because Kurosaki, it's the name of the station [the game's setting], so I'm very interested in players to discover: 'How does that influence the world and the people living in it?'"

Mauterer added that Blake is "awesome" and "brings such a new perspective to the franchise in total," and her being an employee of this mega-corp will be a much different experience from the first game, where the characters were ordinary people.

"If you think back to the first game or even the first movie, it's truckers in space, right? It's ordinary people doing average things," Mauterer said. "They're not powerful. They're expendable. No one cares for them. They have to care for themselves.

"But now we have Blake, who is a very Weyland-Yutani employee, and that means that she has some power, right? But when you hear in the trailer that the Japanese voice is telling her, 'You made a mistake. This is your last chance.' She was sent to Kurosaki against her will, and she wants to do well. She wants to be there to redeem herself."

Talking more about the story, Mauterer explained how characters in the prologue will talk to Blake with respect and "you can get a sense of her standing," but all Blake is focusing on is trying to redeem herself. That's why when she heads to the crash site and accidentally unleashes the Xenomorph onto the colony, she's made yet another mistake, which the developers said will make Blake an interesting character to play.

"That dichotomy, she is such an interesting character to explore," Mauterer added. "And I think the players will really get to know her and love her in the journey; they will make out their own journey [as well]. We tell a larger story, obviously, but similar to the first game, every player will have their own way of telling the 'in-betweens' between that [main] story, and will be so interesting to see."

Alien: Isolation 2 doesn't have a release date yet but will launch on PS5, Xbox Series X and Series S, Nintendo Switch 2, and PC.

• Creative Assembly says Alien: Isolation 2 is still influenced by the iconic film, despite the outdoor setting
• Principal environment artist Archie Whitehead says the environment had to be showcased "through the lens of someone from the 1970s"
• Principal UI artist Laura Mauterer says the team is "not reinventing the wheel" and is still using a lot of inspiration from the first movie and game

Alien: Isolation 2 is still inspired by the first Alien movie, even though the game features a new outdoor setting; Creative Assembly had to make sure the environment felt authentic to its iconic retro-futuristic aesthetic.

Like Ridley Scott's 1979 Alien, Alien Isolation takes place inside a space station, isolating the player in a claustrophobic environment as a Xenomorph hunts them. However, the sequel features an outdoor colony world and the confines of a Weyland-Yutani outpost, giving the studio a new opportunity to expand exploration and find new ways to adapt the movie's iconic style.

Speaking to TechRadar Gaming at Gamescom, principal environment artist Archie Whitehead didn't want to spoil the setting too much, suggesting players are in for some surprises as they explore the game's outdoor mining colony, with principal UI artist Laura Mauterer explaining that the team is "not reinventing the wheel" and is still using a lot of inspiration from the first movie and the first game.

"The first movie is the lens we're looking through everything at," Mauterer said. "It's our guiding step. And when it comes to new, we're really excited about introducing new retrofitting tech," she added before using a CRT computer as an example of how it would be damaged in an outdoor setting.

"I can maybe give you an idea of our approach to it," she said. "We think about it now that you have to be indoors and outdoors; obviously, things need to adapt. I have a CRT monitor on my workstation as my third monitor; there are holes on the top in the back. Obviously, if I put that outside and it's raining, it's gonna go kaput, right? So, we need to make sure that we're adapting the things that we have seen in the first movie and in the first game to be believable in this outdoor environment. [So] it makes sense."

Whitehead added that it has to be showcased "through the lens of someone from the 1970s" because things like LEDs and LCD panels didn't exist back then.

"As an environment artist, I'm making design decisions all the time when modeling something about the shapes used; where's a vent, where's this?" Whitehead said, adding that it would be easy to add "generic" shapes, but he and the team used movie set photos and imagery to "dissect" how to build these assets players will see in the environment.

"Sometimes it feels like yogurt pots," he joked. "It's a lot of vacuum form shapes. They even had some parts of it; I think it was a bomber from the Second World War. They got some stuff from the scrapyard.

"So looking at what they had and working out how to recontextualize those things when creating a new design, and just making sure that whenever we reference stuff, we don't reference anything from beyond that point because those manufacturing techniques and those materials didn't exist yet, so they shouldn't be here."

Alien: Isolation 2 will be available on PS5, Xbox Series X and Series S, Nintendo Switch 2, and PC. A release date hasn't been announced.

• Principal environment artist Archie Whitehead says Alien: Isolation 2's custom lighting and audio tech allowed it to create a more "realistic" atmosphere
• He says just using Unreal Engine 5 wasn't enough, since the engine is "optimized for usually quite bright scenes"
• Custom lighting allowed the team to design "reactivity" in the environment

Alien: Isolation 2's custom audio and lighting technology has enabled Creative Assembly to create a more authentic atmosphere that it couldn't fully achieve with just Unreal Engine 5.

In an interview with TechRadar Gaming at Gamescom, Creative Assembly principal environment artist Archie Whitehead and principal UI artist Laura Mauterer shared more about developing the sequel with Unreal Engine 5 and the studio's custom technology, which it previously told us was an "evolution" of what fans are familiar with.

"For horror, audio and lighting are the two Powerman things," Whitehead said. "Unreal gave us a great base, but we felt that to do certain things, it [custom tech] really, really helps."

One of those things, particularly with lighting, was "reactivity," which would offer visual effects from things like weather and other environmental assets, creating a more realistic atmosphere.

"We wanted a thunderclap, like fire flickering, sirens spinning, all of that stuff," he continued. "We felt that a custom solution would give us that perfect frame response that you want in that really, really dark environment. You know, Lumens [UE5's global illumination and reflections system] is optimized for usually quite brighter scenes."

The developer explained that the team struggled with showcasing metals in the game's darker exterior environment, saying, "Metals in virtual worlds are really difficult."

He added, "The color of metal is actually just what's being reflected, right? And the problem is all of our scenes are really dark, so for the metal to behave properly, it's quite a tricky balance to strike. So that's one of the things that our lighting system helps us with."

The game's audio system has also improved, with Whitehead reiterating that it's an "evolution" of what the first game offered, but was iterated on again and again.

"Since then, it's been used for other CA projects, so it's quite mature," he said. "And it creates a kind of spatial setup of the world. And what that means is, when a sound happens in a room that is — a vent away from you or something — that sound is being reverberated around, and you get a really, really realistic response, and hopefully a really, really terrifying version of that sound."

Alien: Isolation 2 is now in development and will launch on PS5, Xbox Series X and Series S, Nintendo Switch 2, and PC.

Traditionally set in North America, the Silent Hill series has been known to stray beyond the continent on occasion, most notably with the recent Silent Hill f, which takes place in sixties Japan.

With Townfall, we’re headed to nineties Scotland, but that’s not the only change: we also get a new perspective — in more ways than one.

Not only is the game in first-person, rather than third-person, but it's developed by a series newcomer, Screen Burn Interactive, formerly known as No Code. This small Scottish outfit doesn’t exactly have a long resume, but it's already proved itself with its two previous outings. 2017’s Stories Untold was an interesting, modern take on the text adventure, while 2019’s Observation, another first-person horror, won the Bafta for Best British Game in 2020.

Now the team brings its Caledonian spirit to bear on Konami’s flagship horror franchise, but does the new locale and camera angle represent another step in the right direction for a series keen on extending its recent purple patch?

Everybody’s aff to the rapture

We open in typical horror story fashion: a man crawls out of the water onto a dock, not knowing where he is or where he came from.

This man is Simon Ordell, wearing an outfit almost identical to Travis Grady’s from 2007’s Silent Hill: Origins, and denoting his everyman-ness. As you make your way up from the harbour, a cutscene plays, and a tarp blows away from a sign, revealing the town’s name: St. Amelia

And so the game proper begins, as you make your way through the seemingly abandoned town to find out what’s going on. Along the way, you’ll take control of two additional characters besides Simon — Zoe and Richard — and the plot unfolds gradually to reveal the trio’s connection to one another.

The first thing that struck me as I paced through the streets was the fantastic art direction. As expected from a Scottish team, Screen Burn has nailed the feel of a small Scottish town.

St. Amelia is lovingly crafted and perfectly captures its mid-nineties period, containing plenty of features recognizable to those this side of the pond, from period-correct storefronts and pebble-dashed houses to public telephone booths and post boxes.

Virtually every frame looks cinematic (there’s even a letterbox mode enabled by default). The perennial fog is, of course, present and correct here, and looks better and moodier than ever. Hues of white, red, and blue are prominent throughout as well, and look eerily beautiful as they shine through the mist and are backlit by streetlamps. This is a game made for screenshotting, although unfortunately it doesn’t have a native photo mode.

I played through the game in Performance mode, as is often my preference, and I couldn’t discern any visual downgrade from Quality mode. Naturally, though, Performance mode offered a much better frame rate, and I only encountered one section where things got a little choppy, but this was brief and far from ruinous.

Complementing the visuals is the score, another feature that’s always stood out in Silent Hill titles. Here, though, regular series composer and sound designer Akira Yamaoka is, for once, not involved. Instead, the honors go to Pilotpriest, who’s done a fantastic job of replicating the off-kilter sounds and melancholic melodies fans have come to know and love, while adding a modern twist.

Pieces are more sparse and muted than before, often with heavy doses of reverb. They match the tone of the gameplay brilliantly, and compositions open up during cutscenes when some emotional weight needs carrying.

Unfortunately, the characters’ facial animations are less capable at this. They’re often stilted, which can work when they seem detached and dejected, but they fail to sell terror or emotional breakdowns when required.

This is doubly a shame since it lets down the largely great performances of the voice actors, of which Kezia Burrows’ Zoe is worthy of highlighting. She has a greater range of traits and emotions to convey than the other two, and she does so with aplomb.

Another disappointing aspect of the game’s design is the monsters — this for a series renowned for its strikingly original creations. Virtually every one is some kind of faceless alabaster humanoid with no details of note, and some are mere rehashes of past favorites, such as the fleshy straight-jacketed figure, although this time it has a plank driven through its head.

Less attention has been paid to their symbolism, too: there are suggestions that they reflect aspects of the inner turmoil of the main characters, à la most Silent Hill monsters, but there's little about their design that shows this in an interesting way.

Monster hunting

Looks aside, though, the monsters are more dangerous than ever. There are a handful of basic pawns, such as those that wander around slowly, and the aforementioned straight-jacketed plank heads that move much faster and more erratically and are equally troublesome.

If either catches you, you’ll have a basic button-mashing QTE to avoid them if you have enough health, but if not, it’ll be instant death. In certain sections, a larger monster appears with blobs on its back, which is unkillable as far as I could tell. There's no chance to QTE your way out of its grip if it catches you, either.

Sneaking around enemies, therefore, can be a tense and terrifying experience, accompanied by a huge sense of relief when you succeed. Often, the environmental design expertly facilitates this stealth gameplay. The outside sections in particular are laden with cut-throughs and hiding places, and more impressive is the fact that this design is so firmly planted in the real world.

You’ll be sneaking around abandoned cars and peeking out over low walls, scooting down narrow back alleys and distracting enemies with bottles or radios. There’s a surprising degree of player freedom that makes these sections more satisfying to play through than your typical survival horror fare.

What also helps is the excellent player movement. All three move in the same way, which is to say they’re responsive and agile, as well as being reasonably fast when sprinting, although this is no arena shooter — but then again, I wouldn’t want it any other way in a horror game. There’s also an option to use motion controls for aiming, with fast and precise movements, and it is my preferred method.

There’s a peek mechanic, too, which again is very useful. It may be lifted straight from classic first-person horror games, most notably Alien: Isolation, but it gives you a great deal of freedom to not just strafe laterally, but also to peer up over barriers or down over ledges, whether standing or crouched.

To detect threats more easily, Simon picks up a handheld TV (or CRTV) early on that can tune into enemy locations. They’re rendered in silhouette against a red background, serving as the game’s ‘detective mode’. This gives you a real advantage, but its screen is just obscure enough to avoid you using it the whole time.

You also lose focus on your surroundings while equipped, again preventing you from relying on it wholesale. Keeping track of multiple enemies can be hard as well, since you have to toggle between them one at a time, and those long passed or on a different level remain in the CRTV’s memory.

Zoe, on the other hand, is saddled with a pager, a far less effective item since it doesn’t directly reveal enemy movements. Instead, bars around the sides fill up to show their approximate direction and proximity. Both gadgets, though, are effective at grounding Townfall in the real world. At certain points, the CRTV can be tuned to show recorded messages that help develop the story or provide hints. The pager, meanwhile, receives mission- and story-related communication.

This grounding is something the game as a whole does well. From the environments and puzzles, right down to the save system, which has always been a quirky thing in Silent Hill games. Usually, it’s something obscure and surreal, such as interacting with a well or a red square on a wall, but here you use landlines (no mobile phones in St. Amelia 1996) and dial 100 — the in-game number for the coastguard.

The map screen is as helpful and skeuomorphic as ever. Scrawls in red marker pen appear to show rooms you’ve entered, locked doors, and story clues. You can also zoom and pan around it with ease.

When the sneaking goes wrong, you aren’t completely defenceless. You don’t exactly have a military arsenal at your disposal, but some humble series staples are here, including wooden planks and metal pipes. They degrade this time, though, so they won’t last long. Firepower comes later, but ammo is scarce, making the game’s intentions for a stealthy play style clear.

All this isn’t to say the weapons are useless. On the contrary, they’re very effective, and just the right amount of difficult to use. Melee combat is a basic affair, with one button for attack and one for block, but a lot of enemies can be disposed of quite quickly. The revolver and shotgun are even more effective, as you would imagine, but reload times are slow. All weapons feel impactful and satisfying to use, too, and the controls aren’t awkward.

Healing items are more generously distributed. There’s gauze for minor wounds and first aid kits for major ones. You can also combine alcohol with the former for a larger heal, while empty IV bags can be combined with IV fluids to automatically revive you if you die.

Aside from combat and sneaking, you’ll of course be solving puzzles. These are more ingenious than past efforts, and expertly combine that aforementioned verisimilitude with the series’ penchant for the weird.

One of my favorites had me reading out patient charts as Zoe to an aggressively condescending doctor, chastising her and me if I gave the wrong information. I then needed to find medicines dotted around the medical center, beginning yet another monster-avoidance section, which was as tense and as exciting as those in the streets of St. Amelia.

There are plenty of documents and computer emails to read and collect, providing clues to puzzles. There’s also a handy mechanic where you can hold a button to bring up the relevant clue while interacting with a puzzle, although, bizarrely, this is limited to only a few occasions.

Nothing personal

While I certainly had a good time with Townfall, certain sections drag on a little too long. But on the whole, the game does well to vary the environments and puzzles (the enemies less so) throughout to keep you hooked.

I didn’t find normal difficulty too troubling: the puzzles are pitched just right, and those I spent a long time figuring out weren’t frustrating or unfair; in fact, they’re proved more satisfying to solve than the series’ typical offerings.

Sneaking and combat, on the other hand, are more challenging. Enemies can come upon you quickly, and since there can be long stretches before you reach a save point, you can find yourself trudging back through the same section if you perish. But mostly, their presence adds real stakes and rewards you with a sense of achievement once you make it past them.

It took me just over 20 hours to complete a single playthrough, and that was at a gentle pace. There’s little beyond the main objectives at hand to seek out, aside from some mysterious coded postcards that’ll have fans scrabbling to decipher, as well as hidden phone numbers to find. There are also unlockable outfits and weapons, and five different endings to get.

Townfall isn’t particularly scary. There’s the occasional jump scare, but it doesn’t rely on them for cheap thrills. The game is a slow burn, with plenty of quiet, contemplative moments as you explore your surroundings. As with many Silent Hill games, the horror is more psychological.

But herein lies a problem. While the story is commendable for sustaining the mystery for as long as possible, there’s a lack of character exploration, contrary to many other stories in the franchise.

The characters’ dialogue is mostly cryptic, so you never get much of a grasp on their thoughts and feelings until the end — and even then, there are still plenty of questions left unanswered, as they should be. But the three of them are by turns confused and forlorn throughout.

This mixture works to conjure that strange, uncanny tone the series is known for, but it also means the trio fails to elicit the same level of emotional investment garnered by past protagonists, such as Harry and Heather Mason, James Sunderland, and Mary.

Social commentary seems to be Townfall’s primary concern: the main theme is one of corporate negligence and its devastating impact on a community, which is certainly relevant in today’s world. And it’s true that once the three collide and everything comes to a head, it starts to resonate emotionally. But this is a long time coming, and Zoe ultimately feels underserved by the story’s conclusion, a shame given the aforementioned excellence of her actor’s performance.

It’s entirely possible, though, that other endings will give her a larger role than the one I reached, although I have no idea how these are achieved yet.

Ultimately, I found Townfall less impactful than Silent Hill 2 or Shattered Memories. It won't haunt me for as long as those entries, but it’s an intriguing journey nonetheless, with mysteries that remain after completion to keep fans busy with their theories.

No doubt some will also see Townfall as departing too far from the Silent Hill formula, a debate that’s already begun. But to my mind, the new setting and perspective fit the mold perfectly, so despite a few reservations, it still marks another triumphant reimagining of the series.

Should you play Silent Hill: Townfall?

Play it if…

Don't play it if…

Accessibility features

Compared to other modern releases, Townfall’s accessibility features are a little lacking. There are no content filters for blood and gore, and visual assists for color and contrast, and the like, are also missing. You can toggle subtitles and closed captions separately, though, and you can adjust the opacity of their backgrounds.

There are three difficulty modes to choose from: Story, which reduces the threat posed by enemies; Normal, which is how the developers intend the game to be played; and Nightmare, which increases enemy power and makes your flashlight detectable by them.

Puzzle difficulty is handled separately, although there are only two modes for this, with the only difference being red highlights of salient text clues.

How I reviewed Silent Hill: Townfall

I played Townfall for just over 20 hours, completing the game once through on normal difficulty. I also toggled the puzzle difficulty between Normal and Hinted modes at various points.

I played the game on a standard PS5, largely in Performance mode, although I also tested Quality mode for a time, too. I used a Lenovo Legion R27qe monitor and the Skullcandy Crusher PLYR 720 headset for audio.

I’m a long-time fan of the Silent Hill series and have played many games in the series, including the recent Silent Hill f and the 2024 remake of Silent Hill 2. The original Silent Hill 2 and Silent Hill: Shattered Memories rank among the best horror games of all time, in my mind.

First reviewed September 2026

• Creative Assembly says Alien: Isolation 2's exterior setting will force players to adapt to their surroundings
• The game's Xenomorph will also adapt at the same time to both player and environment
• Things like the weather system will impact the cat-and-mouse experience, forcing players to "improvise"

Alien: Isolation 2's exterior setting will increase both tension and danger, according to Creative Assembly, because as the player adapts to the new environment, so will the Xenomorph.

Unlike the first game, where players were isolated in a space station and actively hunted by the Xenomorph, the sequel will have an expanded setting, spanning an outdoor colony world and the confines of the Weyland-Yutani outpost.

Players will once again be caught up in a cat-and-mouse experience as they navigate their new environment, but the alien's intelligence will raise the stakes.

"I think the contrast between claustrophobia and pressure versus vulnerability and exposedness, it will make the player have to think on their feet," said principal UI artist Laura Mauterer .

The game's weather system will also affect how players approach the outdoors, since storms will impact the sound of the approaching alien, and players will need to "improvise."

"The alien is the perfect hunter," Mauterer added. "It will adapt to those situations, to those environments. And you will have to adapt to our environment."

She added that it will feel like a "new experience," but the game will give players the time to understand the mechanics of the game and the world, even if they didn't play the first game.

"It's not unfair," Mauterer said. "This alien is also not cheating. If it can't see you, it can't see you, right? If it can't hear you, it can't hear you. We will give players enough time to get to grips with it. But it is an intense experience and a tough game, and that is what the community loved about [the first game]. And we will stick through to that."

Alien: Isolation 2 is now in development and will launch on PS5, Xbox Series X and Series S, Nintendo Switch 2, and PC.

How do you approach a sequel? Do you refine the predecessor’s mechanics and stick with the main character? Well, Control Resonant chucks those out the window.

Instead of an open-zone map like the first game, Resonant goes full open-world. You play as Dylan Faden, old protagonist Jesse’s brother, who was (mostly) freed from the Hiss’s evil influence towards the end of the last adventure.

Now, Jesse has disappeared somewhere in an otherworldly Manhattan, and it’s his job to find her.

Like brother, like sister

Control Resonant’s story is markedly improved over its predecessor. The sibling bond between Dylan and Jesse provides an emotional anchor to latch onto. Learning about their childhoods through the main missions was engaging enough and made it much easier to follow this time around. It kept my attention in ways that Control didn’t.

The small cast of support characters also smartly keeps the character development focused mainly on Dylan. Zoe De Vera is assigned as Dylan’s handler, and I like how their relationship starts off rocky with her viewing him as just a tool to fight the Hiss. But as the story progresses, Zoe starts considering Dylan as more than that, asking him personal questions about his favorite music.

Emily Pope returns from the first game and acts as an important linchpin for Dylan to discuss Jesse. As Emily helped Jesse throughout the entirety of Control, Dylan can confide in Emily, giving him hope he’ll eventually find his sister. These powerful relationships make Resonant a less lonely trip.

As someone who’s fascinated with sci-fi and the occult, Resonant plays around with common tropes to great effect. In one particularly memorable main quest, Dylan is tasked with figuring out what happened to a missing crew, and its implementation of time dilation and alternate timelines really had a grip on my attention. It’s moments like these that make Resonant’s story emotionally satisfying, but narratively absorbing too.

Go big or go home

Going from Control to Control Resonant feels similar to how Final Fantasy 7 Remake transitioned to Final Fantasy 7 Rebirth. It’s a high-risk endeavor, as creating an open world can add a lot of unnecessary bloat compared to a more streamlined experience.

Thankfully, Resonant’s exemplary art direction and traversal mechanics make its distorted version of Manhattan a treat to run around in. Rather than the brutalist architecture of the first game that took place entirely indoors within the Oldest House, Resonant doubles down on the more kaleidoscopic and parallactic aspects in the open world.

As part of the main quests, you’ll also be given objectives to find “Faults,” which are areas where remnants of Jesse could be residing. While they’re not very combat-heavy, they offer a lot of story exposition exploring Dylan and Jesse’s background. At the very end, you’ll be awarded a new way for Dylan to move around.

These include being able to shift his gravitational orientation around so the wall next to him becomes the floor, or the intriguing take on the traditional grappling hook, which looks more like an invisible magnet pulling Dylan by the waist.

Control Resonant is also reminiscent of Elden Ring, in that you’re able to tackle tough side bosses called Resonants all across the Big Apple. By defeating them, Dylan is able to unlock more of his offensive move kit. You’re incentivized to go for it, as it’ll give you more options to fight against the Hiss and other enemies.

You only need to take out a few to advance the story, but afterwards you can actually complete it without taking the rest of them on if you want. This open-endedness comes in handy if you get stuck on a certain story boss. You can explore more, get stronger, and return later.

There are also plenty of other interesting activities to tackle, and these often bring a more down-to-earth tone to Resonant’s paranormal twists. In a multi-part side quest, Dylan is trying to help a girl find her way home from an alternate dimension. And he has to play “spot the difference” with different taxi cabs to take the right one back. There’s another side quest where Dylan helps a colleague find their invisible cat, which ends up in the cat actually helping out against a mini-boss fight in a humorous conclusion.

These side quests reflect Dylan’s altruism and the guilt he harbors for his actions from the first game, allowing him to redeem himself in small, yet meaningful ways. They also reward massive amounts of EXP and useful ingredients to unlock new skills and abilities.

Close quarters combat

As opposed to the first game’s third-person shooter gameplay, Control Resonant is a melee-focused action game. It’s an interesting switch-up that certainly helps this sequel differentiate itself.

The basic gameplay loop you’re going for is to stagger enemies and then perform an execution. Doing that causes Dylan to temporarily enter Dominance, which astronomically ups his attack power and allows him to kill enemies quicker. It’s a gratifying process that’s just as exciting as it looks cool.

The big issue here is that it’s incredibly difficult to falter enemies when you first start out. Dylan’s weapon, the Aberrant, can morph into different forms for both his light and heavy attacks. At the beginning, you can pick one form, and the rest you can create later on with the proper drops and materials.

If you’re like me and picked a heavy weapon choice that didn’t fit your particular playstyle, then you’re going to have a tough time. You can use limited reset points to rechoose your points and abilities, but the fact that it’s not free feels like it’s discouraging experimentation, especially at the start before eventually unlocking everything.

After initially selecting the spear as my heavy weapon and being disappointed, I reset my build and opted for the slow but powerful hammer instead. I found that it fit my approach much better, and suddenly I was enjoying it more. Beforehand, combat felt like a slog as enemies seemed to just be damage sponges, as it took forever to falter them.

A little later on, after defeating the giant fire Resonant, I unlocked the ability to cloak my weapons in flame, increasing both the damage and falter output. Now even my light weapon attacks with the multi-target scythe-like glaive inflicted a decent amount of stagger. I was able to enter Dominance faster, and the combat became more frenetic, explosive, and most importantly, fun.

It just takes a while to get to.

Should I play Control Resonant?

Play it if...

Don't play it if...

Accessibility features

Control Resonant has an impressive suite of accessibility features. These options include text, subtitles, colorblindness adjustments, and toggles.

It also has an Assist mode, which lets you change gameplay parameters to your liking. For example, you can change how fast Dylan’s Power meter replenishes, which lets him fire off special abilities. You can also make him invincible.

There’s even an option to OHKO enemies with just one attack, and it works on bosses too. None of the options disable Achievements either.

How I reviewed Control Resonant

I played 25 hours of Control Resonant on Xbox Series X with the standard Xbox Wireless Controller on my 1080p LG Sharp TV, finishing up the main campaign while completing some side quests.

After witnessing the ending, you can go back into the open world once again to mop up any remaining collectibles and quests.

First reviewed September 2026

• Guild Wars 3 will have "significantly less UI in general" for an MMORPG
• ArenaNet studio head Colin Johanson says it will better showcase combat and the game's open world
• He says combat UI elements, like debuffs, will be represented visually instead

Although it's a massively multiplayer online role-playing game (MMORPG), ArenaNet has confirmed that Guild Wars 3 will have a minimal HUD, partly because the game is also designed for console.

During a guided presentation at Gamescom, attended by TechRadar Gaming, studio head Colin Johanson showcased an early build of the game and its HUD, saying that it is subject to change throughout development and the team intends to have "significantly less UI in general."

In other MMOs, whether it's World of Warcraft or Final Fantasy 14, the main HUD is typically littered with UI elements from quest lists, buffs and debuffs, action bars, and whatever else the player chooses to add for themself.

For Guild Wars 3, ArenaNet will considerably tone down these elements in favor of a cleaner HUD, which Johanson said will better showcase combat and the game's open world. Additionally, console users wouldn't be able to hover over these UI features.

"I think one of the things that you traditionally see in MMOs is there's a huge number of icons all over the screen that are used to communicate combat status and things that are going on," Johanson said.

"And we very intentionally designed this, one, because it's also on console and it's a lean-back experience where you can't hover over icons to read everything, to provide an experience that doesn't require having a massive amount of information in the UI. But two, we also think that's just a better combat experience if we can show more of the things happening in the world."

Adding to this, the studio head said that during battle, conditions traditionally communicated through the UI, such as cold attacks, won't appear as "stacked" debuffs on the HUD, so players will see the effect instead.

"We've built a multiplayer combo system in this game to replace that, where every player is capable of having most professions can have cold in their builds," he explained, "and if you start stacking cold on an enemy, you can see their animations slowly start to slow down, and cold start to spread across them. And multiple players can work together. If you get enough cold stacked on an enemy, depending on its size, it'll freeze into a solid block of ice. And so all of that happens in the world, rather than just a little UI icon down at the bottom of the screen that says frozen or not.

"It's really interesting. In testing, we're seeing people's eyes are now watching the actual combat that's happening on the screen instead of just staring at the UI the whole time, which is just a much better experience."

Johanson added that "the constraint of the controller" has encouraged ArenaNet to "create a version of combat" that's still a better experience on mouse and keyboard as well.

"That's been really, really awesome for us. There's a lot of stuff that just won't be on the UI because it doesn't need to be used," he said.

Guild Wars 3 is in active development, with a beta period scheduled for Fall 2027.

• Guild Wars 3 is the first game in the series to launch on both PC and console
• Studio head Colin Johanson says it will allow the game to "reach a much wider group of players" on PS5 and PC
• ArenaNet wants new players to take their first plunge into Guild Wars with the upcoming game

Guild Wars 3 will be the first game in the MMORPG franchise to launch on both console and PC, and ArenaNet thinks it will encourage newcomers to take their first steps into the Guild Wars series.

"With us bringing the game to console for the first time, [and] with us launching on Steam from day one on our own platform, we can reach a much wider group of players," said studio head Colin Johanson during a guided presentation TechRadar Gaming attended at Gamescom.

Speaking about the game's setting, which takes place 1000 years before the first Guild Wars game in the ancient land of Orr, Johanson explained that the game will appeal to hardcore fans who have been eager to learn more about the lore for years.

Exploring this highly anticipated era means ArenaNet could welcome new players with no Guild Wars experience, since the game is essentially a prequel and newcomers won't be required to play the first two games to understand what's going on.

"Everyone's going to learn it all together, and if you're a big Guild Wars fan, you'll know what some of the species are and some of the characters or some of the locations," the studio head said. "But for the most part, everybody is on equal footing."

The direction also means the studio could draw more players by launching the game on both PC and PlayStation 5; it's unclear right now whether the game could eventually get an Xbox release as well.

"We really wanted to have an invitation for everybody to come play Guild Wars 3 together and feel like this could be their first Guild Wars game that they haven't played before," Johanson added.

Guild Wars 3 is now in development and doesn't have a release date, but a beta is scheduled for Fall 2027.

• Take-Two Interactive says GTA Online support will continue after Grand Theft Auto 6 has launched
• The publisher's latest comments suggest that an online experience associated with GTA 6 is still a long way off
• Fans speculate that GTA 6 Online could be a separate, paid title

Take-Two Interactive has confirmed that Rockstar Games will continue supporting GTA Online after the launch of Grand Theft Auto 6, suggesting the title's rumored online experience could be a long way off.

During the Take-Two shareholder meeting on September 17 (via ResetEra), it was reported said that "GTA 6 is a single-player title and is due to release this November. We will continue to support GTA Online after GTA 6 release and beyond."

While we already knew GTA 6 is launching as a standalone single-player experience, it's speculated that the game will eventually receive an online mode, similar to how GTA Online released soon after GTA 5.

The language used during the shareholder meeting suggests fans shouldn't expect an online experience associated with GTA 6 anytime soon, if it indeed exists, as Rockstar will continue supporting its current money-making machine for the foreseeable future.

According to Bloomberg reporter Jason Schreier during a discussion about GTA 6's pre-order period and earned revenue, Take-Two "have not talked at all, and they are not planning to talk anytime soon, about what the new GTA Online will look like."

Despite Take-Two's avoidance of the topic, and the publisher's latest comments, fans believe this could mean GTA 6 Online could be a separate, paid service.

"Looks like the next variant of GTA Online is nowhere near ready as Schreier already reported," the original ResetEra poster said. "And it's a high likelihood they will launch it as a big standalone title, whether F2P or for like $30. They will want to give it all the resources and spotlight it will need and not be an "add-on" this time."

Others support the standalone concept, while others believe it could be another $70 experience.

"I wouldn't be shocked if it costs $70 or more lmao," one user replied.

GTA 6 launches on November 19 for PS5, Xbox Series X, and Series S,

• Rockstar Games has announced 'Grand Theft Auto 6: The Album'
• The official soundtrack features 34 original tracks, and the first six can be listened to today on all major streaming services
• The 'Grand Theft Auto 6: The Album' - Limited-Edition Vinyl has already sold out, but a separate exclusive vinyl and CD are still available for pre-order

Rockstar Games has announced 'Grand Theft Auto 6: The Album', GTA 6's official soundtrack that will launch alongside the game.

The upcoming soundtrack album is now available to pre-save on all major music streaming services, and will be released on vinyl and CD, including three exclusives available only for pre-order here.

Featuring 34 original tracks that "capture the electric energy of Grand Theft Auto 6’s world of Vice City and Leonida", the album features "a genre-defying roster of the most exciting artists in the world", with tracks from artists like Yung Lean, Travis Scott, PinkPantheress, Morgan Wallen, Keith Richards, and more.

As a small teaser, Rockstar has also released the first six singles featured on the album. We'll list them below.

• Yung Lean – That's It (feat. Future & Metro Boomin)
• Travis Scott – RHYNO (prod. by Guy-Manuel de Homem-Christo) 
• CA7RIEL & Paco Amoroso, PinkPantheress, Fred again.. & Etienne de Crécy – Sexy Magic  
• Morgan Wallen – Last Thing You Need  
• Rauw Alejandro – Macacoa 2000  
• Keith Richards – Bright Lights, Big City 

Grand Theft Auto 6: The Album - CD costs £10.99 / $19.98, while Grand Theft Auto VI: The Album - Vinyl costs £44.99 / $49.98.

Then there's the more expensive Grand Theft Auto 6: The Album - Limited-Edition Vinyl priced at £108.99 / $124.98, featuring two transparent magenta discs filled with blue liquid, exclusive new artwork, and packaging designs.

Unfortunately, this edition quickly sold out after its announcement, and it's unclear whether more stock will be available. All editions are expected to ship November 20, one day after GTA 6 launches.

Rockstar noted that "exclusive vinyl disc colorways, each featuring unique new art" will also be available at Blood Records, Best Buy, Walmart, Amazon, Barnes & Noble, Target, Urban Outfitters, and indie retailers.

"Stay tuned for more details about the music of Grand Theft Auto 6, including the dynamic score, the next evolution of in-game radio, and more," the studio said.

• ArenaNet says Guild Wars 3's ancient Orr setting will interest longtime lore fans and newcomers
• Studio head Colin Johanson says the game is "very much for our fans" who are invested in the game's lore
• He adds that the game is also for new players, and they won't need to play the first two games to understand what's going on

ArenaNet has confirmed that Guild Wars 3 takes place 1000 years before the first Guild Wars game in the ancient land of Orr, which it believes will interest both hardcore fans and new players.

Speaking at an exclusive preview TechRadar Gaming attended at Gamescom, where we saw a guided presentation exploring the game's new momentum system, studio head Colin Johanson shared additional details about the game's setting, where players are a Veil Warden.

Johanson explained that much of Guild Wars' history and lore originates from ancient Orr, and he knows fans "care deeply" about it and have been asking ArenaNet for more, so it felt like a natural direction for the sequel.

"Some of the themes from Guild Wars 1 all tie back to moments in this timeline before the gods disappeared from the world," he said. "In Guild Wars 2, the ruins of Orr are raised from the bottom of the ocean by a giant undead dragon, and players get to visit the remains of what Orr was 1000 years in the future, and players have been asking us for over a decade to see what Orr was like before the gods left, before it was destroyed, and so this is very much for our fans to give them something to get excited about."

However, while Guild Wars' setting might seem lore-heavy, the studio head confirmed that "it's also for new fans" and that newcomers won't need to play the first two games to understand what's going on.

"This period of time has about two pages of recorded history that we've ever released outside of the studio," Johanson said. "We have a lot more internally that we haven't shared, but our fans have only seen a tiny amount of info about what actually happened in this timeline and setting, which means it's the perfect time for new people to come join the Guild Wars franchise because you don't have to have played Guild Wars 1 or Guild Wars 2 to understand what's going on in the story."

He continued: "Everyone's going to learn it all together, and if you're a big Guild Wars fan, you'll know what some of the species are and some of the characters or some of the locations. But for the most part, everybody is on equal footing."

Guild Wars 3 doesn't have a release date yet, but a beta is scheduled for Fall 2027. The game is launching on PC and PlayStation 5.

• Fable will have a 60fps performance mode on Xbox Series X
• Playground Games associate game director Craig Littler says it didn't want to compare the PC and Xbox versions
• However, he adds that "It will look great wherever you go"

Playground Games is being a bit cagey about Fable's graphics settings across PC and console, but has confirmed the Xbox Series X version will have a 60fps performance mode.

Fable has been in development for a very long time, but fans can finally expect the fantasy role-playing game (RPG) to launch on February 23, 2027, for PlayStation 5, Xbox Series X, Series S, and PC.

While there have been plenty of trailers and, most recently, new gameplay footage showcasing the game, Playground has yet to share the PC specs and how Fable will run on console.

However, during a Q&A session at Gamescom attended by TechRadar Gaming, associate game directors Will Kennedy and Craig Littler did reveal that the game will look "great" on all platforms.

"What we will say is that our approach to all platforms is really the same, in that we want the game to look great wherever you're playing it, and for it to be appropriate for the platform later on," Littler replied when asked to elaborate about the console edition graphics settings.

Without giving away too much, the developer then confirmed that the Xbox Series X version will offer a 60fps performance mode, but said, "I don't really want to get into the like in terms of what PC versus Xbox will be like."

"It will look great wherever you go," he added.

In the same interview, Playground also confirmed that Fable will take up to 20 hours to beat, but promises the game's life systems offer "limitless" replayability.

• Sony has revealed two new PlayStation headsets
• They're intended to supersede the previous PlayStation Pulse models
• There's no word on pricing yet

Sony has just unveiled the "next line of PS5 audio products" with two new PlayStation Pulse wireless gaming headsets.

Both models are intended to supersede the old PlayStation Pulse Elite, which was released in 2024. The new PlayStation Pulse Edge boasts custom planar magnetic drivers that deliver "studio-inspired" sound and has eight magnets under the hood.

It comes with a detachable boom mic offering AI noise rejection alongside a USB Type-C adapter and premium carrying case.

Major features include built-in volume controls that integrate with the console's operating system, a game audio and chat balance slider, and active noise cancellation.

The upcoming PlayStation Pulse, in contrast, is positioned as a more entry-level model. It cuts the number of driver magnets down to four, which likely means less bass and reduced clarity. There's no boom mic either, so you need to rely on an integrated microphone instead.

It also loses the game audio and chat balance feature, lacks active noise cancellation, and isn't bundled with any kind of case.

Sony has been quite cagey about pricing, with no word on how much either model will cost on the official PlayStation Blog. This makes it hard to determine whether this refreshed line will offer good value, especially given the abundance of excellent headsets currently offered by third-party brands like SteelSeries and Corsair.

We do know that both models will be available in both white and black, however, and will hit shelves early next year.

They will also connect to the PlayStation Portal out of the box, thanks to their native PlayStation Link compatibility.

Wo Long 2: Wings of Ember feels like a massive step up from its predecessor, purely from a combat standpoint. With a large variety of weapons to use, several character and weapon abilities to unlock, and armor to find while exploring, there's so much to look forward to at launch.

I played a demo of Koei Tecmo's upcoming title via the Xbox booth at Gamescom 2026, and was left thrilled by just how approachable Wo Long 2: Wings of Ember feels. As a soulslike, it can certainly be punishing, especially when fighting foes above your character's level.

However, Koei Tecmo has given players more than enough ways to battle, with different deflect combinations, standard blocking, and smooth movement for evading in and out of danger zones during combat.

Using the new nunchucks weapon felt like I was stepping into Bruce Lee's shoes, easily flying through standard enemies and deflecting their unblockable attacks. The finishers and overall speed of combat are very much PlayStation 2-esque, almost reminiscent of the stylish combos and animations in Capcom's God Hand.

Enemies often spam unblockable attacks, but the great thing is the attack patterns are very well designed, as they're easy to react to without unfair or nearly indecipherable movements — which is an issue I've had with most soulslike games over the years.

Similar to many soulslike games, though, Wo Long 2: Wings of Ember encourages players to build a build that caters to a specific play style, specifically based on which weapon one decides to use.

Levelling up different elements like wood, fire, water, earth, or metal virtues increased specific base character stats, element abilities, and ultimately improved proficiency with particular weapons.

Since I used wooden nunchucks throughout my playtime, I chose to upgrade the wood virtue, which aided me with more damage against enemies.

If you're fast enough at deflecting, Wo Long 2: Wings of Ember features some of the most satisfying back-and-forth combat against regular enemies and mini-bosses, and that's right up my alley. (Video Credit: Koei Tecmo)

Wo Long 2: Wings of Ember carries the levelling system from its predecessor and builds upon it, but the additional aspects to combat elevate it to a far more exciting level.

I never finished the first entry, Wo Long: Fallen Dynasty, but I was already very impressed by its fast-flowing gameplay and accessibility, which Koei Tecmo looks to be doubling down on in this sequel.

Story sequences were kept short in my preview, but honestly, gameplay is where the focus is with Koei Tecmo's upcoming entry. If my short demo is anything to go by, I can only expect Wo Long 2: Wings of Ember to deliver for stylish combat fanatics like me when it launches early in 2027 on PS5, Xbox Series X, Xbox Series S, Nintendo Switch 2, and PC.

• Tomb Raider: Legacy of Atlantis experience director Jeff Adams confirms "no old code exists" for the original 1996 game
• This meant Crystal Dynamics had to build the game from the ground up on Unreal Engine 5
• Adams says the engine also allowed the studio to create its own custom tech for the "reimagining" of the classic title

Crystal Dynamics has explained why it chose to build Tomb Raider: Legacy of Atlantis from the ground up, instead of doing anything close to a remake of the 1996 game, revealing that no source code exists.

In a Q&A at Gamescom following an exclusive presentation that TechRadar Gaming attended, experience director Jeff Adams discussed what he's previously called a "reimagining" of the original Tomb Raider game and what it meant for the development team, who built the game from the ground up using Unreal Engine 5.

"We are in Unreal Engine 5," Adams said, "no old code exists. We are basically taking it and remaking it, or not remaking, reimagining it. We are bringing it from the ground up."

When asked to talk about how effective Unreal Engine 5 has been for the team, Adams explained that it enabled them to "have our own custom implementation for physics in the engine," which means engineering their own features, custom physics, and general upgrades; this made Legacy of Atlantis a true, modern reimagining.

"Unreal creates a really great sandbox platform for building a game, but when we're making a specific type of experience, we're going to have things that we really want to target and get to a right fidelity level where we're happy with it," the developer continued.

"So while things like Nanite and Lumen [UE5's technologies that offer realistic graphics capability] allow us to make a beautiful game environment, there might be some things that we're saying, 'Hey, we wish it could do this a little bit better.' That's when we'll break out and say, our engineers will create something custom that helps solve that issue, so that we can make sure that we're delivering an authentic Tomb Raider experience on Unreal."

He added that Lara Croft's long braid, which reacts to her movement, is "a perfect example of that."

Tomb Raider: Legacy of Atlantis launches on February 27, 2027, for PlayStation 5, Xbox Series X and Series S, Nintendo Switch 2, and PC.

• Warlock: Dungeons & Dragons has a smaller spell set, each with multiple uses, for controller accessibility
• Invoke studio head Dominic Guay says this also means the combat won't slow down if there were a spell wheel
• He says there's also a bit of "resource management" to spells, and players will need to blend melee and magic combat

Invoke Studios has confirmed that Warlock: Dungeons & Dragons has a smaller spell set, with each spell offering multiple uses, rather than a large variety, mainly for controller accessibility.

That's according to studio head Dominic Guay, who told TechRadar Gaming in an interview at Gamescom that a smaller spell set opened up new playable opportunities, making combat more approachable on a controller while also keeping the action fast-paced.

This meant abandoning a classic spell wheel and narrowing its spell options, so they're all accessible on the gamepad.

"The breakthrough for us, it started with making direct access to these spells on the controller," Guay said. "A lot of games in the past where you had powers or spells, you had a lot of stuff to select from, and that's cool, and that was even our first reflex. But when you do that, you slow things down, and there's a limit to going through a wheel and choosing powers. There's a limit to that."

He added, "By making everything accessible on a controller, we started playing with our spells a lot more."

During the same interview, Guay explained why the team chose a warlock protagonist, saying "creative magic" was central to the story and gameplay.

The studio head also said it was a challenge to manage the game's magic system because, when you consider Dungeons & Dragons, "it can do everything," and Invoke needed to pick its spells wisely.

"Instead of adding like 100 spells, we thought, let's have less, which makes sense for a warlock also," he continued, "and let's make them more multiple-use cases, connect them, one to another. Connect them with some enemies. The way these enemies behave in a challenge."

Spells, which are anchored to magic objects, tomes, monsters, and more, also have their own upgradeable skill trees and can be used alongside melee combat. This creates a "rhythm," with Guay explaining that players can't just stick to long-range spells and will need to go into close quarters with enemies, which works well for protagonist Kaatri, a warrior-turned warlock.

Players can use spells to set up enemies, giving them an "advantage" for critical hits, and there are various ways to do this with different types of enemies.

"There's a bit of resource management too. You can't just do spells forever," Guay said. "There's a point where you're going to be low on ability to cast spells, so you're going to have to get in there at some point."

Warlock: Dungeons & Dragons launches in 2027 for PS5, Xbox Series X, Xbox Series S, and PC.

• ArenaNet studio head Colin Johanson has offered a deep dive into Guild Wars 3's momentum system
• The feature offers "fluid" transitions between movement and combat, which Johanson says is a "first" for the MMORPG genre
• Players can build momentum as they move around the world and in combat to deliver powerful attacks

ArenaNet has revealed more about Guild Wars 3's newly introduced momentum system, a mechanic that blends all actions and combat abilities to ensure constant "fluid" movement.

During an exclusive presentation TechRadar Gaming attended at Gamescom, ArenaNet studio head Colin Johanson showcased the studio's action-adventure MMORPG and offered a deep dive into the game's story and open world, the combat system, multiplayer design, and more.

Johanson also touched on the game's new momentum system, saying Guild Wars 3 will be the first MMORPG to offer smooth transitions between movement and combat.

"If you can picture with me for a second, movement in an MMO, you're riding through the world on your mount, and you get off your mount, and your character immediately stops moving," he explained. "And then you start moving again, and you go to glide, and you stop gliding, and your character immediately stops moving. Then you go into combat, and you use an ability, and then you move, and you'll stop moving again."

He continued: "There are no fluid transitions between movement and combat in MMOs, and Guild Wars 3's momentum system introduces the first MMO that has truly fluid movement across the entire world."

With this system, Guild Wars 3 players will be able to jump off a mountain, deploy a glider, dive, fly, or wall-run, all while carrying momentum, "creating a seamless sense of movement you'd expect to see in an action game, rather than an MMORPG."

Momentum is also part of combat; we previewed a warrior class that has a unique ability that uses their momentum and modifies their attacks when they come down from the sky. This increases damage output and the radius of attacks "based on his velocity or how much downward momentum" the warrior carries. The class can also run up walls and slam back down on enemies, delivering huge amounts of damage.

"Momentum also impacts battlefield control," Johanson said, adding that the faster the player is moving, the more momentum they have.

The environment, Johanson said, is also "part of the experience," and enemies can be knocked into walls to be stunned and damaged by building up momentum in combat, explaining that players will need to use their environment, whether it's the battlefield or terrain, to their advantage.

"This is another first for the MMORPG genre," he said.

Guild Wars 3 doesn't have a release date, but a beta is scheduled for Fall 2027. The game is coming to PC and PlayStation 5.

• Total War: Warhammer 40,000 battle product owner Dave Petry says it was important to implement player customization in the game
• He says it was a "big deal" to bring those customization options from the hobby forward to the game
• Petry adds that it was "awesome" to bring in the "core" features from the hobby

Total War: Warhammer 40,000 offers plenty of player customization options, which Creative Assembly has now revealed was an essential feature it wanted in the game from the start.

In an interview with TechRadar Gaming at Gamescom, battle product owner Dave Petry, alongside lead designer Joy Dey, said player customization in all aspects was always a "must-have," as the studio wanted to simulate the same experience for fans of the tabletop Warhammer game and beloved hobby.

"The second we picked this up, we knew we had to make a big deal of being able to tell your own story within this universe to bring in your own identity and get to be part of all of it," Petry said.

The developer also told TechRadar Gaming that it worked closely with Games Workshop to ensure the player experience was as "authentic" to the tabletop game as possible. This included simulating the tabletop's combat the way that fans are familiar with.

"We're trying to create an authentic sense of the lore and the kind of combat that's there, but the love for the tabletop absolutely is present," Petry said.

As for customization, Petry told us that it was "awesome" to bring in the "core" features from the hobby, and teased aesthetic unit personalization, loadout customization, and late-game progression.

Petry also confirmed that the game will feature the actual real-life paint colors used by Games Workshop too, so fans will be able to use the same ones they know and love and recreate their real-life armies or favorites in the game.

"In terms of what you can do, not just the aesthetic customization, colors, etc, etc," he went on, "but being able to specialize your units throughout a campaign and, over that campaign, take your intercessors, specialize them towards using, say, like bolt rifle, auto bolt rifles, or stalkers, leveling them up, kitting them out in different ways, and you know potentially ultimately getting them to be like stern guards.

"All of that sort of stuff is absolutely part of that core hobby that you experience this way."

Total War: Warhammer 40,000 launches in 2027 for PS5, Xbox Series X, Series S, and PC.

The article contains spoilers for Returnal.

I’ve always been a fan of roguelike games. One of my first PlayStation Plus downloads was an indie known as Tower of Guns, where you blast your way through the titular tower, only to start again each time you die. It hooked me immediately — I spent pretty much an entire summer holiday shooting through the tower’s many floors, only to get kicked back down to the start with each defeat.

That type of cyclical gameplay loop just scratches a deep itch in my brain. I’m the kind of player who plays carefully and hoards items for moments that may never appear. However, the high stakes of roguelike games have always given you focus, while the temporary nature of your loadout, abilities, and progress encourages experimentation.

In most story-driven games, player deaths have few consequences – dying in God of War or Control might set you back a few minutes, but you’ll typically carry on as if nothing happened. In contrast, the roguelike genre is defined by hard resets with each death. The issue is that it’s hard to tell an engaging story when you’re constantly sending the player back to square one.

But what if dying was part of the story? That’s the question at the centre of Returnal, the 2021 roguelike third-person shooter from Finnish developer Housemarque that launched as a PS5 exclusive before making its way to Windows. Crucially, Returnal makes its cycle of death and reawakening the central theme of its dense, mysterious narrative.

This summer, about a decade after downloading Tower of Guns, PS Plus delivered me another unforgettable roguelike experience with Returnal – and while I had heard some high praise for its gameplay, I wasn’t prepared for just how much its story would affect me. Keep reading for my take on why Returnal is worth returning to.

Life on loop

Returnal follows space-farer Selene Vassos, an astronaut and explorer who crash-lands on the uncharted world of Atropos. After emerging from the wreckage of her ship, Helios, players guide Selene through the jungles and ruins of Atropos, fighting through rooms of alien animals and humanoids to track the ‘White Shadow’ distress beacon she hopes to use to escape.

In theory, you can do this all in one life – but Returnal quickly makes it clear that everything on Atropos wants to kill you. And unless you’ve got the reaction times of an Olympic gymnast, something on Atropos is going to kill you. When you do eventually fall to one of the planet’s many hostile creatures, the game flashes through a series of visions before Selene wakes up at the crash site, which becomes the starting point for each subsequent run. In fact, the screen displays the message ‘Helios Abandoned’ each time you leave camp, to really set the mood.

On these follow-up attempts, you’ll come across corpses – your own corpses. Versions of Selene that didn’t make it to the White Shadow are dotted around Atropos, sometimes accompanied by voice recorders that begin to explain the planet’s war-torn history.

The core gameplay of Returnal is that of a competent third-person shooter with light movement mechanics. It’s Dark Souls meets Titanfall meets Resogun after three cups of coffee – you move quickly, shoot quickly, and dodge dozens of on-screen projectiles. The controls are tight; the game feels incredibly responsive, fast but never floaty.

Various gameplay aspects come together to make Returnal feel addictive and alive. The game offers ten satisfying weapons, each with a few dozen modifiers, and carefully designed combat rooms that are rearranged with a dash of random number generation (RNG) on each new run. About a third of the way through the game, you unlock the best grappling hook in gaming since Just Cause 3, which is naturally a huge plus.

And while Returnal can be punishingly hard – looking at the PlayStation trophies reveals just under a third of players have beaten the first boss – it’s always incredibly fun to play. Even after beating the main game, I spent a few weeks scaling the Tower of Sisyphus, the endless mode added with a free DLC in 2022.

Our Returnal review has a more detailed breakdown of the game’s mechanics, but it’s the game’s story that, in my opinion, makes it a must-play.

I was quickly hooked by Returnal’s enigmatic premise. It takes a relatively small idea – making the gameplay loop an essential part of the story – and runs with it, filling every spare moment with symbolism and intrigue.

An impossible Apollo-era astronaut stalks Selene around Atropos; Selene’s house appears in the overgrowth, seemingly plucked from its place on Earth and becoming a doorway to surreal cutscenes, and all the while Selene’s visions become infected with robotic beings and eldritch tentacles.

Mystery and mythology

Being a fan of games like Outer Wilds and Firewatch, Returnal’s approach to scavenging lore and building your own interpretation of the narrative really clicked with me. The game has a Nolan-esque way of revealing its story (only with much better female characters). Its twists and turns work their way through the player’s expectations like the tentacles that plague Selene’s post-mortem hallucinations, and many of the big twists are hinted at from the beginning.

The first comes halfway, when Selene finds the White Shadow escape signal, is rescued and returned to Earth, lives a normal life, passes away, and wakes up… back on Atropos. The second comes at the end of the game, when it’s revealed that, back on Earth, Selene crashed into a lake after seeing the Astronaut that follows her around Atropos on a bridge, her own ‘white shadow’. In the back seat, a young boy is trapped – Helios, abandoned.

YouTube essayists and Reddit commenters have spent the last five years analysing this game to Atropos and back – some theories suggest that the planet is a manifestation of Selene’s guilt over the crash, while others point to the ghostly astronaut as an avatar of her emotionally distant mother, Theia.

Others point to Returnal’s layered Greek mythology references – Selene and Theia are named for the goddesses of the Moon and sky, with Atropos being the goddess of destiny. If you’re a lore-obsessive like me, now’s a great time to explore.

To me, Returnal is a fundamentally abstract piece of art that allows its themes to resonate with one another beyond the confines of a rigid narrative structure – at times, it feels like a sort of conceptual web, tying up ideas of motherhood, trauma, ambition, and release with no prescribed interpretation. Not bad for a shoot-em-up.

In fact, I found Returnal genuinely moving. In the second half of the game, as you fight through frozen wastelands and infinite ocean depths, Selene goes totally mad, talking only in prayer and prophecy. Actor Jane Perry does a phenomenal job of making her character seem both tragically lost and genuinely enlightened. Late-game cutscenes and lore drops put the focus on how much Selene gave up to become an astronaut, again tying this story to roguelike gameplay as Housemarque links sacrifice to pushing forward.

Housemarque released its latest game, Saros, earlier this year. Like Returnal, Saros offers Housemarque’s iconic third-person bullet hell gameplay and cryptic environmental storytelling – the difference is I won’t be waiting 5 years to play it.

• Tomb Raider: Legacy of Atlantis has three difficulty-scaling options
• Players can switch between hardcore, medium, and easy across combat, puzzles, and traversal
• Flying Wild Hog creative director Michał Kuk says players can individually tweak each setting for a personalized experience

Crystal Dynamics and Flying Wild Hog have confirmed Tomb Raider: Legacy of Atlantis will feature difficulty-scaling levels, offering players a personalized experience.

During a Q&A attended by TechRadar Gaming, following an exclusive presentation at Gamescom, experience director Jeff Adams and Flying Wild Hog creative director Michał Kuk discussed how the game was built from the ground up using Unreal Engine 5 and the game's modern features the developers were able to implement.

Legacy of Atlantis won't be a simple remake or remaster of the classic 1996 game, but a "reimagining" for current-gen platforms, which means all-new upgrades and features that weren't available in the original.

Among these are three difficulty levels across three core aspects of the game: combat, puzzles, and traversal; players will be able to individually scale each setting to their preference, giving them more control over their experience.

"With difficulty levels, we have prepared it in a way that I'm pretty sure everyone can set it for their own pleasure," Kuk said.

He explained that players can, for example, set the puzzle difficulty to hardcore if they want something more familiar to the 1996 game, or switch combat to easy or medium, and traversal, personally, to medium.

"You can adjust the game basically however you want," he added.

Tomb Raider: Legacy of Atlantis is set to release on February 27, 2027, for PS5, Xbox Series X and Series S, Nintendo Switch 2, and PC.

• Alien Deathstorm head of design Ben Fisher says the game's engineer protagonist "felt like a natural fit" in the game's environment and narrative
• He says Rebellion wanted to match an interesting character with "interesting mechanics" and landed on an engineer
• Producer Martin Willingham says "the motive was making the player feel immersed in the experience and exposed"

Rebellion has revealed the influences behind Alien Deathstorm and explained why it chose an engineer protagonist for its first-person survival horror game.

In an interview with TechRadar Gaming at Gamescom, producer Martin Willingham and head of design Ben Fisher shared that the team was, of course, inspired by the iconic Alien movies, but also looked at the broader influence of "90s cassette futurism" to create "that gritty, grounded sci-fi atmosphere."

"A lot of the tone came from our own 2008 comic series as well," Fisher said. "That kind of broad, pulpy, accessible sci-fi storytelling."

When discussing the intention behind having Deathstorm's protagonist be a protagonist instead of a typical soldier, Willingham explained that the studio wanted to find an interesting character that matched "interesting mechanics," and an engineer "felt like a natural fit."

The perspective also enabled Rebellion to "explore the elements of the sandbox gameplay," and an engineer working to diagnose the problems within a dangerous environment surrounded by monsters worked well.

"So part of the motive was making the player feel immersed in the experience and exposed," Fisher said, "because if you're an engineer trying to survive in that situation, you're less trained than a space marine or something like that [or] some kind of future soldier.

"You're going to feel more at threat. So it amplifies that feeling of being isolated, doing the best in a difficult situation."

While that's one aspect, the developer also said that the other is the added "moments of anticipation" that come with the engineer role, like the build-up you get in a horror experience while trying to complete your objective.

"You've got to slow down and observe the space, so you're not just rushing to the next objective," he added. "You're actually getting immersed in the experience, and that means that when you start hearing the roar of a distant alien, that split of attention builds up a whole load of anticipation and a load of fear."

Alien Deathstorm launches in Spring 2027 for PlayStation 5, Xbox Series X, Series S, and PC.

• CD Projekt Red and Fool's Theory say there were narrative challenges when developing The Witcher 3: Wild Hunt - Songs of the Past
• The expansion is about Dandelion, but they didn't want him to "steal the show" from Geralt
• There was also "pressure" to live up to the "legacy" of The Witcher 3's previous expansions, but "pressure is what makes us better"

CD Projekt Red and Fool's Theory have said that developing The Witcher 3: Wild Hunt's third expansion, Songs of the Past, came with some narrative challenges and pressure to deliver.

In an interview with TechRadar Gaming at Gamescom, where Jakub Rokosz, CEO of Fool's Theory and game director on Songs of the Past, and senior quest designer Despoina Anetaki offered new details about the upcoming expansion, the pair revealed the process of developing a new story about Dandelion without stealing the spotlight from Geralt.

Songs of the Past will be The Witcher 3's final expansion and centers on Dandelion, Geralt's best friend, as the monster slayer unravels a new mystery within the bard's homeland of Letten.

Rokosz and Anetaki discussed how the expansion will "complete" The Wild Hunt's story by giving Dandelion the spotlight he deserves, a chapter that CDPR felt was missing from the base game; however, it came with some challenges in how best to center the bard without losing the focus on Geralt as the protagonist.

"The narrative challenge of Songs of the Past was the biggest challenge; we knew we wanted to do an expansion about Dandelion, but he cannot steal the show, right? Because it's a game about Geralt," Rokosz said.

"So, all of us, straight away, we discarded certain ideas because they were too overwhelming. But then, at the same time, if it's a game about Geralt, there is a very fine line between when it's about Geralt and Dandelion and when it's about you just running around Dandelion's home, right?"

The former Witcher 3 senior quest designer also said that the narrative approach was something his team at Fool's Theory spent "absolute days and weeks discussing."

He added, "So there was a very big effort put into this fine balancing of the narrative, where you are there for your friend, but it's still your adventure. But it is about him and his family's matters, you know. And your relationship with Dandelion as well."

Anetaki said another big narrative challenge was "living up to the legacy" of The Witcher 3 and its critically acclaimed expansions, Hearts of Stone and, "especially," Blood and Wine.

"It's difficult to make something that is just as good or, if not better, right?" the developer said. "So it was really important for us, if we were to make an expansion, to make sure it's a compelling story, right?"

While Anetaki acknowledged that this came with a lot of pressure, "pressure is what makes us better."

"It's motivating," Rokosz continued, "we always try to outdo ourselves, both Fool's Theory and CDPR. When you're working on a AAA game, there's always something that you want to improve, right? Even if you release a very good AAA game like The Witcher 3, you know there's something we'll improve 11 years later in it, right?

"So we always try to outdo ourselves," he added, before referencing Songs of the Past's demo, which premiered at Gamescom and showcased the many visual and technical improvements.

"Everyone always tries to improve their own discipline, right?" Anetaki said. "Cinematics. A lot of them [developers] have a background in movies, and they try to hone their craft as the years go by, make it better. Same for quest design. We never rest on our laurels. We try to always improve our craft, make stories more nonlinear, more compelling, more memorable for our players.

"Writers have a background. A lot of them have published books, so they're excellent at what they do. They always try to tell amazing stories together with the quest designers and the cinematic designers. Art always tries to push the boundaries, tries to make everything fit the narrative and look as beautiful as possible.

"There are technical challenges that we always try to overcome, so it's always a journey upwards, right? We always try to push the quality."

Songs of the Past is scheduled to launch in 2027.

• Former Rockstar Games developer Mike York says Grand Theft Auto 6's Jason "seems quite deadpan and monotone"
• York hopes Jason will show more personality, like Grand Theft Auto 4's Niko Bellic
• He also suggests co-protagonist Lucia will contrast Jason's more subdued personality

Former Rockstar Games developer Mike York has shared his thoughts on Grand Theft Auto 6's big gameplay reveal, including his initial impressions of co-protagonists Jason and Lucia.

In an exclusive interview with TechRadar Gaming, York, who previously worked on GTA 5 and GTA Online, said Jason appeared to move around "very slow and methodical," almost like a "robot" or "a Terminator," and showed very little emotion.

The developer compared the character to other GTA protagonists, such as GTA 4's Niko Bellic, a "great character" and one of his favorites in the series, who was "witty and had some great lines", and hopes GTA 6 will show Jason in a similar light.

"I hope we see more of that because right now, Jason seems quite deadpan and monotone," York said. "Rockstar usually gives us a bunch of neat characters who are funny and have their own flair. I don't know if we're going to see that with Jason, but I hope we do."

Jason will serve as co-protagonist to Lucia, his partner in crime and girlfriend — if you choose to romance her properly, that is. From the extended gameplay footage, it's clear that Lucia is much livelier than Jason, sometimes taking the lead in certain situations; York agreed that as switchable characters, Lucia could serve as the Yin to Jason’s Yang.

"I think that's what they're going to do," he said, and addressed the cutscene where the duo arrives at the Effluvia rooftop bar in the trailer.

"There's that moment in the trailer where they get in an elevator, and he says: ‘Sometimes I'm just more comfortable when I have to use a gun’. She replies: ‘Just be charming!’ Lucia's got this attitude where you can tell she's trying to break him out of his shell. She's the one that probably goes into missions gung-ho, all guns blazing.”

GTA 6 launches on November 19 for PlayStation 5, Xbox Series X, and Series S. Rockstar has confirmed that it will run at 30fps on consoles at launch.

• Alien Deathstorm producer Martin Willingham says the game is "not another corridor shooter"
• Head of design Ben Fisher says it's a "dynamically generated" survival horror game
• The Rebellion developers say it's a 360-degree sandbox experience

Rebellion Developments has said players can't expect its upcoming first-person survival horror game, Alien Deathstorm, to be another linear corridor shooter, calling it a "rare beast."

Alien Deathstorm was revealed earlier this year by the developers behind the Sniper Elite series and Atomfall and is described as a "visceral first-person action horror experience, where second-to-second survival hinges on responding to a monstrous, constantly shifting threat on a storm-blasted off-world colony."

TechRadar Gaming recently went hands-on with the game at Gamescom and then later caught up with some Rebellion developers, who talked more about it at length, including the concept and design influences, replayability, and player freedom.

While Alien Deathstorm may look like your run-of-the-mill survival shooter with typical survival horror features, the team considers it a "dynamic" experience with sandbox elements where the player's actions can affect unscripted enemy encounters.

Producer Martin Willingham said this means, "the horror, the tension, can happen at any time in different ways between playthroughs and between difficulty camps as well.

"For me, that's one of the most exciting parts of the game because in horror games the experience is typically kind of very, very choreographed because it has to be to build up that anticipation set of those jump scares. But it means you can only play it once."

He continued, saying the team values replayability and sandbox freedom, which means "we had to do something dynamic," and "building the encounters around the player and the player's activities means it's a different experience."

Ben Fisher, head of design, called the game "dynamically generated," where levels are played sequentially, and each has its own sandbox, adding that "It's a rare beast."

"It's not another corridor shooter," Willingham added later. "You're in that sandbox. It's 360 degrees. The action could be coming from anywhere, rather than just at the end of that corridor."

Alien Deathstorm doesn't have a release date yet, but you'll be able to play it in Spring 2027 on PlayStation 5, Xbox Series X, Series S, and PC.

I’ve lost count of the number of times I’ve played the original Final Fantasy 7, and the thought of soaring through the skies aboard the airship Highwind with Midgar, Junon, the Gold Saucer, and Wutai scrolling past below in this level of detail always felt like an impossible dream. Now I’m watching it unfold in front of me in Final Fantasy 7 Revelation — and it’s glorious.

I cruise around for far longer than is even necessary, just soaking it all in. It’s a moment that finally fully realises what we expected when Square Enix first announced that it would be remaking the iconic 1997 RPG.

This journey has been a long one: from the restricted but well-focused part one of Remake, through the expansive and a little more erratic part two in Rebirth, and now this monumental finale to cap off the trilogy.

After a quick introduction to the cast for this demo section that takes place at the start of Chapter 4, I’m given the controls of the Highwind. I’m told the next destination for Yuffie, Barret, Red XIII, as well as playable newcomers Cid and Vincent, is Wutai. But I don’t need to go there right now. And I choose not to.

I zoom over to see what’s changed at the Costa Del Sol: this world’s happening holiday resort and lively town. How do I make my final approach? Not by landing the airship, but by parachuting off the edge, watching the terrain and the town grow larger as I approach the ground. It’s an impressive feat that this is possible, with such huge freedom given to how and where I land.

When I reach the Costa Del Sol, it is, effectively, exactly as it was in the previous entry. Folks are soaking up the sunshine in swimwear, popping to the bar to pick up a drink, and enjoying all sorts of entertainment by the seaside. The detail and density still impress and define the approach that Square Enix has taken with the trilogy as a whole. It’s bigger, bolder, flashier, expanded, and extended. There’s just more to everything.

I step out into the outskirts of the party playground, and I’m immediately hit by how Square Enix has taken this approach in other areas of the game. Sometimes, I feel, for the worse.

The demo was not afraid to impress upon me the sheer number of side activities that are going to be available in Final Fantasy 7 Revelation. Photo hunts, monster hunts, the Queen’s Blood card game, environment investigations — all of these and more popped up as soon as I landed in a new location or were added as I explored. With an AI assistant, MAI, also trying to explain them all, it almost overwhelmed me.

I get why we played this section of the game, but hot-dropping into a location while completely fresh to the game and getting barraged by all of these notifications instilled in me equal levels of excitement and dread. Yeah, there’s going to be a heck of a lot to do in Revelation if you want it, but I don’t know how much of it is going to be compelling.

What does still shine, though, is the combat. Zipping over to Wutai for a change of scenery, I ran into several monsters on the path to the village, and my muscle memory from the dozens of hours I sunk into Remake and Rebirth started to come back.

Cid and Vincent both seem like excellent new additions to the roster. I gravitated more toward the vampiric ex-Turk after a couple of battles, enjoying the rhythm of how he’s played. Effectively, you build up attacks over time, before eventually being able to unleash his ferocious Galian Beast mode to deal more devastating damage. Even against unthreatening monsters, he was very satisfying to play.

What I didn’t get to explore too much was the new FITS mechanic, which gives your characters more focus by taking on a specific class. I could see how these roles help you refine your party and add another layer to the already strong combat system. For example, Barrett could be set as a Knight in some impressive, shiny, and slightly absurd mech armor, elevating his job as a defender and protector.

Intrigued by both the new characters and mechanics, I found myself seeking more combat, so my journey through Wutai was full of distractions, including accidentally wandering into a boss monster that was about 40 levels above me and destroyed me in a matter of seconds. One of the many, many, many side activities in the region that I’ll no doubt have to return to in the full game, if I don’t get burnt out by them again.

And then, even with those doubts in my mind, I did find myself in awe of Revelation again just as quickly after seeing the scale and glow-up given to Wutai village. The pagodas and the familiar Turtle's Paradise bar have gone from half-memories of pixelated and blocky buildings to stunning and expressive environments that I could never have imagined.

Overall, there was just so much that it felt impossible to wrap my head around even half of it in just the short 60 minutes I had to play Final Fantasy 7 Revelation. I’ve barely had a chance to mention all the new pieces of equipment you have to navigate the world and interact with it.

What I want to make clear, though, is that all of these features haven’t put me off the game at all. It might not have settled some of the worries I had after tiring of the deluge of mostly throwaway content in Rebirth, but I left wanting more time with Revelation.

More time cruising through the clouds of the Highwind, more time testing how easy it is to jump out from pretty much anywhere on the overworld map, and more time digging into the combat system with new characters and how the FITS system mixes it up. And that’s before we see what direction Square Enix takes the story after the controversial ending to the previous entry.

Whatever happens, I have the feeling that Final Fantasy 7 Revelation is going to be a huge game when it launches on PlayStation 5, Xbox Series X and Series S, Nintendo Switch 2, and PC on April 8, 2027.

• Fable associate game director Will Kennedy says the game's combat system will be "faithful" to the classic RPG series
• However, Playground Games wanted to make the game "approachable" for modern audiences
• Kennedy says the game's "Style-weaving combat" offers more "breadth and depth" to achieve that

Fable's "style-weaving" combat system is designed for a modern audience, while remaining faithful to the classic role-playing game (RPG) series, according to Playground Games.

That's according to associate game director Will Kennedy during a Q&A session at Gamescom 2026, where he discussed the game's humor and how that has also been woven into the battle system by allowing players to turn enemies into chickens.

Speaking more about the design intention behind what Playground Games calls "style-weaving combat," which lets players mix and match different weapons and spells, Kennedy said the team wanted to balance what long-time fans of the series are familiar with, while making combat approachable for new players.

"When we're talking about being faithful to the classic franchise, we thought about how there was an approachability to combat there, and we knew that we wanted to be able to capture some of that for our game as well," Kennedy said. "But at the same time, we're making a game for gaming today."

He added, "We wanted there to be breadth and depth to it, so we landed on wanting to have style-weaving combat. We wanted to be able to move from move to move really smoothly and easily, and that combined with the level expression that you've got."

Kennedy explained that players can customize every element of their loadout, including ranged and melee weapons, and the four spell slots, which can be upgraded, and "by the time you play the game for even a little bit of time, you have a really broad, deep, rich suite of options to choose from."

"But being able to move so freely between the moves, and it feeling so responsive and so satisfying, is something we're really proud of," Kennedy continued, "because I think we've landed somewhere that is still approachable but has that depth that we want and so therefore is faithful but works in gaming today as well for players, which is sometimes to be proud of."

Fable is set to launch on February 23, 2027, for PlayStation 5, Xbox Series X, Series S, and PC.

Kennedy also confirmed that Fable's main storyline will take up to 20 hours to beat, but the game's life systems are "limitless."

• Fable's main story takes between 15 and 20 hours to complete
• Associate game director Will Kennedy confirms additional side content can also take between 15 and 20 hours
• However, the game's life systems are "limitless"

Playground Games has confirmed that Fable's main story will take up to 20 hours to beat, but promises the game's life systems offer "limitless" replayability.

Speaking during a Q&A session at Gamescom 2026, associate game director Will Kennedy discussed the scale of the upcoming role-playing game (RPG), saying, "So the main story obviously depends on how you play, but the main storyline is around 15 to 20 hours."

He added, "But then we've got around probably about 15 to 20 hours again of open world and side content to engage with."

While not a massive amount of hours compared to other open-world RPGs, that at least gives fans an idea of what to expect when the game releases next year.

However, it's what Kennedy said later that confirmed that, while Fable will have a good-sized story with plenty of side content, the game's life systems, like interacting with the over 1,000 unique non-player characters (NPCs), buying real estate, committing crimes, and more, will offer up even more playtime.

"Honestly, with the life systems which we [shared an] in-depth look at and showcased earlier on in the year, that's limitless, and you can engage with it as much as you want," he said.

Fable has been in development for a very long time, but will officially launch on February 23, 2027, for PlayStation 5, Xbox Series X, Series S, and PC.

• Sony has seemingly been caught testing dynamic pricing again
• PS5 users are seeing different discounts for Star Wars games based on unknown account factors
• Some regions seem unaffected by the experiment

Dynamic pricing is back in the gaming news, as PS5 players are yet again seeing the wild disparity between discount amounts for the same game — and its all-digital future feels ever more like a nightmare.

When looking at buying Star Wars Jedi: Fallen Order while logged into their PlayStation account Reddit user Bluemonkey88 was told it would cost them CA$19.24, or a roughly 65% discount from its RRP. Meanwhile the sequel Jedi: Survivor would set them back CA$23.39 (a 74% saving). As soon as they logged out Fallen Order dropped to CA$10.99, an 80% drop from full price, and Survivor fell to CA$13.49, or an 85% discount.

In the replies, we can see folks being offered the games for CA$13.99 and CA$18.19, though further muddying the waters a couple of US users — one with PS Plus and another without — both see the games at $7.99 and $10.49, suggesting not every region or user is subject to the same price testing.

What is dynamic pricing?

If you haven’t heard before, dynamic pricing is where a product’s cost fluctuates based on who is buying the product, or when they’re buying it.

It goes by other names you might have seen like surge pricing on Uber — when everyone is trying to book a cab, say just as a concert ends or if the weather turns bad, you’ll see costs rise because demand is up.

In Sony’s case here the pricing seems more algorithmic. There’s an unending supply of digital games, so instead the discount amount folks are seeing looks to be based on how likely it is you’ll buy the product, and adjusting the sale until it just tips you over the edge.

For example someone who maybe plays a couple of games a year or isn’t a mega Star Wars or action adventure game fan might see a steep discount as they’ll need more convincing. Whereas a mega fan of Star Wars, or a gamer who digests a new title every other week might be willing to pay more.

It’s like how airlines and hotels are accused of upping costs for folks who have filled their search history with holiday plans to a dream destination — if they’re desperate to go to, say, Paris, then they’ll be willing to maybe pay that little bit extra compared with a more agnostic traveller.

No thank you

This isn’t the first time Sony has been caught testing dynamic pricing. In fact, some kind of experiment has been going on from as far back as November last year.

And it’s as scummy a practice then as it is now, and it will continue to be as awfully anti-consumer as some of Sony’s other recent moves (i.e. killing physical games media).

Though if you’re thinking of jumping ship to Xbox it too has been caught with its hand in the dynamic pricing cookie jar. In its case it appears Microsoft is offering deeper Game Pass discounts to some accounts than others, with current subscribers unable to see the deal at all.

A digital-only gaming future already has so many downsides when it comes to ownership, game archiving, offline access and more, that we simply don’t need to add dynamic pricing to the mix.

Maybe Sony will reverse course, though its efforts for the past year suggest that dynamic pricing is here to stay. The best thing we can do is point it out every time it’s spotted, and making sure we don’t get suckered in with higher prices.

• CD Projekt Red says The Witcher 3 Remastered and its many upgrades helped realize Songs of the Past
• Game director on Songs of the Past, Jakub Rokosz, says the team had a "certain vision" for the expansion, but there were technological challenges
• He says the remaster "helped with applying optimization" to the expansion

According to CD Projekt Red, The Witcher 3: Wild Hunt's upcoming expansion, Songs of the Past, may not exist without The Witcher 3 Remastered and its many upgrades.

If you missed the bombshell news the Polish studio dropped during Opening Night Live, The Witcher 3 Remastered is a massive free update arriving on September 29. It offers many improvements to the base game and the Hearts of Stone and Blood and Wine expansions, such as upgraded visuals, a refined combat system, new Witcher Signs, transmogrification, and more.

The remaster will essentially rework the game in its entirety, giving fans of the 11-year-old role-playing game (RPG) an excuse for another playthrough, ahead of the upcoming expansion Songs of the Past.

Now, in an interview with TechRadar Gaming at Gamescom, Jakub Rokosz, CEO of Fool's Theory and game director on Songs of the Past, and senior quest designer Despoina Anetaki shared that without these technological improvements, their vision for the expansion may not have been fully realized.

"The stars had to align, so to say, because a few things had to happen," said Rokosz, who was also one of the original senior quest designers for The Witcher 3. "The Songs of the Past expansion and Letten itself, the area that it takes place, it had a certain vision. We had a certain vision for it, and it posed us certain specific technological challenges that was impossible to realize without the remaster changes.

"So the conditions had to grow for the remaster to appear on the horizon for us to be able to realize this, so this is actually two things meshing together to make it a reality."

The developer explained that Letten's lush vegetation, small bushes, and dense forests caused issues during development, but were resolved with the remaster's advancements.

"One of the challenges when we started prototyping the area was [that] it was impossible to ride with a horse through it, basically," he continued. "So we had to do some improvements on the horse handling side, right? So it feels more organic or more natural."

Letten also features a big lake in the middle of its map that allows players a view of the horizon, and as Rokosz explained, having this huge amount of open space where you can see fishermen fishing "posed a challenge in terms of how the engine was handling this. So the remaster helped with applying optimization."

Songs of the Past is due to launch in 2027.

• The final season of Call of Duty: Black Ops 7 has been revealed
• It includes a Doom crossover and lots of Halloween content
• Only one new multiplayer map is being added, however

Activision has lifted the curtain on the content coming to Call of Duty: Black Ops 7 in its final season ahead of the Modern Warfare 4 launch.

With a new game on the way, it shouldn't come as much of a surprise that this update is going to be a smaller one. Still, it includes plenty of spooky Halloween content as part of the series' annual The Haunting event.

This includes a bombastic Doom crossover, allowing players to unlock loads of Doom-themed rewards in a new limited-time event pass. As usual, this pass will be divided into two tracks: a free one and a premium option.

The free track contains new operator skins for Wei Lin and Falkner, plus an adorable Mini Slayer weapon charm and a range of other rewards. Completing the entire track will grant you the Roc 20mm special weapon — a massive, almost cannon-like rifle that fires devastating 20mm rounds.

The premium track, on the other hand, unlocks the Doom Slayer himself as a playable operator in the JSOC faction. By default, he's wearing his Doom: The Dark Ages attire, but the premium track's final reward is an alternate classic 1993-style skin.

Other weapons introduced in the upcoming season include the TR41 Para Assault Rifle, which will be available at launch, and the Arcblade melee weapon added later on. There are also some new weapon attachments on the way for the VS Recon Sniper Rifle, Dravec 45 SMG, and Sokol 545 LMG.

Unfortunately, the offering is pretty sparse on the map front, with only one new one being introduced. It's called Quantum, and it looks like an appropriately ruined laboratory. There is at least also a new version of the existing Homestead map, called Bloodstead, for you to explore as well.

The cool Hordepoint mode will be returning from previous games in season too, challenging players to face off against a rival team and spawning waves of zombies.

All of this comes alongside a fresh battle pass full of new skins and unlocks, not to mention additional content for the Zombies and Endgame modes, plus the free-to-play Warzone battle royale.

Call of Duty: Black Ops 7 is available now for PC, PlayStation 5, PlayStation 4, Xbox Series X and Series S, and Xbox One.

• Invoke Studios head Dominic Guay says Warlock: Dungeons & Dragons' imp companion Skev provides narrative and gameplay assistance
• Skev will provide lore to the player as they explore Darkon, but can't be controlled in combat
• Guay says the imp is "his own character" with his own personal motivations

Warlock: Dungeons & Dragons' imp companion Skev serves multiple purposes for the player, but was designed to be "his own character."

In an interview with TechRadar Gaming at Gamescom, Invoke Studios head Dominic Guay offered more insight into Skev and his relationship with the warlock protagonist Kaatri, revealing that the imp will assist the player as they navigate the open world of Darkon both narratively and with his utilities.

However, while Skev will act as a companion to Kaatri, Guay stressed that he still has his own motivations, including seeking out his lost master, just like how Kaatri is searching for someone too.

"We iterated a lot on him. So he actually is his own character," Guay said. "That was important to us. He wasn't born to be a sidekick. That was the mentality. He used to be the advisor to the ruler of Darkon, so in a way, he had a really important role in that land before his master vanished, and his quest is to find his lost master, and Kaatri's quest is to find someone too.

"So, he tags along, and Kaatri's kind of like, 'Oh well, he knows this place, and that's useful.' So he gives you a lot of insights as you travel around. You find new places."

The studio head said Skev will offer lore about new locations as players explore, adding that he thinks of the imp as "your unreliable guide to Darkon."

Skev won't be controlled by the player either, Guay confirmed, so he won't die in combat or get in the way, but will sometimes help in certain instances, like by picking locks.

"You can actually decide how you want to upgrade his abilities throughout the adventure," he added, "So [there's] some practical application."

Warlock: Dungeons & Dragons arrives in 2027 for PS5, Xbox Series X, Xbox Series S, and PC.

• The Witcher 3: Wild Hunt - Songs of the Past spotlights Dandelion and will tell a "complete" story
• Jakub Rokosz, Fool's Theory CEO and Songs of the Past game director, says CD Projekt Red wants to "give justice to Dandelion"
• Senior quest designer Despoina Anetaki adds that "it felt like a chapter was missing"

CD Projekt Red has said The Witcher 3: Wild Hunt's third and final expansion, Songs of the Past, will "complete" the game's story by giving Dandelion the bard the spotlight he deserves.

In an interview with TechRadar Gaming at Gamescom, Jakub Rokosz, Fool's Theory CEO and Songs of the Past game director and former Witcher 3 senior quest designer, explained that rather than the expansion serving as a bridge to The Witcher 4, as some fans might have expected, it actually completes Wild Hunt's story by delivering a new chapter that the team felt was missing.

However, the developer declined to comment on whether the expansion will have any direct connection to The Witcher 4, so we'll have to wait and see.

"We always wanted to give Dandelion the proper spotlight he deserved," Rokosz said, acknowledging that it's odd for an 11-year-old game to receive a new expansion. "So we knew that there was no space in the base game to give him justice. That's what I wanted to say: Give justice to Dandelion."

Songs of the Past will center Dandelion in Geralt's final journey in The Witcher 3, where players will explore Letten, the bard's homeland, and be wrapped up in another supernatural mystery.

"We knew that at some point we wanted to address this thing, because Dandelion is a very important character in Geralt's life," Rokosz continued. "There's a misconception of him being this comedic relief, and this is his only role in the Witcher series, whereas that's not true. He's a very deep and intelligent character. He used to be a professor at Oxenfurt [Academy], and he writes beautiful poetry, so we want to show the players what's behind that mask of a joker, where he came from, what his family is about, what's the world [like] where he grew up."

Senior quest designer Despoina Anetaki added that it doesn't matter that the expansion arrives 11 years later, only that the whole story has been told.

"What's really important to us is not so much like should we release an expansion 11 years later; it could be, I don't know, 20, 100 years later," Anetaki said. "What matters is that the story we tell is complete. This is part of The Wild Hunt, and it felt like a chapter was missing, like something was not there. One more thing we wanted to tell, right? And Dandelion's story was one of those, right?"

The developer revealed that the team went back to the original Witcher novels and used the source material to make something that could "excite fans" and "something that could excite us most of all, because it was a difficult question when this idea was first pitched to the team."

Anetaki explained that the team had to figure out what would pull Geralt out of his retirement, and it had to be important enough to warrant a full-length expansion. That reason was Geralt's best friend, Dandelion.

"Once we identified that important thing," the developer added, "it all clicked together, and it became very clear that yes, we need to make this expansion because it makes us as fans of The Witcher really excited about it, and I hope that the players will also feel that."

Songs of the Past doesn't have a release date yet, but it's slated to launch in 2027. In the meantime, fans can look forward to The Witcher 3: Wild Hunt Remastered, which arrives this month on September 29.

• Creative Assembly has explained how it designed a faithful Warhammer player experience for Total War: Warhammer 40,000
• Battle product owner Dave Petry says the team didn't directly recreate the tabletop systems, but tried to "authentically simulate" them
• Creative Assembly continued its "trusting" relationship with Games Workshop, which shared its "infinite knowledge"

Creative Assembly worked closely with Games Workshop to ensure the Total War: Warhammer 40,000 player experience was as "authentic" to the tabletop game as possible.

In an interview with TechRadar Gaming at Gamescom, lead designer Joy Dey and battle product owner Dave Petry discussed the upcoming strategy game's combat system and shared how it was able to faithfully translate the feeling of Warhammer's tabletop systems.

Rather than a complete one-to-one recreation, Petry explained that the goal was to "authentically simulate" the feel of the tabletop's combat.

"We really, really care about trying to authentically simulate the feeling of the type of combat, whatever period or kind of warfare that it is, right?" Petry said. "So in a historical, obviously, war on Earth, and generally we have the sorts of weapons that you have on Earth. When it's fantasy, it's magic and mages and all that sort of stuff, and obviously, with the science fantasy and 40k, the biggest reference point you have to that is the tabletop.

"But it's not necessarily like the be-all and end-all of it," he continued. "We're not transposing the tabletop, right? We're trying to create an authentic sense of the lore and the kind of combat that's there, but the love for the tabletop absolutely is present."

Petry said that, like so many fans, he's been playing and collecting Warhammer 40k since he was young and confirmed that references and nods to the universe, like names, abilities, and lore, are in the upcoming strategy game. However, he said some elements of the tabletop game "just don't fit" with the game's real-time simulation

Creative Assembly also focused on making the game feel "familiar" to the Total War franchise; combat has also been scaled up, and he explained that macro positioning, where the player's forces are, flanking, and enemy morale are all things that come into play.

Petry said positioning in particular is being treated as "an interpretation of the lore and the universe, with the tabletop being one of the most important references."

The developer also added that Creative Assembly continued its long-standing collaboration with Games Workshop to ensure authenticity, saying their "special relationship" has helped the studio combat issues it was dealing with.

"[If] we can't find the thing that quite works for [the game], or this piece of lore sounds similar, but doesn't quite work," Prety added, "And for them to be able to come back with their infinite knowledge of all of this stuff and go, 'Well, you're right. This doesn't quite fit, but over here we have something that actually might be able to do the job.'

"And that close or trusting collaboration has, I think, enabled us to create something that captures that authentic feeling."

Total War: Warhammer 40,000 launches in 2027 for PlayStation 5, Xbox Series X, Series S, and PC.

• Invoke Studios head Dominic Guay confirms Warlock: Dungeons & Dragons will have a toggleable HUD and minimal waypoint guidance
• Guay says this is to encourage exploration and reduce the "hand-holding" experience
• With these options, he says the game will be "immersive"

Invoke Studios has said Warlock: Dungeons & Dragons will encourage players to explore Darkon's open world by offering a toggleable HUD and minimal waypoint guidance.

That's according to Invoke Studios head Dominic Guay, who told TechRadar Gaming in an interview at Gamescom that the upcoming D&D action-adventure game will ease up on the "hand-holding" you often find in other open-world role-playing games (RPGs).

"It helps that we're trying to go easy on the hand-holding, so that allows us to pull back a little bit," Guay replied when asked why the hands-on demo had such a minimal HUD. "In this case, I'll be honest, though, we turned off some elements of HUD so that it wasn't overwhelming for people watching the demo."

The studio head confirmed the team will add "some" elements to the HUD to help players, but it can also be turned on and off in the settings, adding that there was a time when it "felt the need to put a lot of things in the middle of a screen."

"We realized that players, because they're being eased in with the number of spells they have, the number of things they can do, we don't need to overwhelm them," Guay continued. "And then we will give you some guidance. So the example I always give is, if the quest was to find me, you know, at Gamescom, and you open up the map, then you'd see it.

"We'd put a highlight around [the area], and we say, 'Well, he's somewhere in there, right?' So then you have a compass; you can get there, but we don't want to overwhelm you with too much information. [We want to] keep it immersive."

During the same interview, Guay explained why Invoke chose a warlock protagonist for the game, explaining that the concept of "creative magic" was central to gameplay and story.

Warlock: Dungeons & Dragons launches in 2027 for PS5, Xbox Series X, Xbox Series S, and PC.

• Total War: Warhammer 40,000 will be accessible to hardcore fans and new players
• Lead designer Joy Dey says the tutorial will cover everything from story and lore to gameplay mechanics
• Battle product owner Dave Petry adds that the game is "a good entry point" for new players, and Creative Assembly wants to reach as many people as possible

Creative Assembly has confirmed that its upcoming strategy game, Total War: Warhammer 40,000, will be accessible to experienced fans and first-time Total War players.

That's according to lead designer Joy Dey and battle product owner Dave Petry, who discussed the game's onboarding process in an interview with TechRadar Gaming at Gamescom.

The pair shared that they want to reach as many players as possible, so the team made sure the game's tutorials eased newcomers into the experience, while also offering an "appetizer" for hardcore fans.

"We are expecting there will be players who've never played Total War before, and there will be players who don't know the lore," said Dey. "So we have a story within the tutorial that has named characters from the universe, and it's going to ease you in. Like, what is a Space Marine? What is their motivation?"

The tutorial will focus on the Space Marines, the developer added, and players will learn the mechanics "on a step-by-step basis," adding, "It should be a gateway into 'What is 40K?'"

Dey acknowledged that the battles can be "quite complex" but said that every gameplay system, from the pause and play function, how to take cover, analysing the battlefield, and how to use height as a tactical advantage, will be introduced and taught to the player during the tutorials.

Petry added that many new and "reformed battle features" either needed reintroduction or tweaking for the new game, but reiterated how the tutorials will benefit both newcomers and long-time fans.

"So all of those concepts need a gentle reintroduction," he said. "Personally, I view the tutorial for an experienced player as kind of like an appetizer, where, if you know both of these things, you can go in there and be like, 'Yeah, teach me some of the new stuff and get me warmed up with a bit of juicy lore stuff.'

"And if you know nothing, it's just such a good entry point for both of these things, right? And we really want to make sure that we can bring as many people to Total War and to 40,000 as possible. Obviously, 40,000 is absolutely gargantuan, and it's a really wonderful time to be part of that fandom, right? So I think it's also a wonderful opportunity to show people how cool and great Total War is."

Total War: Warhammer 40,000 launches in 2027 for PS5, Xbox Series X, Series S, and PC.

• Creative Assembly says Total War: Warhammer 40,000's new Warcore engine improves almost every aspect of the game
• From rendering and animation to "the sheer volume of projectiles" that can be handled on screen at once
• The studio says the scale has been upgraded, creating "a bigger play area for all the planets, all the solar systems, the whole galaxy"

Creative Assembly has shared just how much its new Warcore engine has enabled it to improve almost every aspect of Total War: Warhammer 40,000.

In an interview with TechRadar Gaming at Gamescom 2026, lead designer Joy Dey and battle product owner Dave Petry discussed the upcoming strategy game and offered insight into how the updated Warcore engine delivers a bigger and better scale than previous Total War games.

"One thing the engine has allowed us to do is take the Total War into space, because we now need a bigger play area for all the planets, all the solar systems, the whole galaxy, really," Dey said. "And I think that's the biggest, biggest thing for the campaign."

Petry added that the engine has also let the studio easily manipulate assets in the game's 3D space and improve other features like rendering and animations, explaining that it was a "required engineering" for the team's vision.

"The rendering of things, being able to improve how we render things and the quality that we are rendering things at, the animation system, our ability to sort of build modular animations in a more modern way, and the retooling of all of that, so that we can build faster and better," Petry said.

"Just frankly, almost everything, and just in how we build and how we tool to be able to make our games a higher quality and at a better rate, right?"

The battle system also sounds amazing, with Petry mentioning the game's Havoc system and saying the engine manages to deal with physical explosions "much better" when it comes to destroying the environment, as well as the number of projectiles on screen.

"So you know, being able to bring in these these tools to be able to solve these new problems that get brought up by these really awesome games is something that we felt we absolutely had to do," he continued, "and it extends to model changes, like being able to just handle the sheer volume of projectiles that we are now spitting out of seemingly absolutely every orifice when it comes to this game.

Petry added, "It was just absolutely necessary to build that new foundation to work from."

Total War: Warhammer 40,000 launches sometime in 2027 for PlayStation 5, Xbox Series X, Series S, and PC.

• Invoke Studios head Dominic Guay says Warlock: Dungeons & Dragons has "deep-cut" inspirations from the tabletop role-playing game (TTRPG)
• He adds that the game will still have a mystery for new and experienced Dungeons & Dragons players
• Guay says, "We wanted players coming fresh, with no knowledge of D&D, to kind of figure things out as they play"

Warlock: Dungeons & Dragons draws much inspiration from the tabletop role-playing game (TTRPG), but Invoke Studios head Dominic Guay says the game will still offer mystery for even experienced D&D players.

In an interview with TechRadar Gaming at Gamescom, Guay discussed the many "deep-cut" D&D elements Invoke applied to Warlock, such as monsters, items, and spells; he also touched on the game's setting, Darkon, a realm within Ravenloft's Domains of Dread.

Players can explore Darkon's open world and uncover its secrets in the classic D&D way, which will take "tens of hours," confirming Warlock isn't a 100-hour campaign.

"There have been books written about it. Some of it is deep cuts, but it's still really good material we tapped into," Guay said, but explained that it didn't want to create a D&D game whose world experienced fans are already familiar with.

"We don't want to create a game where if you know D&D, you're like, 'Oh, I know everything,'" he said. "We want players to live that mystery of figuring out, what's that place, what are the rules of that place? So a lot of players are familiar with Ravenloft, which is another Domain of Dread, and that'll give them some insight into some of the things happening.

"But we wanted players coming fresh, with no knowledge of D&D, to kind of figure things out as they play."

Guay also confirmed Warlock has many D&D tropes, whether that's finding a secret door or dodging a trap, suggesting the game will be authentic to the TTRPG.

"We're doing these things in a way that's trying to replicate the feeling, but in real time without rolling down dice or doing these kinds of things," he said.

Warlock: Dungeons & Dragons is slated to launch in 2027 for PS5, Xbox Series X, Xbox Series S, and PC.

• Free-to-play open-world adventure Ananta will feature two massive maps
• The second, Chongxiao, was revealed in a trailer at Gamescom 2026
• It's inspired by the real-world cities Shanghai and Hangzhou, home of the game's developers

Upcoming free-to-play Grand Theft Auto 6 competitor Ananta got a new trailer at Gamescom 2026, revealing a second massive open-world map.

Players will be able to venture from the coastal Nova City to the sprawling futuristic metropolis of Chongxiao, with producer Ash Qi promising "dozens of hours of story content and a huge range of urban gameplay" in a new interview with TechRadar Gaming.

"Our goal is to create the biggest open-world game in the free-to-play space," added Qi.

"Nova City was the first map we created," they continued. "Chongxiao is something we knew we had to make about a year into developing Nova City. In terms of scale, Chongxiao is quite a bit bigger than Nova City, but each map has its own identity, with different stories and a distinct atmosphere.

"Nova City leans more into a modern, entertainment-driven vibe, with a livelier, occasionally chaotic energy. Chongxiao, on the other hand, has more advanced technology, richer cultural content, and large-scale tourist attractions for players to experience and explore."

As well as conveying distinct atmospheres, both cities are also dramatically different from an aesthetic perspective. Nova City looks almost like a blend of Tokyo and Los Angeles, while Chongxiao is decidedly more Chinese in its influences.

"Right now we’re building Lingyun, a city within Chongxiao. The inspiration behind Lingyun actually comes from Shanghai and Hangzhou, where our team lives and works. Both cities have very striking everyday scenery and iconic modern landmarks," explained Qi. "Our goal was to have the real cities as a foundation and layer Ananta's setting on top of it."

Plenty of real-world features from both those places were on show in the latest trailer, including a skyscraper that's almost identical to Shanghai's iconic Oriental Pearl Tower. Chongxiao is also built around a huge ancient body of water known as the Weilan Lake, modelled closely on the famous West Lake in Hangzhou — a UNESCO World Heritage Site featured on the back of China's one-yuan banknote.

"Of course, we’re not just recreating these places one-to-one," added Qi. "We’re giving them new settings and memorable adventures shaped by our IP and story needs."

Ananta has already made headlines with its dizzying range of mechanics, with trailers showing off driving, melee combat, third-person shooting, flying wingsuits, and even Spider-Man-like web-slinging. But the cities themselves will also offer a broad selection of unique activities.

"Anything you’d want to do in a modern city: shopping, grabbing a bite at a restaurant, catching a live music show, or dancing the night away, it’s all there," said Qi. "You can even invite your favorite character to do these things with you. Each city also offers its own distinct activities based on what makes it unique. In Chongxiao, for example, you can go boating to experience Weilan Lake."

It sounds like players will have no shortage of things to do when Ananta launches for PC, PlayStation 5, and mobile on January 15, 2027.

• Creative Assembly developed Total War: Warhammer 40,000's controller support alongside the game's battle system
• Battle product owner Dave Petry says the team "landed something that really does work"
• Petry adds that he doesn't believe the "myth" that controllers can't work with real-time strategy (RTS) games

Creative Assembly developed Total War: Warhammer 40,000's battle system and controller support simultaneously, with battle product owner Dave Petry believing real-time strategy (RTS) games can work with a gamepad.

"So, we have a very clear mindset on, or a distinction between platform and controller, right?" said battle product owner Dave Petry in an interview with TechRadar Gaming at Gamescom 2026.

"Because yes, obviously, controllers are your primary method for using consoles, but it's just an input method. It's an accessibility tool, right? It's how you want to play or how you would like to play, and so we've always wanted to be able to bring that experience to people who want to use a gamepad."

He continued, explaining that from the start, Creative Assembly developed the controller support alongside the game's battle system and campaign "to try and get it to the right spot" and believes the team has "landed something that really does work."

Petry referenced the internal experience developing Halo Wars 2, which he said was a "really strong implementation of controller and RTS," and that the industry is creating more and more strategy games that get controller support, and that these studios are doing "a brilliant job of it."

There's also a "myth" surrounding controller support and RTS and strategy games that don't work together, Petry added, but doesn't believe it.

"I think we are learning that we can do this right, and yeah, it's definitely something that we're all keen to keep evolving as we ship and work on it [Total War: Warhammer 40,000]," he said. "I think we've landed in a really solid spot. I think we're quite proud of where we are when it comes to the technical side of things as well."

Petry acknowledged the challenges that come with this technical aspect, but it's something Creative Assembly is "fully committed to doing" to "get us to a point where we are performing in the state we need to for console."

Total War: Warhammer 40,000 arrives in 2027 for PlayStation 5, Xbox Series X, Series S, and PC.