• km5 is collaborating with Kojima Productions on a limited edition CD player
• The Cp1 features Bluetooth 5.3, a 3.5mm headphone jack and more
• It's inspired by Death Stranding 2: On the Beach and comes in neon orange

Sony might be planning to wind down its production of PlayStation game discs, but physical media still has plenty of fans. Among them is auteur game director Hideo Kojima, whose studio Kojima Productions just announced a new collaboration with boutique Japanese audio brand km5, to celebrate that fact.

You can now buy an official Death Stranding 2: On the Beach version of km5's Cp1, a compact CD player that looks like a minimalist picture frame. It features wireless Bluetooth 5.3 connectivity so you can hook it up to one of the best Bluetooth speakers, or your wireless earbuds, in addition to a 3.5mm headphone jack if you'd prefer a more retro vibe.

It's got all the expected controls (a Bluetooth pairing button, play/pause, stop, fast forward, and rewind) in a row of clicky tactile buttons, and even a built-in battery which supports roughly eight hours of playtime, so you can take it on the go. And unlike retro players with nasty AA-type batteries, charging here is via USB Type-C. There's also a little LED display, which shows the current track number, and a little sleeve that you can use to display album art.

The Death Stranding 2 edition is, naturally, translucent neon orange and is designed to look like the BB Pod from the game — that's the glowing jar that contains the adorable baby that you use to detect invisible enemies. It's got a few little decals to really drive home the look, including little text warnings like 'ensure lock is tight', and comes nestled in special packaging alongside a card insert inspired by the series.

It looks like a lovely little collectible and I already know that it's a capable little CD player, having used its big brother, the Cp2, for a few years now — the only real difference between the two models being the addition of a small speaker on the Cp2. I picked it up in Tokyo before the brand was more readily available worldwide, wanting a cute CD player that would be compact enough to fit on my shelf next to my extensive (and dare I say, pretty impressive) J-pop collection.

I normally have mine hooked up to my beefy JBL Boombox 4 (in a setup that TechRadar audio expert Matt Bolton once described as "insanity") blasting tunes as I work — right now Ano's single Kill Love. While the fidelity is obviously not quite as good as lossless streaming, there's simply nothing quite like the properly exploring a beautifully made physical album or the tactile sensation of popping in a new disc.

If you want to get your hands on this limited edition CD player, you can grab it online via the km5 website for $199 / £175 / AU$315, excluding shipping and any customs duties. That makes it about $40 / £40 / AU$60 more than the standard model. You might want to make haste though, as I expect it to sell out fast.

I've been an avid PC gamer since the early 1990s. My first computer, bought specifically to play Star Wars: X-Wing, was a plucky 486DX running at 33MHz (cutting-edge at the time — well, only behind the 486DX2, but that was too pricey). I have fond memories of playing Doom on the office LAN and getting addicted to Quake when online gaming began (thanks to QuakeWorld, which made dial-up modem play viable as opposed to an utter lag-fest).

I could ramble on with nostalgic gaming recollections, but the point is I played Quake obsessively — to a high competitive level in a clan — then I lived and breathed EverQuest for several years, and down the line, I was totally lost in World of Warcraft for another few years, and so on.

I've always been a PC gamer, through and through — I did swear off MMORPGs, mind, as I can't be trusted not to lose large chunks of my life to them. From time-to-time, I've owned a console too, but it's always been by backup, second-string gaming machine, used sparingly.

Not anymore, though. My PC is now used just for work, and I haven't played a game on it for a year or so.

I am now, officially, a PS5 gamer. A console is my main gaming machine for the first time in my life. So, how did that happen?

A vow revoked and a lesson learned

If you happen to have read my past articles, you may recall that at the end of 2024, I vowed I wasn't going to buy a PS5 Pro last year. My masterplan was to avoid purchasing a new console, and use my gaming PC on the main TV in the living room for couch co-op sessions with my wife instead, while still being able to game in the study with my computer if I wanted.

Then came Black Friday in November of 2025, and I did a complete 180. I pulled the trigger on a good deal on a PS5 Pro bundle.

What changed during the course of 2025? Firstly, I realized that running cables from a PC in the study through to the living room TV is more of a hassle than I'd anticipated. Getting everything set up at the end of each week, ahead of my weekend gaming sessions, quickly became tiresome.

Moreover, I found my long HDMI cable wasn't reliable enough. The picture on my Sony OLED TV kept flickering, which was maddening, frankly. And for no apparent reason, too — sometimes it'd happen, sometimes it wouldn't. I never found out why. I also had occasional issues with my game controllers (typical PC hardware gremlins that were perfectly resolvable, but still a pain).

On top of that, having held off on buying a GPU upgrade for my PC — my plan for the money I would've spent on a PS5 (and did eventually spend on the console) — I was put off by issues around the RTX 5070 when it arrived. This was the graphics card I really had my eye on, but it was a disappointing incarnation in terms of its performance upgrade (and that 12GB of VRAM). The initial above-MSRP price only rubbed salt into these wounds.

The prices of AMD's rival GPUs were off-putting, too, in the early days of RDNA 4 — although that did change, and I came close to buying an RX 9070 XT when pricing finally settled down.

However, at that point, it was too late. I was already frustrated with my whole piping-the-PC-from-the-study situation, and by the time that Black Friday PS5 Pro bundle bargain popped up (it really was a great deal), I just couldn't resist.

I absolutely don't regret that decision, nor am I upset about buying a console with the money that was earmarked for upgrading my ailing RTX 2060 Super. That's not to say I don't miss some things about PC gaming, or that I'm not super-annoyed about Sony's latest stunt regarding discs.

I'm going to cover both sides of this gaming coin here. First, I'll tell you why I'm loving my time with the PS5 Pro now, before discussing what I don't like on the Sony side of the fence, and the clear, undeniable strengths of PC gaming.

PlayStation bliss

I did own a PS4 Pro before — as my second-string gaming device, backing up my PC — and it's striking just how much slicker the PS5 Pro is. For one thing, I found my PS4 Pro to be the noisiest console I've ever had, by far. It was noisier than any PC I've owned, and some vacuum cleaners for that matter.

The PS5 Pro is nicely quiet, super-fast to boot up, and more importantly to wake and sleep. This means it's dead easy to fire up the console for a very quick gaming session if I only have 10 minutes to spare and just want to dip into something briefly, or to pause a session (put the console in rest mode) if I need to pop out. It all feels very seamless, and there's not a snaking USB extension cable or HDMI lead in sight.

Visually, everything looks top-notch on my 4K OLED TV, too. Baldur's Gate 3 — yes, I was very late to the RPG — looked nothing short of fantastic, and the PS5 allowed me to play the adventure co-op with my wife in what was the best co-operative gaming experience I've ever had. Being able to dip in and out so easily, as we cooked dinner, then ate, then fed the dog, going back and forth to the living room in-between, was a major boon.

The PS5 has reminded me just how good couch co-op can be, and I've been enjoying indie games like Dysmantle, which has same-screen co-op (like Baldur's Gate 3). We've been playing a bunch of these games — it's the Diablo 4 expansions next, if you're curious (we played the base game on PS4, so I'm keen to see how good the game looks on its successor console).

The PS5 controllers were an unexpected bonus, too. They're so much better than the PS4, and they even fit my wife's smaller hands (she finds many controllers too big and painfully cumbersome, but not the DualSense).

Of course, a clear benefit of the PS5 over the PC is that there's no messing about with GPU drivers. By which I mainly mean poring through Reddit 'megathreads' worrying about whether the latest Game Ready installment is actually going to be a step backwards for my PC, perhaps in terms of performance for a particular game or bugs (or broken features). Windows 11 bugs are another issue, too. (Yes, there can be software glitches on the PlayStation, but nothing like what some PC gamers must endure at times.)

Then there's the RAM crisis. Buying PC components is just getting more and more painful. Obviously RAM and SSD prices are through the roof already, but PC gamers waiting on a GPU upgrade (as I was) are facing unpleasant hikes due to the price of video memory (VRAM). Indeed, the latest rumor from YouTube channel Hardware Unboxed is potential price hikes to the tune of 40% in some cases with Nvidia GeForce GPUs. Add plenty of seasoning with that assertion, of course, but it's clear enough that GPUs are getting pricier due to VRAM increases, especially for graphics cards loaded up with more of this memory (naturally). CPUs are in line to get more expensive, too.

The crisis in general is predicted to intensify as this year rolls on, and 2027 could be worse still — perhaps the worst ever year for the memory industry, alarmingly. With no need to upgrade my desktop, I'm glad to be out of this gloomy environment of spiraling costs. The situation has turned planning PC upgrade paths, which used to be a rather fun, sometimes even exciting, exercise, into a thoroughly depressing experience.

You might now be shouting at your screen about Sony hiking PlayStation prices, too, and that's a fair point. But I won't have to worry about upgrading my console, and it will happily sit in my living room for the next few years, blissfully not needing any new components (while my work PC can carry on happily with its RTX 2060 Super).

Granted, that's just my personal situation, and if you are thinking about buying a Sony console, with the new price of the PS5 Pro, I don't know if I'd recommend pushing for it over the vanilla PS5 now. (I got mine on sale for about 60% of the current lowest retail price). The base PS5 is still a great console, though, and it'll likely make a lot more sense for the average gamer — especially come Black Friday, when with any luck, there'll be some good deals around once again.

PC strong suits

There are a good number of plus points for PC gaming versus consoles, so as promised, I'll examine the other side of the equation here, and pick out what I particularly miss.

There are some notable downsides with console gaming, including that you need to pay for a subscription to access online multiplayer (in the main, although obviously that doesn't include free games like Fortnite). This doesn't bother me personally because I don't really play online anymore — as I said early, it's mostly about local co-op for me these days. But I totally get why having to pay for a monthly plan irks gamers who want to play the latest shooter, strategy epic, or whatever else, online.

What does bother me, though, is the price of the actual games on the PlayStation. One of the major strengths of the PC is that games are cheaper than they are on console, from big-name releases (which still command a weighty premium... just not as hefty as on consoles) through to a raft of indie titles, which are often very competitively priced.

Not only this, but you get regular Steam sales where some games get huge discounts (and you can pick up older titles in particular for a song), or value-crammed GOG bundles, and also the likes of Epic giving away some compelling offerings for free. You don't get any of this on the PlayStation, and Sony's store does seem to like to charge a lot, even for older titles. For me, this is probably the biggest drawback with shifting over to being a PS5 gamer.

A recent development compounded the situation, too, when we learned that Sony is doing away with physical discs for the PlayStation. I was already aware of the situation with the price of PlayStation games, of course, which is why when I bought my PS5, I chose a bundle with a disc drive.

That meant I could pick up, for example, the physical disc copy of Split Fiction for 40% less than the digital copy on the PlayStation Store. I can also currently purchase second-hand, older games on disc at a considerable saving. But all these possibilities are heading rapidly out the window when 2028 rolls around, and Sony enacts its plan to push physical media completely aside with the PlayStation.

I won't go into this controversy in depth here – we've covered it extensively elsewhere — but suffice it to say that I'm not happy about the idea at all, and it feels like a cynical and generally anti-consumer practice. And no matter how many gamers sign petitions (here have been a lot) it doesn't seem like Sony is going to backtrack on this one (aside from maybe niche collector's editions or the like, and if we're lucky enough to get those, they will of course cost a fortune).

You could argue that the PC is digital-only already: desktops don't come with disc drives anymore, those days are long gone. But what Sony is doing is quite different, given that PC gaming is an open platform bristling with different stores and options for digital purchases, whereas Sony has the PlayStation ecosystem locked down to its store. With physical media banished, a key choice and avenue for money-saving (don't forget, you can also recoup money by selling on your disc copy of a game) is removed, and Sony has an unhealthy level of control over the whole shooting match.

Okay, so I don't feel like the PlayStation disc drive I bought is useless — it'll be good for a long while yet, and I'll still be able to play older games on it, including my PS4 back catalog, plus I can use it for Blu-rays. Regardless, this Sony decision is a painful kick in the shin.

Finally, another obvious plus point for PC gaming is the variety of mods floating around and customization possibilities in general, which you don't get with a console. The PC is quite simply a more open platform all-round — although in my case, modding isn't something that I'm all that into anyway.

Disc-less Elysium

Let me finish by pointing out the obvious: a lot of this is very subjective. You may have quite different opinions. You might live and breathe mods. You might want games to look out-of-this-world, with visual options cranked to the max (and be able to afford the necessary PC hardware to achieve that). You may never want to play a shooter without a mouse and keyboard (I get that one, but I'm okay with a controller now — and I don't play competitively anymore).

You may never, ever, abandon your gaming PC. They may have to extract it from your cold, hardened claws after rigor mortis has set in, having expired clutching the object you love most in the world, in the hopes somehow taking it with you into the afterlife.

The point is, there are all sorts of pros and cons to be tailored for your own personal take on the gaming PC versus console debate. But for me, I'm really happy with my PS5 and I am looking forward to enjoying my living room, and co-op, gaming experiences for years to come... discs or no discs.

Microsoft Flight Simulator 2024 has become a bit of a meme in my house. It’s basically the only game that my non-gaming partner and I were equally excited about on its release. Every time I’ve gotten my hands on a new gaming machine, the immediate question was ‘can it run Flight Simulator?’, to which the answer was always, regrettably, no.

Which is why when I recently picked up a second-hand Xbox Series X and subscribed to Game Pass Ultimate, there was a lot of excitement when I realized we could finally play Flight Simulator in all its graphical glory. I jumped at the chance to finally lose my chocks, slip the surly bonds of earth, and crash my plane into the face of god.

What a wonderful world

My eldest brother was a bit of a Flight Sim nerd back in the day. So my impression of flight simulators was pretty firmly defined by their late 1980s incarnations — essentially just some flat polygons and super-aliased lines in two-point perspective, accompanied by a bunch of truly incomprehensible dials. Having utterly ignored the development of flight simulators ever since, it’s safe to say that when I saw how far they’d come in the last almost four decades, it was a bit of a shock to the system.

A lot of the praise that was heaped on Flight Simulator 2024 when it was released centered on how gorgeous the graphics were. And even playing now, some two years down the line, that praise holds up. Lighting effects are exquisite, with sunsets over enormous bodies of water like Lake Titicaca looking almost absurdly true to life. Weather effects and realistic day/night cycles only emphasise this, making the world around you feel fluid and organic.

But the biggest graphical draw for me is knowing that there’s a whole world meticulously rebuilt from satellite data for me to soar over. Flying down the Grand Canyon, the scale is still absolutely breathtaking, and I couldn’t resist the temptation to gun my little prop plane down over all the rapids in the Colorado River. Likewise, when I flew over Machu Picchu, the landscape is truly stunning, and there’s a real joy in winding along the surrounding valleys, watched over by lofty mountains. The level of detail is genuinely mind-blowing.

While cities aren’t quite as perfectly rendered as the landscape — the game’s algorithm makes a lot of assumptions when filling in the gaps from the satellite data — visiting places you know well is genuinely a bit uncanny. I landed my little prop plane in my street, and it felt a little surreal to stare at my own front door when I was sat mere feet away inside. Flight Sim also does a wonderful job of recreating local landmarks: it was so fun checking out Bath’s Royal Crescent, even if the game’s algorithm insisted on popping little corner shops at the base of every Georgian townhouse.

Given it’s based on satellite data, some areas are a little less exciting than others. For example, I decided to check out the thick Congolese rainforest and was rewarded with a flat, unbroken canopy for 100 miles in every direction. I know, right? Bro shocked a rainforest contains trees. But not every journey is going to be a scenic smorgasbord, so some flights are going to be more droolworthy than others.

Still, playing Flight Simulator 2024 is one heck of a visual treat. And I would regularly fire up the game just so I could check out a favorite landmark or explore a new patch of sky.

Brace for landing

Okay, so we’ve established that Flight Simulator 2024 is a very pretty game. But there’s a reason there are as many flying enthusiasts working toward getting their pilot’s license as there are casual sightseers playing the game. Because, underneath all the gloss and sheen lies the cold steel endoskeleton of an unflinchingly brutal simulator.

Having invested 12 hours in Flight Simulator 2024 so far, I’ve gone from being truly, hauntingly terrible at it to simply being really bad. Honestly, I’ve heard the word ‘stall’ so many times at this point, I’ll likely still wake up with it echoing in my ears in my sweat-drenched retirement home bed some half a century from now. Even though I’ve now qualified for my commercial licence, I feel nothing but pity for the virtual passengers that board my plane, as I know they have at best a 40% chance of reaching their destination in one piece.

Part of the reason for this is that the simulation is just staggeringly realistic. There’s an enormous number of variables to manage, all of which you can manage via controller shortcuts or direct from the cockpit controls, if you really want to double down on the masochism. Get the balance of these slightly wrong — for example, getting your pitch a few degrees off or mismanaging your throttle — and you’ll find yourself losing height too fast or hearing the Cessna 172’s dreaded ‘stall’ warning.

Don’t get me wrong. I’ve stopped making truly cringeworthy mistakes. I no longer get screamed at by air traffic control for failing to radio for clearance to hit the runway or drop out of the air ten seconds after takeoff because I’ve set my throttle too low. I’m pretty good at using trim to maintain my attitude while at cruising altitude, and I can comfortably use dead reckoning to navigate my way along my intended flight path.

But I still find landing a painful and protracted process of plate spinning that I understand in principle and yet rarely manage to nail in practice. I think I’ve hit the perfect glide path, only to find myself coming in far too low, forcing me to gun my throttle like Maverick just to avoid myself ending up a smear on the cliff face. Or I execute what I think is the perfect flare to raise my nose as I hit the tarmac, only to realize I’m going too fast and rapidly jackknife my plane face down into the runway. As Douglas Adams remarked, it’s not the fall that kills you: it’s hitting the ground at 85 knots.

All of this sounds like it should be deeply frustrating. And it is. But it’s also weirdly compelling: the more I flop off the end of the runway like a cat dripping off the edge of a table or bounce around on the tarmac like a drunken rabbit on a trampoline, the more I double down and want to nail it the next time. Because there’s something exciting about the unlimited horizons beckoning you onward.

When CD Projekt Red finally announced The Witcher 4 was in development and dropped the first cinematic trailer at The Game Awards 2024, showcasing Ciri in all her butt-kicking glory, I jumped out of bed at midnight and did a backflip. Like most fans, I've been waiting for a new Witcher game for over a decade, and the news that the sequel will star Ciri on her own adventure easily made the game shoot up my most anticipated role-playing games (RPGs) list.

While the game is still in active development and there's no release date at this time, CDPR showcased a tech demo last year, offering an early glimpse into the Unreal Engine 5.6 features that will be used in The Witcher 4. It was confirmed that the demo wasn't actual gameplay, but rather an example of the cutting-edge technology, Unreal Animation Framework and Nanite Foliage rendering, that will power the game. Still, it's clear that CDPR has a huge ambition for the sequel.

The Witcher 3: Wild Hunt is a massive game, and as a certified fantasy RPG lover, I've spent hundreds of hours across multiple playthroughs exploring it as deeply as possible; so we should expect something similar for The Witcher 4, though I expect the graphical fidelity and attention to detail to be more impressive.

Game director Sebastian Kalemba and executive producer Gosia Mitręga have previously confirmed that the upcoming RPG will feature new regions never before seen in a Witcher game, but fans should expect a map size "more or less" the same as The Witcher 3's.

"The map is definitely more or less when it comes to size, the amount of quests, more or less the same," Kalemba said at the time. "Again, the game is going to be big. But also, the ambition of the entire team is huge. So first and foremost, we want to deliver a super compelling experience.

"Again, quality over quantity. But definitely, what we can promise: Yes, this game is going to be pretty big. It's going to be big compared to everything we've prepared so far..."

I won't lie and say I'm not looking forward to getting lost in the world of The Witcher 4; sprawling landscapes, intricately built cities, hidden dungeons, all wrapped in a sense of realism and reactivity that the Polish studio is best known for? I'll be there day one. That being said, as impressive as a highly detailed fantasy open world can be, it's hard not to worry about the game's launch.

We've seen the same song and dance before. Ambitious open-world RPGs launching in a sorry state, hindered by performance issues, bugs, and crashes, and CDPR's games are no exception.

The Witcher 3, while an exceptional experience today, launched with plenty of instability bugs, and while it took a while for the game to overcome them, it's the studio's futuristic action-RPG Cyberpunk 2077, in particular, that is remembered in history for having one of the worst game launches of all time.

If you didn't play the game when it released in 2020, let me briefly set the stage. It's 2013, and CDPR just released the first Cyberpunk 2077 cinematic teaser trailer, sparking overwhelming excitement among the studio's fanbase. But it wasn't until five years later that the official trailer was released, promising an expansive and interactive Night City, complex NPC routines and crowds, and incredible levels of character and gameplay customization. It was all the internet seemed to talk about.

It was the most anticipated game ever at the time, and excitement levels hit an all-time high when, in 2019, it was revealed that actor Keanu Reeves would star in the game, as well. An April 2020 release date was set, but the game was delayed twice, until Cyberpunk 2077 finally launched in November 2020. And... it was disastrous.

There were many factors that led Cyberpunk's terrible launch, many of which were down to crunch and rushed time management schedules, marketing promises that set expectations too high, and pressure from executives to release the game on last-gen consoles, which the studio was forced to work on until the very last moment.

"After three delays, we as the Management Board were too focused on releasing the game," said former CDPR president and joint CEO Adam Kiciński at the time, "We underestimated the scale and complexity of the issues, we ignored the signals about the need for additional time to refine the game on the base last-gen consoles. It was the wrong approach and against our business philosophy. On top of that, during the campaign, we showed the game mostly on PCs."

You couldn't ignore the performance issues that persisted, making the game largely unplayable on console; they were so bad on PS4 and PS5 that Sony issued full refunds and temporarily removed the game from the PlayStation Store, and it didn't return until a year later.

Miraculously, Cyberpunk 2077 experienced a renaissance, and over the years, CDPR delivered on its promise to fix the game and release a steady stream of significant patches that smoothed out the critical performance issues plaguing it across all platforms. Those updates even included new content, improved gameplay features, and the critically acclaimed Phantom Liberty expansion. Now, despite all its launch woes, it's regarded as one of the best RPGs you can play today.

While CDPR managed to save Cyberpunk in the end, I don't want The Witcher 4 to have to suffer the same fate at launch. Even though the studio has switched from its in-house REDengine to Unreal Engine 5 for this project, which boasts specialized tools that offer better stability, Unreal Engine isn't without its faults; I think it's in its best interest to address PC and console optimization first over an impressive and massive open world that could cause problems down the road.

The Blood of Dawnwalker director Konrad Tomaszkiewicz, who also directed The Witcher 3: Wild Hunt, recently spoke to TechRadar Gaming about Rebel Wolves' upcoming dark-fantasy RPG, explaining that the game wouldn't exist if it weren't for the experience of former The Witcher 3 and Cyberpunk 2077 developers.

Since the game has so many "complex choices and consequences, with so many unique mechanics," he explained that the team built on what it learned at CDPR. He also confirmed that the team prioritised optimization at the start of development to avoid the same launch issues as The Witcher 3 and Cyberpunk 2077.

"We learned how to approach the optimization of the game," he said. "When we started work on The Blood of the Dawnwalker, we already had people working on the optimization of our game all the time, right from the beginning.

"We didn’t want to be in a situation where we deliver a great game, but there are problems when we release it on consoles or some performance problems."

This is exactly what CDPR needs to do to avoid a messy Witcher 4 launch. Of course, the talented developers should take all the time they need to build the worthy Witcher 3 successor they dream of, but the magic of that experience will be lost if the game releases in rough shape. Focusing on optimization and ensuring that the game runs on current-gen and PC first and foremost, with no major performance issues, should be the priority.

CDPR recently confirmed that The Witcher 4 is in full production and recent comments from CDPR technical writers Jarosław Ruciński and Adrian Fulneczek (via GamesRadar) revealed that the studio is focused on documenting the technical process of its new games, something it wasn't able to do with older projects and which led to major development problems for games like Cyberpunk 2077.

"The future looks really promising for us," Fulneczek said of The Witcher 4 and Cyberpunk 2. "We learned our lesson. We've got some new requirements, especially a new definition of 'done'. So as you know, any project, any game goes through development stages, and right now, every stage ends with a gate. Part of the requirements to pass that gate is the documentation, which wasn't the case before."

Ruciński added, "Unlike in the past, now, today our knowledge isn't locked between specific teams' permissions. It's a shared asset. If a team working on, let's say, The Witcher figures out a solution for a specific issue, the Cyberpunk team can see it, benefit from it, take it into their own code, modify it probably a little bit."

He explained that "problems aren't being solved multiple times by different teams, and also that if a breakthrough happens on one of the projects, the whole company benefits."

While not necessarily a direct comment on performance optimization, I'm cautiously optimistic that this means CDPR has taken lessons learned from Cyberpunk's launch to deliver a Witcher 4 launch experience worth remembering, positively this time.

Square Enix is gearing up to kick off a brand new era of Final Fantasy 14 with the release of the Evercold expansion. The beginning of the "Godless Realms Saga" story arc, it arrives after the epic conclusion of a decade-long saga, and follows on from Dawntrail which laid the groundwork for this new adventure.

Game producer and director Naoki "Yoshi-P" Yoshida has already teased the new threat players will face in the DLC, which I'm beyond excited for, as well as a number of incredible quality-of-life system updates, new content, and improvements to outdated gameplay features.

It's looking to be a mighty expansion that will hopefully draw in even more players when the massively multiplayer online game (MMO) officially hits Nintendo Switch 2 next month, but there are a few things I'm particularly eager to experience.

Buckle up, we're saving the world again

Final Fantasy 14 story spoilers ahead

After a decade of buildup, the Shadowbringers and Endwalker expansions saw the pieces of an overarching story finally come together and conclude the Hydaelyn-Zodiark saga, resulting in one of the best Final Fantasy stories ever to be told.

While some events were wrapped up with resolute endings, some lingering questions were left open that presented new possibilities for the MMO, and it all starts with the Reflections: mirror worlds created by the Sundering, a great calamity that saw the Source shattered into 13 Shards.

Players have visited other Reflections in past expansions, but in Evercold we'll visit the Fourth Reflection, which was beset by a calamity of ice. This means an entire new world to explore, and from the trailers and concept art, it appears that SE is leaning heavily into the fantastical style I adored in Shadowbringers and Endwalker, and drawing from what looks like Norse mythology for inspiration.

A new, unexpected threat to all Reflections has also emerged with the recent release of Patch 7.5, the Solstice, which will bring about the natural Rejoining of the Shards and threatens to wipe out all life on the Source and its Reflections.

"In the time of the Ancients, Etheirys was divided across ten and three reflections to avert a terrible calamity," the expansion description reads. "Thus, for twelve thousand years did the star survive, and by its enduring hope did the Warrior of Light at last thwart its Final Days. Yet victory comes at a cost, and fate now demands its due.

"Faced with the new threat of the Solstice, the Warrior of Light is summoned to the Fourth reflection. But what do they hope to gain from wandering a world lost to ice?"

It's a bold move on the writers' part to thrust players back into a situation where they'll be dealing with the end of the world again; however, Dawntrail's subsequent patches have done a great job of building the foundations to make it a story worth telling.

I'm a FF14 player who looks forward to new story content most of all, and in Evercold, with the way the main scenario has been playing out, I'm certain our trip to the Fourth will open new avenues to explore and deepen the lore of the Ancients, which had been drip-fed to us over the years. In particular, the mystery behind the creation of Ethos, the key that opens up the path to these Reflections, and how this new ability to world-hop will play into the larger story.

Alongside these huge stakes, we've got a new "big bad" to face, the Winterers and the Ascian Halmarut, who are working in the shadows to prevent the Solstice.

Halmarut is unique in that she is sympathetic to mankind's current state and will do anything to ensure it survives the Solstice; however, her plan of controlled Rejoinings comes at the cost of mass death and destruction, believing that it's better to sacrifice some lives so humanity has a chance. But as the Warrior of Light, we can't go along with that idea.

Interestingly, unlike other Ascians before her, Halamurut encouraged the player to find their own way to deal with the Solstice. The Ascian was only introduced in recent patches, but given how superbly the writers developed its past villains (namely the best Final Fantasy baddie ever, Emet-Selch), I'm eager to see how SE will handle another multidimensional antagonist with a world-ending goal.

Raid content galore

FF14 has always excelled at crossover raid content, whether that be the Yorha: Dark Apocalypse Alliance raid series, developed in collaboration with Nier developers Yoko Taro and Yosuke Saito, or the major raid series inspired by previous Final Fantasy games, like Final Fantasy 3, Final Fantasy 8, Tactics, and more.

Dawntrail's major Alliance raid series, Echoes of Vana'diel, wrapped up with the latest patch, a 24-player crossover celebrating Final Fantasy 6, that offered incredible bosses and a challenging yet rewarding experience.

For Evercold, SE revealed that the Alliance raid series will be based on the hit series Evangelion, titled "Ghosts of Desire", which acclaimed director and animator Mahiro Maeda will join as a special guest artist and designer. Like the Nier raid series, I'm expecting a high-quality experience with some unbelievable boss encounters that push the boundaries of the MMO; however, I'm more excited about the eight-player raid series SE has just announced at FanFest EU.

In the next expansion, FF7 Remake series director Naoki Hamaguchi and Yoshi-P took to the stage to unveil "Beyond the Lifestream," a FF7-themed raid series.

It feels like I've waited years for a proper FF7 collaboration, and the series will come just in time for Final Fantasy 7 Revelation, the final installment in the remake series.

Ahead of Evercold's release, FF14 will also be getting a FF7-themed adjacent feature in the MMO's Gold Saucer on October 28, Keybound Brawler, a new mini-game that will reward players with a glamour bundle inspired by Tifa and Barret's outfits from FF7; a teaser for what's to come.

While SE has yet to share the full raid details, I'm expecting the usual crossover gear (I'm begging for Cloud, Sephiroth, and Aerith outfits, please!), elaborate boss fights inspired by some of FF7's most iconic moments; a confrontation with Safer-Sephiroth while a remixed medley of the FF14 and One-Winged Angel themes plays in the background is surely a given.

Raid maps are also always incredible in FF14; I remember my first time entering the first raid of the YoRHa series and being blown away by the scale of the set pieces and attention to detail, so with Hamaguchi's team working alongside the FF14 team, I'm anticipating something next-level; hopefully a recreation of the dystopian metropolis of Midgar?

It's time for improvements

FF14 has been running for more than a decade after it was rebooted into A Realm Reborn in 2013. Since then, the MMO has seen innumerable changes, including to Jobs, a huge graphics overhaul that modernized the game's visuals, not to mention the upcoming expanded character customization options that players have been yearning for.

But some things have always remained the same, primarily the battle system and activity features. With the release of Evercold, FF14 will receive a significant overhaul with the introduction of the 'Reborn' and 'Evolved' modes.

Reborn mode will be based on the current combat system and Job mechanics, while Evolved mode offers greater emphasis on "job identity", updating combat rotations and changing some abilities, and will only apply to existing Jobs.

It's an exciting new change, because while Jobs occasionally get rebalanced, this is the first time the game is getting a significant gameplay revamp that will allow long-time players to experiment with a new way of playing, and newcomers have two options at their disposal.

What's more, the expansion will also see an overhauled gear progression system with the introduction of 'Adventurer Activity.' In its current state, FF14 requires players to log in every day to complete daily roulettes to earn XP and accrue their weekly cap of 450 Allagan Tomestones, which are exchanged for high-level gear; however, this can be a downside, especially for players who can't log in every day.

With Adventurer Activity, this redesigned framework will change from a daily to a weekly-based reward system, remove the exhausting grind of completing daily roulettes, and instead offer more player freedom.

Adventurer Activity (which may look like a battle pass system, but Yoshi P insisted it absolutely is not!) will let players complete a series of missions to amass activity points instead, whether it be dungeons, PvP, Trials, and more, and SE is even considering allowing unearned points from previous weeks to be collected if players miss out.

This is perfect for people like me who sometimes don't really feel like running roulettes and also gives players a chance to explore other content they wouldn't normally engage with.

Final Fantasy 14: Evercold will arrive in January 2027 for PC, PS4, PS5, Xbox Series X and Series S, and Nintendo Switch 2.

• Control Resonant lead gameplay designer Sergey Mohov isn't worried about launching the game close to GTA 6
• He says the game's release date has been locked in for a while
• Mohov explains that "It's not really been a big consideration for us"

Remedy Entertainment isn't worried about launching Control Resonant so close to Grand Theft Auto 6.

GTA 6 is the most anticipated game of the year, if not of all time, and is on track to earn over $5 billion by the end of its launch week, so it's understandable if some studios want to avoid releasing their games so close to its launch for fear of being overshadowed.

After Rockstar Games formally announced that its game will arrive on November 19, Playground Games delayed Fable to February 2027 "so it can have the dedicated moment it deserves."

However, games like Marvel's Wolverine and Phantom Blade Zero are still locked in for their Fall releases, so not every studio is worried about competing with GTA 6 or is happy with the amount of breathing room they do have, at least.

Speaking in an interview with TechRadar Gaming about the upcoming release of Control Resonant, lead gameplay designer Sergey Mohov explained that he's looking forward to GTA 6 like everybody else, but doesn't think the game's launch affects Remedy "at all."

"Honestly, first of all, personally, I'm looking forward to GTA as much as everybody else," he said. "I'm a fan of [GTA] Vice City. But I don't think it's affected us at all, to be honest."

Control Resonant launches on September 24, which is eight weeks before GTA 6, so the Rockstar game shouldn't overshadow the former, and Mohov explained that Remedy's release date has been "locked in for a while."

"We expect it to be a very complete experience on day one when it comes out," he said. "We've been planning to release this game in September, for as long as I can remember. It's not really been a big consideration for us."

He added, "Obviously, this is a really exciting year to be a gamer. We're gonna be playing all of these [games] same as everybody else, but hopefully, you pick up, and your readers pick up Control Resonant as well."

Control Resonant will be available for PS5, Xbox Series X, Xbox Series S, and PC.

The PlayStation 5 Pro has been my primary, booted-up-nearly-every-day console since the premium PS5 variant launched in late 2024. I’ve used it a lot on both a 60Hz display and a 120Hz display, and the experience it gives me on both for my PS5 games has been basically flawless.

The extra power, chops, and graphical prowess that it offers have been superb for a console enthusiast like me. It makes both fidelity-focused and performance-focused game settings better, but has also paved the way for a new middle ground between the two.

This in-between mode, often labeled as ‘Balanced’, allows players with a 120Hz display to enjoy a host of enhanced ray tracing features and boosted image quality, with a bunch of extra frames per second, giving it a clear boost over standard fidelity modes, which are normally locked at 30fps. What’s even better is that you can often engage this mode on base PS5 or PS5 Slim consoles when those are teamed with a 120Hz-capable display too, and it’s proving once again to be a saving grace for fidelity-chasers this generation.

This Balanced mode is absolutely excellent in Assassin’s Creed Black Flag Resynced and is the only way I’d recommend a PS5 or PS5 Pro user to play what is one of the best Assassin's Creed games. It combines the sheer beauty of the Anvil-engine-powered Caribbean setting with loads of water, shadow, and particle detail to boot, with a 40fps frame rate that, while not as super slick as 60fps, is absolutely noticeably better than 30fps. The difference is huge.

Two and a half years ago, I wrote how I was happy with 4K 30fps on console. But, after spending time with a PS5 Pro, I will happily admit that my preferences and opinions have changed — and that gives me much confidence when it comes to Grand Theft Auto 6.

Perfectly balanced

Not that long ago, stories were circulating saying that GTA 6 having a 60fps mode on console would be unlikely. And it was something to take note of too, given it was coming from the brilliant tech analysts over at Digital Foundry.

I don’t think many folks were truly surprised at this. The amount of technical brilliance and sheer detail that will likely go into GTA 6 will surely translate into the amount of demand on a console’s GPU and CPU. Think of the poor old Series S trying to run such a behemoth. Godspeed, little Xbox.

However, playing Assassin’s Creed Black Flag Resynced on its Balanced mode right now has me feeling a bit more confident in the prospects of what we may have to settle for on GTA 6.

While the smoothness of 60fps is a joy on a console like the PS5 or PS5 Pro, I am one to chase graphical fidelity wherever I can.

I’m a sucker but also quasi-expert on video game landscapes and environments in a way, so I will always desire to see more detail like the edges of leaves, the fluttering of foliage in the wind, and expansive vistas across lands as far as the eye can see, views scattered with landscape features, ruins, and blissful seas — all at the expense of a few more frames. And that’s what Resynced’s 40fps mode does.

The glorious beauty and image quality that’s on offer in the balanced mode isn’t far off the fidelity-focused 30fps mode at all. The overall fidelity in balanced mode is fantastic. I can enjoy all the detail of plants and foliage, and every landscape element and urban rooftop or dwelling is a sight to behold, genuinely.

Sony’s enhanced PlayStation Spectral Super Resolution (PSSR) tech, and the benefits of variable refresh rate (VRR) play a big part in how good it looks on PS5 Pro too, of course. The former offers excellent boosts to anti-aliasing, overall image detail and quality (at least in my eye), and things like the flickering of fire and light — something again noticed by Digital Foundry. The latter, VRR, does — as usual, in my experience — a great job of smoothing out any potential frame rate drops to reduce tearing, too, but it’s not something I’ve been hugely concerned about generally with Resynced.

The extended ray tracing is also excellent in this mode on PS5 Pro, with shadows being fantastic, reflections being lifelike and adding an extra mirror-like quality to views, and particles of dust or vegetation fluttering beautifully in the wind. The water is absolutely lovely too, with each splash from Edward Kenway’s swimming perfectly natural and evocative of how the seas would behave, and the glistening rocks and sand of every beach. Blissful at every glance.

A reason to be confident

As I said above, the difference between 30 and 40fps is absolutely noticeable and tangible, and while the jump to 60 is even smoother, I concede that the fact that one can cling on to extended ray tracing and high levels of detail at 40fps is a triumph and offers a super balance. For someone who, for one reason or another, but happily, has settled on one platform in PlayStation consoles, as one’s main way to play games, and has a penchant for quality and performance, then Resynced has nailed that sweet spot.

Combine Resynced’s excellence in this mode with the likes of the Horizon games, The Last of Us games, Marvel’s Spider-Man games and more on PS5 and PS5 Pro, and the 40fps modes are the reason I’m more confident in GTA 6 if 60fps really is off the table and it does indeed end up having a balanced mode ‘instead’ of a performance mode. Plus, given Rockstar’s track record of squeezing all the graphical excellence it can out of even standard consoles — how Rockstar made Red Dead Redemption 2 look that good on base PS4 is actual witchcraft — the detail, lighting, reflections, and image quality we can expect in Vice City’s urban and natural landscapes, as well as characters adn cars, is going to be immense.

Of course, I would prefer there were a 60fps mode for GTA 6. Heck, I’d hope for the three settings we’ve grown a bit used to on the PS5 Pro covering 30, 40, and 60 frames per second modes.

But if compromises have to be made due to the likely enormous demand made by GTA 6 on consoles, then this sweet, sweet 40fps mode in the middle could be the door to excellence on PS5 and PS5 Pro, given the evidence we have so far of it being the perfect middle ground for superb graphical fidelity and deliciously smooth frame rates.

Having been put on Konami’s backburner for over a decade, Silent Hill’s resurgence has been nothing short of extraordinary.

A tepid start with Ascension and The Short Message was counterbalanced by the excellent Silent Hill 2 remake from Bloober Team and the homegrown Japanese horrors of Silent Hill f from NeoBards. The series seems like it’s now heading further in the right direction with the next game, Silent Hill: Townfall.

Early this month I played three hours of Silent Hill: Townfall and spoke with both Screen Burn director Jon McKellan and Konami series producer Motoi Okamoto about the game’s approach to retro tech, the Scottish setting, and cultural authenticity.

Going retro

Silent Hill: Townfall follows a man named Simon Ordell in the fictional town of St. Amelia, Scotland. As he wakes up, he finds the entire place shrouded in fog. Slowly walking around, I eventually pick up a pocked CRTV television, which is used for both gameplay and narrative reasons. It's Townfall’s primary mechanic and star of the show. Through it, you can see old static video recordings of Simon’s mysterious partner, Zoe Ellis, who is seemingly his connection to this island.

The radio’s screen also typically shows you the next place to go, which means it’s up to you to search around town until you find the correct spot. Additionally, you can hold up the radio to see through walls to check a monster’s position. It’s a wonderful twist on a common trope. In similar games, protagonists sometimes come with a ‘radar’ sense so that players can stay stealthy and avoid enemy detection. Implementing the radar into the radio itself is not only clever, but reinforces that Simon is, after all, just human, in an unrelenting world filled with monsters.

The time period that Townfall takes place in is paramount to its horror themes. A puzzle hints that the current year is 1996, which is where the mass adoption of technologies like the internet and home dial-up started happening. The transition to an increasingly connected world filled people with anxieties. Simon’s CRTV radio is just advanced enough, but is nowhere near the cutting edge technology we see today.

“The world was on a technological cusp around the mid 90s, where the internet was starting to become a thing. But you were too early to have Google Maps in your pocket and you didn't have this magic bullet for all the problems that might come up,” McKellan explained.

He continued, “So with analog tech, you feel like you can't quite rely on it. It’s a little bit uncertain, and I think that's a great place to be for horror.”

Another theme that was prominently was medicine and healthcare. As I strolled through St. Amecia, I saw protest signs littered around the town square with phrases about “taking this town back”.

I picked up collectibles and notes about St. Amecia’s local hospital, vaguely hinting at some sort of institution providing “protection.” As an American citizen in a country with mainly for-profit healthcare, my mind immediately began trying to connect the dots and figure out the story’s direction. Scotland has a public system, but perhaps some private healthcare provider came in and tried to take over? And what about the “protection” aspect? Did Simon, or someone else, snitch?

The medical symbolism doesn’t end there. Zoe herself is a nurse, and Simon also has an IV bag strapped to his arm. With ingredients found scattered throughout town, he can craft items Resident Evil-style. These include items like blood bags for his IV, which let him resurrect with a sliver of health after being killed by an enemy.

Thankfully, Townfall’s combat feels much smoother compared to Silent Hill f’s. In the latter, there always felt like a second of awkward hit stun when your melee weapons made contact with enemies. Here, smashing planks over their heads feels satisfying. The way their bodies all of sudden go limp simultaneously gives me a feeling of surprise relief every time.

Simon also eventually gets a powerful pistol that one-hit kills many monsters, rivalling even Grace Ashcroft’s Requiem from Resident Evil Requiem. The downside is that it makes a ton of noise when fired, so enemies nearby will zero in on your location. With limited ammo, it’s definitely your last resort weapon, and it’s gratifying every time it goes off.

McKellen ensured that social commentary would be at the heart of the story, similar to how Silent Hill f’s overarching message was around gender expectations. “There are a few different threads in this game that start to coalesce as the game progresses, and I think it takes people in kind of unexpected places,” he explained. McKellen is hoping that people (like me) have an idea of what’s happening, then excitedly twist our expectations.

So why does Simon have a cannula in his hand, and why does it bring him back when he dies? They’re not just gameplay gimmicks—they represent something. McKellen adds, “There's a lot behind it, and we pride ourselves as developers that everything in the game has some relevance. Nothing is there just because or to fill a void.”

Crafting different Silent Hills

Over the years, the setting for most of the Silent Hill games were, well, Silent Hill. But recently, Konami has expanded settings for the series to explore other areas. Silent Hill: The Short Message introduced “Silent Hill” as a phenomenon, where similar psychological and experiences occur outside of the titular town in Kettenstadt, Germany. Silent Hill f took the series back to its hometown in the fictional town of Ebisugaoka in 1960s Japan.

“Our current approach in branding is to introduce that concept and show similar types of psychological experiences and narratives that place outside of the boundaries of Silent Hill,” Okamoto said.

Screen Burn, headquartered in Glasgow, Scotland, has a wide age range within its developers. Some grew up with the older games, while others recently discovered it through the newer releases. But the big lesson that the team learned about what’s essential to Silent Hill’s DNA is the understated nature of the stories. They’re not explicit, with plenty of room for interpretation but still feeling satisfied after finishing the game.

“You can walk away from a Silent Hill game feeling like you know something, but whether you know everything or need to discuss that with someone else was one of the big things that came out,” McKellan explained. “People were saying that after every game they would end up talking to someone else about it and having different theories.”

The studio’s last game was the sci-fi horror adventure Observation (which is also one of my favorites that you should check out), and the team grew from the game before that, Stories Untold. Both of them had technology as a major theme to convey gameplay, with Stories Untold having players interacting with computers and Observation switching between different cameras in a space station.

You can see the theme of technology rearing its head again in Townfall through the analog CRTV, as well as the phone booth players call to manually save their progress.

Townfall is also Screen Burn’s biggest game to date. The most notable departure is the freedom that players have in exploring the town. “Townfall feels like a Screen Burn game unleashed. We’re taking our narrative sensibilities, puzzle design, and attention to detail, and blowing that out to something much larger with the support of Konami and Annapurna,” said McKellan.

“So if you've played our previous games, you'll probably see a lot of common ground there.”

The future of Silent Hill

Looking ahead, Bloober Team’s remake of the first Silent Hill is set to come out after Townfall. Okamoto understood the worry players had about the series potentially becoming annualized, perhaps resulting in fatigue or lapse in quality. That's why Konami was open to new takes on the iconic horror franchise. The Short Message focused on social media, Silent Hill f was distinctly Japanese, and now Townfall is in Scotland.

With the rising cost of game development, it’s a wise idea to have other studios take on notable IP rather than just having your internal studios handle them. Not only does this result in more games being released, but outside talent can revitalize interest. I mean, Bloober Team and NeoBards are proof enough.

Okamoto, however, explained that this method was more about portraying cultural authenticity than anything else, and dependent on the kinds of projects Konami is working on.

“For example, the Metal Gear team has their own philosophy and approach for how they develop games,” Okamoto said. “At least from our perspective, with the goal being trying to create a wider, richer, and more culturally varied universe for Silent Hill, we feel that partnering with third-party developers works best.”

Silent Hill: Townfall launches on September 24 for PC and PlayStation 5.

Are you a fan of CD Projekt Red's The Witcher game series? Have you ever fantasized about what type of character you'd be if you were somehow sucked through a magic portal and found yourself in the fantasy world of The Continent? Do you think you'd be a princess, a bard, a sorceress, or even a witcher?

A brand-new The Witcher 3: Wild Hunt expansion, Songs of the Past, has been announced, and it's launching sometime next year. While we don't have plot details yet, the story will once again follow Geralt of Rivia ahead of The Witcher 4.

This means an all-new journey to experience with everyone's favorite witcher, and, hopefully, one that will feature the return of the rest of the gang, like Ciri, Yennefer, and Dandelion.

CD Projekt Red has promised to share more about Songs of the Past next month, so we'll have to wait and see.

In the meantime, I've put together a fun little personality quiz that will help you figure out which Witcher character is your kindred spirit. Are you the protective, titular witcher himself? His daughter, Child of Destiny and cabale fighter, Ciri, or the fierce sorceress Yennefer? Maybe you're the merciless King of the Wild Hunt...

Everyone has a favorite, but which character are you really? Find out below.

Did you get the character you expected or someone completely opposite to your expectations? Let us know in the comments!

Gaming is edging closer towards a divisive new normal, with Sony set to stop releasing physical game discs for PlayStation consoles in 2028, and Rockstar Games announcing that physical copies of Grand Theft Auto 6 will come with a download code in the box, rather than a disc.

Unsurprisingly, gamers attached to their physical media aren’t happy with either development, and the backlash online has been fierce, with PlayStation’s social media posts being met with furious demands for Sony to reverse course.

Sony’s plans, and the fact that Microsoft is seemingly set to follow suit, also mean GTA 6, one of the most anticipated games of all-time, likely won’t ever be available as a physical copy.

I spoke with Katarzyna Jakubiec, the chief business officer at G2A, an online marketplace that provides digital game keys. She told me that interest in PlayStation Store gift cards was already at record levels on the site before Sony’s and Rockstar's announcements, and GTA 6 pre-order openings have only further highlighted that trend.

G2A has become an increasingly popular way for players to save big on purchases as one of the few options for cheaper digital games. However, Jakubiec makes it clear that both physical and digital formats are pivotal in gaming.

"GTA 6 pre-orders have reinforced a trend we were already seeing rather than changing the market overnight," Jakubiec said. "During the pre-sale period, PlayStation gift card purchases on G2A reached record levels and continue to grow as anticipation for the launch builds, showing that many players are planning their purchases well ahead of release rather than waiting until launch day.

"While more players are embracing digital formats for the flexibility and convenience they offer, it's equally clear that physical copies continue to mean a great deal to many gamers, whether that's because of ownership, collection, or simply the experience of buying a physical game.

"We don't see this as an either-or conversation, and in an ideal world, people should have the choice to buy games in the format that suits them best. Physical and digital both have an important place within gaming, and different people will always have different preferences."

Unfortunately, that's not how Sony sees it; in fact, Sony's stance aligns with the idea that more consumers are purchasing more games digitally, as it makes the controversial decision to end game discs based on 'shifting trends in consumer preference', suggesting that physical game copies are becoming obsolete.

However, the reaction online and from key game industry figures like Dan Houser (Rockstar Games co-founder), who is no longer working at the game studio, indicate that gamers aren't, and frankly, never will be, done with physical game copies — and Jakubiec believes it's why figureheads within the industry need to adhere to players' different preferences.

"The reaction has been just as telling as the decision itself," she adds. "It highlights how passionate and diverse the gaming community is, and why major industry decisions need to consider the different ways people choose to buy, own, and experience their games.

She says that whether Sony decides to reconsider its plans is "ultimately for them to determine" — which seems unlikely, given that Sony has so far refused to reverse its decision, and shows no sign of changing its mind.

Jakubiec adds, "Whatever direction the industry takes, moments like this reinforce the need to listen to players and communicate those decisions clearly."

When I first caught a glimpse of The Adventures of Elliot: The Millennium Tales, it sparked a great sense of anticipation within me. After all, Square Enix and Claytechworks were collaborating to bring a brand new HD-2D RPG to the table, which appeared to combine sprinklings of classic Zelda titles with the visual, sonic, and environmental grandeur from series such as Mana and Dragon Quest.

I’m a huge fan of the HD-2D graphical style, and massively enjoyed recent releases such as Final Fantasy: The Ivalice Chronicles and Dragon Quest 1 & 2 HD-2D Remake, but I still wasn’t quite sure if I’d love The Adventures of Elliot. Was the action combat going to be polished and engaging enough? Was the world going to deliver the spectacle and appeal conjured up with other series? Would the narrative have me hooked?

Well, after playing the game for more than 25 hours now, I have an answer to all of those questions. Here’s what I made of The Adventures of Elliot: The Millennium Tales.

The good: combat that exceeds expectations

Let’s start by addressing my curiosity surrounding combat in The Adventures of Elliot — just how good is it? Well, I’m pleased to report that I had a lot of fun with the action in this game. It clearly pulls on 2D Zelda, with real-time combat that challenges you to use a variety of weapons to overcome your foes.

You can equip two weapons at once, and while I typically used my sword for close range attacks and bow for projectiles, I found genuine utility in a lot of equipment, be that bombs, a hammer, spear, and more. Combat feels fluid, responsive, and well balanced. You can also defend or parry with a shield, and using this to avoid big damage can be crucial.

There’s a pretty fast, high-octane feel to battles, big or small, and by defeating multiple foes in a row, you can build up a streak to obtain better drops. This adds a layer of fun to combat, and gives you a genuine reason to seek out and destroy random creatures in your vicinity — I had a lot of fun pushing myself to get that streak as high as possible.

Combat is absolutely at its best during boss fights, though. These can offer genuine challenges, and often require you to switch up attacks, defend with care, and employ a variety of weapons to get the win. The satisfaction I got when evading a robotic titan’s assault and slashing it to smithereens with my blade was nothing short of exhilarating.

What’s more, you can customize weapons with something called Magicite, which imparts specific abilities to help you wipe out the opposition with greater ease. This is executed very well, and helps you to raise attack power, unlock elemental attacks, and extend the reach of your attacks, for instance.

By spending more Tul (the in-universe currency), you can use more Magicite, and this helps you scale in terms of power as the game unfolds, making progression feel natural and well-paced.

Other gameplay elements are solid too. Platforming isn’t a massive part of the game, but feels precise and smooth. Your companion for most of the journey, Faie, also has abilities such as dashing and warping, which make traversing environments and taking down enemies even more varied and seamless, and you can unlock more of — and improve on — said abilities as the game progresses.

The not-so good: a narrative missing its spark

So, the gameplay in The Adventures of Elliot is a hit, in my book. The brilliant bosses and close contests against frogs, robots, slugs, and more kept me coming back for more. But unfortunately, some things made me feel reluctant to indulge in long, uninterrupted play sessions — namely, the game’s narrative and dialogue.

Simply put, the story in The Adventures of Elliot lacks the spark that I was looking for. It often feels flat, lacking moments of surprise and suspense, and its largely predictable plot points paired with sluggish and dull dialogue meant that I was tempted, at times, to skip through a few scenes — something I never do with story-driven RPGs.

On top of this, the cast of characters is surprisingly weak for a Square Enix game. The protagonist, Elliot, feels somewhat hollow, and spends much of the game telling people to follow their heart, chase their dreams, and to believe in themselves. To be blunt, it feels a bit sappy, and despite his striking appearance, he’s actually quite an uninteresting lead.

A lot of the other characters are written in a slightly wooden way, too. Elliot will meet them, they’ll reveal something that troubles them — be that isolation, missing a loved one, or seeking connection with others — the hero will do something to assist them, and then you move on. As a result, characters often lack nuance or depth, and it feels hard to care about the various individuals involved.

Like a lot of other players have pointed out online, your companion, Faie, is also rather irritating. She speaks up…a lot…and her hand-holdy, pointless interjections can feel grating. You can mute your companion, thankfully, which is a good thing given that the fairy’s high-pitched tone is still haunting me.

Much of the game is centered around time travel, another element that could’ve been handled more effectively in my view. A lot of the environments look identical across different eras, and enemy variety can be pretty limited across time as well.

I did like the discoveries you could make across different ages, though, and hunting for new weapons in the various dungeons, and general exploration, was pretty enjoyable. My critique here, however, is that the puzzles within various areas are very easy, and require little effort to overcome. Therefore, anyone seeking out the ingenious design of classic Zelda dungeons may be left wanting more.

Final thoughts: a new IP with growing pains

The Adventures of Elliot still nails a lot of the fundamentals, with a beautiful soundtrack, gorgeous HD-2D visuals, and a neat UI. But when I look at the full package, I’m left feeling conflicted.

While the combat is slick and enticing, the underwhelming story and lack of variation in environments and enemies slightly disappointed me.

Although I still had a decent time with The Adventures of Elliot, and I enjoyed its delicious HD-2D graphics and high-octane battles, it’s clear that the new IP has gone through a few growing pains. And unfortunately, its forgettable characters and lacking dialogue bring the overall experience down a touch, meaning it doesn’t quite hit the highest of heights.

Should you play The Adventures of Elliot: The Millennium Tales?

Play it if...

Don't play it if...

Accessibility features

There are a number of ways to customize the experience in The Adventures of Elliot: The Millennium Tales. There are a handful of text languages, and you can swap between English or Japanese voices. You can alter text display speed, and set dialogue to auto if you want to watch scenes unfurl naturally.

There are a range of difficulty modes too, and you can remap controls to your liking for a more custom experience. Unfortunately, there’s no colorblind mode, or similar.

How I reviewed Dragon Quest I & II HD-2D Remake

I spent more than 25 hours playing through the main story and side quests in The Adventures of Elliot: The Millennium Tales. I played on Normal difficulty in this instance.

For the most part, I played the game on my PS5, which is connected up to my Sky Glass Gen 2 TV and Marshall Heston 120 soundbar. However, I occasionally dipped into the title on my PS Portal, and used the Sennheiser CX 80U to enjoy in-game audio while on the go.

More generally, I’ve reviewed a wide range of games here at TechRadar, though my main focus has been on RPGs, including Square Enix titles like Final Fantasy: The Ivalice Chronicles and Dragon Quest 1 & 2 HD-2D Remake.

First reviewed: July 2026

• The Star Wars Zero Company cast has been revealed
• The player character Hawks will be played by Jonathan Freeman (masculine) and Erica Luttrell (feminine)
• The Clone Wars stars Matt Lanter and Dee Bradley Baker will also return to voice Anakin Skywalker and a new Clone Trooper, Trick, respectively

Bit Reactor and Lucasfilm Games have revealed the stacked cast for Star Wars Zero Company, featuring some very familiar, fan-favorite voice actors from The Clone Wars.

Announced ahead of San Diego Comic Con on StarWars.com, it's confirmed that the player character, Hawks, will be played by Goliath actor Jonathan Freeman (masculine) and Erica Luttrell (feminine), who has also starred in another Star Wars game in the past, Squadrons.

"As the leader of Zero Company, an unconventional outfit of professionals for hire from across the galaxy, which includes a Clone Trooper, a Mandalorian, a Jedi Padawan and more, players must hunt down and stop Kundri Fathom (Rekha Sharma), the ruthless leader of the Separatist-aligned cult known as the Infinite Coil," a press release informs us.

In Zero Company, players will meet a collection of characters beyond their team members, and they're all played by some amazing talent.

Some of these characters include Kabb Uppercut, played by Arcane's JB Blanc; Jae Mordant, played by Judy Alice Lee of Marvel Rivals; and Neesh Renark, played by Marvel's Spider-Man 2's Jim Pirri. There's also D.C. Douglas, best known for Mass Effect 2 and Star Wars Jedi: Survivor, who will play M-3VO ('Meevo').

The game will also feature two veteran Star Wars voice cast performers, Matt Lanter and Dee Bradley Baker. Lanter played Anakin Skywalker in the hit animated series The Clone Wars and will reprise this role in Zero Company.

Baker is best known for voicing the Clone Troopers in the show, including Captain Rex and Commander Cody, as well as others in The Bad Batch, but will star in Zero Company as the Clone Trooper, Trick.

You can read the full cast list below:

• Hawks (Masculine): Jonathan Freeman
• Hawks (Feminine): Erica Luttrell
• Kundri Fathom: Rekha Sharma
• Trick: Dee Bradley Baker
• Anakin Skywalker: Matt Lanter
• Runa Blask: Vic Michaelis
• Kabb Uppercut: JB Blanc
• Jae Mordant: Judy Alice Lee
• Cly Kullervo: Alex McKenna
• Bennic Halloren: Leo Howard
• Visser: Dylan Kenin
• Tel-Rea: Nicole Rainteau
• Neesh Renark: Jim Pirri
• M-3VO / Meevo: D.C. Douglas
• Typhon: Hunter Smith

Star Wars Zero Company launches on August 27 for PC, PlayStation 5, Xbox Series X, and Series S.

Bit Reactor has confirmed that the turn-based tactics game will take 30-40 hours to beat, "depending on your difficulty level and experience with the strategy genre," and it won't feature a New Game Plus mode.

• Ubisoft CEO Yves Guillemot says Sony's plan to end physical game disc production won't have a major impact on the industry
• Guillemot says there are pros and cons to the decision
• He says, "I think it will not disturb the industry too much"

Ubisoft CEO Yves Guillemot doesn't think Sony's decision to retire the production of physical game discs will have a considerable impact on the industry.

Guillemot's comment comes from an earnings call following the release of its first-quarter 2026-27 sales (via VGC), during which the CEO was asked if Sony's plan to end disc production starting January 2028 could have a positive or negative effect on the future of the games industry.

While many disagree with Sony's decision, and some analysts predict it will endanger the $7.2 billion second-hand game market, Guillemot doesn't believe it will have a major impact on the industry at large.

Bold statements

"What we saw on the PC is that it helped to grow the market," Guillemot said. "There’s also some pressure for the future on the cost of machines, and being able to be only digital will help to have a more accessible machine, I would think.

"As you said, there are pluses and minuses, but I think it will not disturb the industry too much."

Sony announced its plan earlier this month and saw overwhelming backlash from fans. According to Wedbush Securities managing director of strategic planning Michael Pachter, Sony's plan to phase out discs in two years is now a threat to the used game market.

"Realistically, at least one-third of games have been sold historically as used, and the games that were sold also provided currency to the gamer who traded them in as cash to pay for new games," Pachter said. "Brick and mortar game retail is doomed."

Sega president Shuji Utsumi has also addressed the controversy and said that while the digital shift is "crucial," the company still understands the importance of physical media.

Similarly, former Nippon Ichi Software CEO Sohei Niikawa understands the decision "from a purely business perspective" but says physical editions are still "very important" to fans.

"If they’re going to go as far as eliminating physical packages, they may as well eliminate the hardware too," Niikawa said. "A television would be enough. Why would you need the console? If you’re going to get rid of physical games, you may as well go all the way."

• Sega president Shuji Utsumi has addressed Sony's decision to end the production of game discs
• Utsumi says, "We still value the culture of physical media," but "a digital shift is crucial"
• He adds, "It is important to strengthen our digitalisation" in the current market

Sega president Shuji Utsumi has addressed the controversy surrounding Sony's decision to end the production of game discs in 2028, acknowledging the importance of physical media but that the digital shift is "crucial."

In a recent interview with Japanese publication Famitsu (via Eurogamer), Utsumi explained that the digital market needs to be cultivated and Sega believes in bolstering digitalisation.

"When it comes to titles we call 'full games' for consoles and PCs, we believe that a digital shift is crucial," Utsumi said. "Of course, consoles are important, but the proportion of people who play on PCs is steadily increasing. Even in areas where consoles are not widely available, there are many people who say, 'I can play it on PC.'"

He added, "In order to cultivate that market, we believe it is important to strengthen our digitalisation. We tend to think from a physical perspective, so I think we need to be more digitally conscious and become more global."

Utsumi then touched on Sega's hardware history, saying that while it isn't in the console market anymore and now primarily publishes games, the company hasn't forgotten its roots and the importance of physical media.

"We were originally a platform provider, and of course, we still value the culture of physical media," the president said. "Rather than completely abandoning that, we are currently challenging ourselves to shift so that we can think about and act on the important aspects of digital media in parallel."

Sony announced its plan to retire new physical discs earlier this month, explaining that the transition to all-digital games "will enable us to align more closely with how most of our community prefers to access and play games today."

PlayStation fans continue to push back against the decision, but analysts believe the company won't change its mind.

It's also said that the $7.2 billion second-hand video game market could be in danger as a result of Sony's decision, with Wedbush Securities managing director of strategic planning, Michael Pachter, reporting that "Brick and mortar game retail is doomed."

Elsewhere, Former Nippon Ichi Software CEO has objected to the plan, saying that while he understands it "From a purely business perspective," Sony doesn't "understand the feelings of those fans."

"If they’re going to go as far as eliminating physical packages, they may as well eliminate the hardware too," he said. "A television would be enough. Why would you need the console? If you’re going to get rid of physical games, you may as well go all the way."

• Someone may have ported Grand Theft Auto 5 to Nintendo Switch
• Performance appears poor and reaches 22FPS at most
• It makes me wonder what Grand Theft Auto 6 could look like running on Switch 2

While we wait for Grand Theft Auto 6, someone has seemingly managed to port Grand Theft Auto 5 to the Nintendo Switch.

The port was apparently created by M0jso and posted to Reddit, where footage apparently shows a native v2699 (2023) version of the 13-year-old game, running on the original Switch, albeit rather poorly.

The performance overlay shows that the frame rate reaches 22FPS at most, and declines to 11FPS in some places, but it does appear to be playable.

A user explained that the footage had been taken down a while ago, but it looks like the project is in progress again. M0jso showcased more videos on X, explaining that rendering can be broken in some places, crashes are frequent, but they have seemingly managed to play GTA 5 on a real Switch console.

However, overall, performance appears poor, and the odds of the game reaching console or PC-level quality seem slim. It made me wonder what GTA 6 could look like running on the Nintendo Switch 2, a more advanced system that boasts 4K and 1440p resolutions and 60FPS.

For now, Rockstar hasn't shared any plans to port the game to Switch 2 - a PC version hasn't been announced either - but we've seen demanding games such as Cyberpunk 2077 and Hogwarts Legacy functioning on the console with minor frame rate issues.

That being said, GTA 6 will be a massive game, with a map possibly even bigger than Cyberpunk 2077 and GTA 5's. Not to mention the dense locations and level of detail that PS5 and Xbox Series X will also need to contend with.

While the game's performance features haven't been revealed yet, reports have claimed that it's likely to run at 30FPS on PS5 consoles due to CPU limitations, which could make the likelihood of a Switch 2 port rather slim.

According to Digital Foundry, GTA 6 running at 60FPS on current-gen might be pushing it, but a 40FPS mode could be possible.

There's still just under five months to go before the game launches on November 19, so we could learn more about performance, potential graphics modes, and even get a third trailer soon.

• The official story trailer for Marvel's Wolverine has been released
• The trailer features Jean Grey, Team X, and a multitude of villains
• It looks like The Last of Us actor Troy Baker will also star in the game

Insomniac Games has revealed brand new story details for Marvel's Wolverine alongside an official story trailer, featuring bloody battles, mutants, and a ton of villains.

Revealed at San Diego Comic-Con, the trailer kicks off with Logan, aka Wolverine, confronting Jean Grey in what looks to be the aftermath of a battle. The pair clearly share a lot of history in this story, and Jean can be shown accompanying Logan on missions as they rescue mutants and investigate threats as part of Team X.

"New allies and formidable adversaries emerge in the clash for mutant survival," the new story description reads. "As Wolverine, unite with Jean Grey to protect those most vulnerable. Fight alongside Team X to confront the world’s deadliest villains in the caliber of Bolivar Trask, Omega Red, and Deathstrike, and stand against oppressive forces like The Reavers and The Hand."

We also get a look at more members of Team X - the X-Men don't exist in this story - which includes Sabretooth, Mystique, and Sunfire. At one point, we also see a quick glimpse of another unnamed character, who appears to be played by The Last of Us actor Troy Baker.

There are plenty of shots of Logan in different cities around the world as he takes on enemies like Deathstrike and, notably, The Hand, which you might be familiar with because they're one of the major villainous organizations of the Daredevil TV series and the upcoming movie, Spider-Man: Brand New Day.

Insomniac also dropped some brand new artwork for the game as well, showing Logan taking on The Hand, and it looks awesome.

In addition to a new story trailer, the studio also announced a collaboration with Arc System Works to bring Wolverine’s suit from Marvel Tōkon: Fighting Souls to Marvel’s Wolverine, as well as revealed a digital prequel comic book that takes place before the game.

It was also confirmed that award-winning composer David Fleming crafted the music behind Marvel’s Wolverine, which will be released on August 28, but fans can listen to the first track, "Logan," on available platforms like Spotify, Apple, YouTube, and Amazon.

Marvel's Wolverine launches exclusively on PlayStation 5 on September 15.

• Former Nippon Ichi Software CEO Sohei Niikawa has criticized Sony's decision to end the production of game discs
• The Disgaea creator says the company doesn't "understand the feelings" of physical game fans
• He adds, "If they’re going to go as far as eliminating physical packages, they may as well eliminate the hardware too"

Former Nippon Ichi Software CEO and creator of the tactical role-playing video game series Disgaea, Sohei Niikawa, has objected to Sony's plan to end disc production, saying the company might as well eliminate hardware too.

Sony announced its decision earlier this month, calling it a "natural direction" for the company that will come into effect by January 2028. It means that in the future, PlayStation owners won't be able to purchase discs for new games.

Fans have been vocal about their anger at the decision and have called on Sony to change its mind. Even Former PlayStation Worldwide Studios boss Shawn Layden has called the plan to move all-digital "a fairly dramatic decision."

Now, speaking to Noisy Pixel at Anime Expo 2026, Niikawa has also criticized Sony, saying that while he understands the plan "From a purely business perspective," it will hurt PlayStation fans.

"I think physical editions of games are very important," Niikawa said, explaining that fans who buy physical copies can hold a "great deal of value" and memories, and can even be taken to events to be signed by their creators.

"Physical games are important because they can carry that kind of meaning," he said.

"I can understand why the people at Sony would make that decision. However, the executives who decided it have probably never experienced coming to an event like Anime Expo and having someone approach them with a physical game to ask for an autograph.

"I don’t think they understand the feelings of those fans, and they may never have considered what physical editions mean to the people who value them."

He added, "If they’re going to go as far as eliminating physical packages, they may as well eliminate the hardware too. A television would be enough. Why would you need the console? If you’re going to get rid of physical games, you may as well go all the way."

For now, Sony appears firm in its decision, and analysts have determined that it won't change its mind, despite the backlash, arguing that "Digital is just too lucrative," in the current business.

Circana's Mat Piscatella also believes that Sony is taking advantage of the current digital market, and recently reported that only seven PlayStation games have sold more than 100,000 physical units year-to-date in the US.

• Star Wars Zero Company will take 30-40 hours to beat the main campaign
• The game won't feature New Game Plus mode, romance systems, or branching story paths
• Post-launch content is also unconfirmed at this time

Bit Reactor has confirmed that Star Wars Zero Company will take up to 40 hours to finish, and it won't have a New Game Plus mode.

The single-player turn-based tactics game is one of my most anticipated titles of the year, and ahead of its launch next month, the studio has conducted a community Q&A to answer a long series of questions.

One of the first questions asked how long the campaign will be, and lead producer Caydence Funk has confirmed that "Depending on your difficulty level and experience with the strategy genre," it's estimated that it can take between 30 and 40 hours for the average player to beat.

It's also confirmed that the story will be linear with no romance systems or branching paths.

"While we are excited about pushing the genre forward with a more cinematic approach, this is still a turn-based tactics game at its heart where adept skill and strategy are needed to overcome tense combat challenges," Bit Reactor said. "That said, there are story moments that can alter based on who you have in your squad, but the overall story is a linear one from beginning to end."

Personally, 40 hours is the ideal length, and a linear story means I can experience everything the story without having to worry about missing out on additional storylines.

"As far as exploration goes, yes, you’ll have the ability to explore a section of some planets prior to engaging in turn-based combat on them," the studio added.

"This is a minor facet of the game that we feel adds a unique, immersive quality to Star Wars Zero Company. These small segments are a chance for you, as Hawks, to conduct the espionage that Zero Company excels at, and are main-story-only segments that can affect the subsequent combat by granting Intel and Advantage Points."

Unfortunately, the game won't launch with New Game Plus mode, so new playthroughs will have to be completely fresh, "but players will unlock certain customization options on subsequent playthroughs" through progress.

Zero Company is set during one of my favorite Star Wars eras, the Clone Wars, so I'm very excited to experience a new story during this time period.

We can expect battles across the galaxy with the Separatist Alliance, a team consisting of a Clone Trooper, a Mandalorian, a Jedi Padawan, an Umbaran sniper, and more, as well as the appearance of Anakin Skywalker.

Customization will also play a big role in the game, and while players can't have an entire team of Clone Troopers, Bit Reactor confirmed that you'll have access to Clone armor cosmetics with the ability to customize your team's armor from the start. Outfits don't impact gameplay, but Clone Trooper helmets will provide a voice modulation effect, which sounds neat!

Even cooler, The Clone Wars TV series voice actor Dee Bradley Baker will provide his iconic voice to the character Trick and additional Clone Troopers, but the full cast has yet to be announced.

As for additional content, good news, there are no plans for microtransactions to be added to the game; however, the "Arc Trooper" Armor Set is only part of the "Grand Army of the Republic" Cosmetic Pack for the Deluxe Edition, but players will still have access to other cosmetic options in the base game.

The game also won't have mod support, and "right now" post-launch content isn't confirmed because Bit Reactor is "focused on making the best game we can at launch."

Star Wars Zero Company launches on August 27 for PC, PlayStation 5, Xbox Series X, and Series S.

From the scourge of Generative AI to the RAM crisis, from PlayStation axing discs to Xbox cutting legendary studios off at the knees, it seems like gaming is under attack from every angle. The industry is in dire straits, with studios seemingly no longer able to bank on the success of AAA blockbusters or Live Service behemoths like it used to. Even the biggest game ever, the upcoming Grand Theft Auto 6, has had a troubled announcement, with its $80 price tag and discless contents getting people’s backs up.

It’s easy to feel helpless when seemingly insurmountable problems hit a medium you love, and speaking out feels like you’re merely howling into the void. But based on historic events, it's true that when enough gamers make themselves heard — and when they vote with their wallets — positive changes can occur, bad decisions can be reversed and better futures can be laid. Hey, even Xbox rolled back its Game Pass price hike (to an extent).

So we want to hear from you — which issue are you most concerned about? Participate in our poll below and tell everyone what you think. No doubt many if not all of these issues are interconnected. For instance, I can’t help but laugh at the cruel irony of the RAM being used to power the Gen AI tools for the purposes of developing games more cheaply is pushing up the price of the systems for playing those games. Of course, there’s no easy fix to any one of them, but we’ll follow up by dissecting the results and discussing the potential routes to bring gaming out from the dark place it’s currently stuck in.

• Dataintelo reports that the used video game market is worth $7.2 billion
• The firm thinks that Sony's decision to end the production of discs will cause it to decline
• Analysts say the market will "keep shrinking and eventually disappear"

The second-hand video game market could be in danger as a result of Sony's decision to end production of physical discs starting in January 2028.

A new story from CNBC included analysis from market research firm Dataintelo, which reported that the used game market was worth $7.2 billion in 2025 and predicted it could grow to $13.8 billion by 2034.

The figure represents all pre-owned games, console hardware, accessories, and peripherals, but consoles account for 42.3% of revenue, with North America being the biggest part of the market. That's compared to Europe, which captured 28.3% of global second-hand revenue last year.

The company explained that the second-hand game market is fuelled mainly by affordability concerns, an interest in retro gaming, and a "digital-to-physical gaming transition."

With Sony's plan to phase out discs in just two years, there's now a threat to the used game market.

"Realistically, at least one-third of games have been sold historically as used, and the games that were sold also provided currency to the gamer who traded them in as cash to pay for new games," said Wedbush Securities managing director of strategic planning, Michael Pachter. "Brick and mortar game retail is doomed."

However, physical discs and the second-hand market aren't likely to disappear all at once. Kazunori Ito, director of equity research at Morningstar, explained that the market will "keep shrinking and eventually disappear."

"There is an important difference between players accepting that shift because they see value in it, and having it effectively forced on them by taking away the alternative," Ito said.

"Most would prefer to make that transition in their own way and at their own pace, rather than having it driven by the end of physical discs."

In Sony's announcement earlier this month, it called it a "natural direction" for the company, arguing that the transition from physical to digital discs "will enable us to align more closely with how most of our community prefers to access and play games today."

While fans continue to push back against the decision, analysts have determined that the PlayStation company won't change its mind.

"Their current profit margin has been too weak for years now, so they feel like they must act," explained Dr. Serkan Toto, CEO of Japanese game industry consultancy firm Kantan Games. "From an economic perspective, digital sales just make too much sense especially for platform holders."

A recent report from Circana senior director and video game industry advisor Mat Piscatella also suggested that the digital market is in Sony's favor right now, explaining that only seven PlayStation games "have sold more than 100,000 physical units year-to-date" in the US.

• Assassin's Creed Black Flag Resynced game director Richard Knight is keeping future content plans under wraps for now
• He says post-launch support "doesn't feel like a crazy bet"
• He hopes fans will continue playing the game after Grand Theft Auto 6 launches

Assassin's Creed Black Flag Resynced game director Richard Knight can't confirm if the title will receive post-launch content yet, but he hopes players will continue playing after Grand Theft Auto 6 releases.

In the same interview with YouTuber JorRaptor where Knight confirmed that Resynced will get a New Game Plus update at some point, the director was asked to discuss the game's post-launch roadmap and the plans moving forward.

"I can't say anything officially, but you know, it doesn't feel like a crazy bet," Knight said.

"We definitely need to support the game. We need to fix bugs. Sorry for anyone running into bugs. They hurt. They're painful for us, too. And we do want to add some quality-of-life stuff. So it's a pretty reasonable guess."

Then, as if considering the stiff competition when the game launches on November 19, he joked, "Also, please play us when GTA 6 comes out.”

As the first Assassin's Creed remake, it's unclear what the future holds for the game compared to new titles like Shadows and Mirage. While some hope for a remake of the original game's Freedom Cry expansion, Knight has said that it's still early days and plans aren't set in stone.

The director teased that there are team members who have "[DLC ideas," but balancing and updating the core game is currently the focus.

"Beyond that, I just want to say our focus with Black Flag remake has always been Edward," he added. "He's the kind of heart soul of the original game, and so you know maybe there could be more to tell there too."

Assassin's Creed Black Flag Resynced is now available on PS5, Xbox Series X and Series S, and PC.

• Star Wars: Knights of the Old Republic remake will reportedly be re-revealed later this year
• A content creator reports that development at Saber Interactive has been "ramping up" and going "smoothly"
• Recent reports suggest the game could launch in 2028

Five years after being announced, Star Wars: Knights of the Old Republic remake will reportedly be re-revealed later this year.

That's according to reliable Star Wars insider and YouTuber 100% Star Wars (via Bespin Bulletin), who addressed reports that the KOTOR remake could launch in 2028.

In a new video, 100% Star Wars claims that Saber Interactive sources said the game's "best-case scenario" was a mid-to-late 2027 launch to coincide with the 50th anniversary of Star Wars, but a 2028 release window would align with the original 2003 game's 25th anniversary.

"A reveal later this year has been planned," 100% Star Wars said.

The KOTOR remake was announced in 2021 and was originally being developed by Aspyr Media. However, development was paused for some time before the project was eventually handed over to Saber Interactive in August 2022.

When asked about the game's progress earlier this year, Saber's chief creative officer, Tim Willits, said, "Yes, it is still in development. That's all I can say."

Aside from the teaser trailer revealed five years ago, we haven't heard or seen anything else about the game since, but according to 100% Star Wars, development has been smooth sailing since Saber took up the reins.

"I know about the extremely positive development cycle since the game has been at Saber since 2023," the YouTuber said. "Development on the game has not only been ramping up, but it’s been going extremely smoothly over the past 3 years since Saber started from scratch.

"They’ve been hiring some extremely high-end talent from across the industry and Saber is very much a unified front when it comes to the development of this game with resources and talent being pulled from all over the company."

While we wait for the KOTOR remake, Star Wars fans can look forward to Star Wars: Fate of the Old Republic, a role-playing game (RPG) from Arcnaut Studios being led by KOTOR and Mass Effect trilogy director Casey Hudson.

A new turn-based single-player game, Star Wars: Zero Company, from Bit Reactor will also launch this year on August 27, as well as Fuse Games' Star Wars: Galactic Racer, which arrives on October 6.

• Senior director and video game industry advisor at Circana, Mat Piscatella, reports only seven PlayStation games have sold more than 100,000 physical units year-to-date in the US
• He says two games "sold more than 10,000 physical units in the US during the week ending July 11, 2026"
• This comes as fans push Sony to reverse its plan to end the production of physical discs

In light of Sony's decision to retire the production of physical game discs, an industry analyst has reported that physical PlayStation games aren't selling too well in the United States.

Last week, angry PlayStation fans descended on the comment section of the latest Marvel's Wolverine trailer, another effort to push Sony to backtrack on its plan to end the production of physical discs starting January 2028.

As of writing, the video has over 12,600 comments, with the vast majority from fans sharing their thoughts on the decision.

Now, in response to a news story about the situation, Circana senior director and video game industry advisor Mat Piscatella has shared some interesting stats about the state of physical game sales in the US.

Writing on Bluesky, Piscatella said, "Two PlayStation video games sold more than 10,000 physical units in the US during the week ending July 11, 2026.

"Seven have sold more than 100,000 physical units year-to-date." He also clarified later that the figures didn't refer just to first-party PlayStation games, but "total PlayStation. All games, all publishers, all PlayStation platforms."

Addressing the fan backlash, the analyst added, "Commenting is cool, use your voice and all that. But commenting is cheap, [I don't know] idk."

Which games those are is unclear, but global estimates shared earlier this month by Alinea Analytics (via GamesRadar) suggest EA Sports FC 26, Resident Evil Requiem, and 007 First Light could be among those seven. It's estimated for Requiem specifically that 27.8% of its 3.5 million copies sold came from physical discs.

Sony has been notably quiet in the face of the backlash, and according to multiple analysts, despite the fan backlash, the PlayStation maker won't reverse its decision because "digital is just too lucrative."

"They of course knew what the online reaction would look like, and they now wait for this storm to pass," said Dr. Serkan Toto, CEO of Japanese game industry consultancy firm Kantan Games.

"Sony has over 120 million active PlayStation users. Around 50 million people subscribe to PlayStation Plus. As a thought experiment, let's say 500,000 cancel in protest, that would be just 1% of that business gone — of course not enough to Sony to start rethinking. Digital is just too lucrative.

He added, "Their current profit margin has been too weak for years now, so they feel like they must act," Toto added. "From an economic perspective, digital sales just make too much sense especially for platform holders."

Razer Hammerhead V3 HyperSpeed: two-minute review

The first thing I thought when I pulled the Razer Hammerhead V3 HyperSpeed gaming earbuds out of their box was “Wow, these are ugly.”

Not exactly the strongest first impression, but it’s unavoidable when each bud has a weird, bulbous design that gives them an appearance like a pair of obese AirPods. The shiny black plastic material looks cheap, as does the printed Razer logo on the outside, which (despite all the Razer Chroma branding on the box) is just a decal that doesn't illuminate.

They’re thankfully not uncomfortable to wear, but even in your ears they’re nowhere near as stylish as similarly priced competitors like the SteelSeries Arctis GameBuds.

With much flatter sound, they’re significantly less versatile (especially if you’re after a pair of gaming earbuds that you can also use to listen to music) and offer fewer features than that model to boot, with inferior active noise cancellation (ANC) that fails to block out most background noise when you’re out and about.

The Razer buds’ biggest benefit is the use of the latest Bluetooth 6.0 standard, which allows for ultra-low-latency connectivity with compatible devices and is ideal if you’re a serious mobile gamer looking for something to use with the latest phones. The included 2.4GHz Razer HyperSpeed Wireless dongle is also impressively compact and offers similar low-latency performance on PC, PlayStation 5, and handhelds like the Nintendo Switch 2.

This alone might be worth the compromises elsewhere if you’re a really serious mobile gamer, though there are a few more things worthy of praise. The included case is well-designed and feels pretty high quality, with an attractive RGB strip that is illuminated to denote pairing or charging status. I also really like how you don’t have to take the dongle if you want to use it: simply plug the case into your machine, and you’re ready to go, which makes it basically impossible to leave behind.

Find the Razer Hammerhead V3 HyperSpeed gaming earbuds at the right price - and they could be a good pick.

Razer Hammerhead V3 HyperSpeed review: price & availability

• Costs $129.99 / £129.99 / AU$229.95
• Available via Razer right now
• Availability at other retailers seems spotty

The Razer Hammer V3 HyperSpeed gaming earbuds cost $129.99 / £129.99 / AU$229.95 if you buy them directly from Razer, which is where I would recommend getting them, as stock at other retailers seems spotty.

If you do choose to buy from the likes of Amazon, be mindful not to accidentally purchase the cheaper Razer Hammerhead V3 X or older Razer Hammerhead True Wireless X model, as they look very similar.

At this price, the earbuds are going head to head with the likes of the SteelSeries Arctis GameBuds, which originally launched at $159.99 / £159.99 / AU$359 but are now regularly discounted to around $130 / £100 in the US and UK.

Even factoring in the added $30 / £30 at full price, I think the Arctis GameBuds are much better value. They offer a much more stylish design, versatile sound that you can easily customize with hundreds of selectable EQ profiles, in addition to slightly better overall battery life.

Razer Hammerhead V3 HyperSpeed review: specs

Razer Hammerhead V3 HyperSpeed review: design and features

• Look bulky and dated
• THX Spatial Audio support
• Case is good

You should know by now that I’m not a big fan of how these earbuds look. They have a basic stemmed in-ear design with quite a bulbous body constructed from shiny black plastic and a cheap-looking green Razer decal on the back. They honestly look like something you’d buy on Amazon for under 50 bucks rather than a product from a premium gaming brand.

The case is much better, at least. It’s large, but still easily pocketable, and has a pleasant matte texture to its exterior and a very robust hinge with satisfyingly strong magnets. There’s a subtle strip of LED lighting on it as well, which lights up in an attractive rainbow pattern when the case is opened. It also illuminates different colors to denote charging or pairing status, battery level, and so on, which makes it surprisingly practical as well.

Inside the case, there’s plenty of space for the two earbuds and a little slot for the compact HyperSpeed Wireless dongle. When in the case, the dongle is nestled inside a Type-C port with passthrough connectivity. This means you can plug the entire case directly into your PC or console in order to pair the buds, which is pretty handy and helps keep everything in one place.

Aside from this, the Razer Hammerhead V3 HyperSpeed gaming earbuds don’t have a particularly expansive feature set compared to the offerings of other brands. The earbuds support ANC and a transparency mode, in addition to automatic pausing when removed from your ears. The compatible software offers three default EQ profiles (for gaming, music, and movies, respectively) plus the ability to create your own.

On PC, the buds come with a license key for THX Spatial Audio, which simulates 360-degree sound decently well and is a solid bonus.

Razer Hammerhead V3 HyperSpeed review: performance

• Sound is okay
• ANC is poor
• Decent battery life

Although it is impressively low-latency and thus suited for competitive gaming, I found the sound of the Razer Hammerhead V3 HyperSpeed to be so-so compared to similarly priced alternatives. In the default gaming preset, the bass is plenty punchy, but they lack clarity and sounds quite muffled in the high end. It’s good enough for the likes of PUBG: Battlegrounds or Counter-Strike 2, but would be an incredibly poor fit for more story-driven titles.

The music-listening experience is bad, and no amount of EQ tweaking could remedy the uninspiring sound. I would recommend swerving the default music EQ as well, as it’s absolutely rancid and tanks not only the bass but also the low mids, leading to sound that’s not dissimilar to that produced by the free earbuds you get on an airplane.

Alternating between the Razer Hammerhead V3 HyperSpeed and the SteelSeries Arctis GameBuds, there is simply no contest: the SteelSeries pair sounds better no matter what you throw at it, and the fact that it can handle music too means that you don’t need to buy a second pair to use with your phone.

The ANC also underperforms compared to alternatives, be they the GameBuds or others such as the Sony Inzone Buds. It fails to block out much background sound and even struggles to drown out the consistent, low noise from a desk fan. If you want to take these on a plane, just forget about it.

The microphones are okay, but not particularly reliable. With any kind of background noise, they can begin to struggle to pick up your voice - which had me relying on my desktop mic instead. Touch controls are quite awkward as well. They feel unresponsive and struggle to pick up inputs, leading to frequent accidental pauses or skips if you’re trying to use them for your tunes.

The battery life is at least one area where the Razer Hammerhead V3 HyperSpeed doesn't disappoint. I easily managed 7-8 hours per charge with the buds, and the case holds enough to fully top them up about four times when you're on the go.

Should I buy the Razer Hammerhead V3 HyperSpeed?

Buy it if…

Don’t buy it if…

Razer Hammerhead V3 HyperSpeed review: also consider

Here are two more compelling options to weigh up.

How I tested the Razer Hammerhead V3 HyperSpeed

• Tested for multiple weeks
• Used with PC and mobile
• Compared to other gaming earbuds

I tested the Razer Hammerhead V3 HyperSpeed gaming earbuds for multiple weeks across both PC and mobile, playing a range of different games.

This included plenty of Call of Duty: Black Ops 7, PUBG: Battlegrounds, Battlefield 6, Forza Horizon 6, Grand Theft Auto 5, and more, in addition to mobile titles like Neverness to Everness, and Call of Duty Mobile.

Throughout my time with the buds, I compared the experience to my hands-on testing of other gaming earbuds, including the SteelSeries Arctis GameBuds and other products featured on our best gaming earbuds guide.

Read more about how we test

First reviewed July 2026

When developer Campo Santo released Firewatch in 2016, it was an unexpected hit. A debut title launching from a tiny indie studio with zero combat and doing really well is usually the stuff of fantasy, but Firewatch surpassed expectations – and it certainly surprised me.

Firewatch follows Henry, a man with a harrowing past. His wife, diagnosed with early-onset dementia, has been moved across the world to be cared for by her family. So, Henry makes a complicated decision to throw himself into an even lonelier situation by becoming a fire lookout in an expansive national park. He’s searching, perhaps, for an answer to all his problems.

It’s one of those games that doesn’t sound incredibly captivating. I mean, how hard can living in a remote tower looking out for flames really be? But it’s Firewatch’s narrative-driven storyline where the true magic lies, carrying you on an unsuspecting journey over a number of hours.

For some players, it could be a dull proposition. If I’m honest, 10 years ago, I wasn’t really into solely storytelling games. My brain worked a lot faster, and I was heavy into The Witcher 3: Wild Hunt (and I’m still busy writing my feature wishlist for The Witcher 4). Yet, I played Firewatch on a whim, and it changed my mind.

Still burning bright

As the From the Backlog series launched, it felt like the perfect excuse to replay it. Oh, and the fact it’s celebrating its 10th anniversary!

The biggest surprise for me was how little I remembered. I had forgotten the immediate depth the narrative throws at you as conversations unfold on screen. I almost felt like I’d never played the game at all. I became lost in thought about whether I actually paid enough attention the first time around.

Everything I loved back then was still here – the art style, the mystery, and the problem-solving. But, as I’ve told people over the last ten years that they should play Firewatch, I’ve always been at a loss when it comes to explaining why. Now, I know exactly why. While Firewatch presents as a game that’ll follow just Henry, it’s the conversations he holds over his radio with Deliah, another lookout based across the park, that are utterly captivating.

Like Rob Dwiar’s Eastshade retrospective, Firewatch is a lesson in how to slow down wrapped up in a video game. This second time around, my mid-30s brain appreciated the pace, and for a replay, it almost felt like I was playing an entirely different game.

Solitude and substance

Through voice acting alone, they banter, swear, and even flirt at times. There are laughs shared, memories unravelled, and a deep connection sets itself firmly at the center of the game.

Perhaps it’s because you’re alone, or perhaps it’s because Campo Santo knew how to make you care, but whatever it was, it still works. Delilah’s constant reassurance (and occasional squabbling) over the radio is so much richer when there’s absolutely nothing to distract you. I realised I’ve been searching for this same feeling in games over the last decade.

I’ve played titles from What Remains of Edith Finch to, most recently, 2026’s Will: Follow The Light, but while their storytelling is enchanting, nothing looks the way Firewatch does. Something about the vibrant hues and vintage aesthetic makes me listen, and it turns out, all I needed was a replay to remember how intense and emotionally compelling the story really is.

As the days passed in my fire lookout tower, I didn’t want the story to end. I didn’t want to bury Firewatch for another ten years. And yet, after a handful of hours, it had come to an end once again.

At least, I thought, I’m finishing this time round safe in the knowledge that if I played again in 2036, I’d still get to feel the same way about this game. Oh, and I’ll also remember that I’ll always be bad at reading maps.

• A new Marvel's Wolverine trailer has been swarmed by angry PlayStation fans
• Users are sharing their disdain for Sony's decision to end physical disc production
• Many are sharing how glad they are that Wolverine will be available on disc

PlayStation fans angry with Sony's decision to end physical disc production have descended on the latest Marvel's Wolverine to make their thoughts known.

Insomniac Games just released a new cinematic trailer for the upcoming Marvel superhero game titled 'Ain't No Hero' ahead of the game's launch on September 15.

It looks awesome, but if you think fans are having a healthy discussion about how cool the game looks in the comment section, you'd be dead wrong.

As of writing, the video has over 8,000 comments, and the vast majority are from fans who aren't backing down from their efforts to make PlayStation reverse its decision to retire physical discs in 2028.

"You know who isn’t the hero? The killer of physical," reads the top comment, which has over 12,000 likes.

"Wolverine was really getting PHYSICAL in this trailer, he has such a DISCtinct presence," one user said, with another writing, "Wolverine's treasured photograph demonstrates the importance of physical media."

Thankfully, Marvel's Wolverine will be getting a physical copy at launch, so fans won't have to worry about that. The only games that will be affected are titles launching from January 2028 onwards, and fans are letting PlayStation know how they feel about it.

"Can't wait for my DISC copy to come in," one comment reads, followed by numerous more of the same variety, like, "Can't wait for my PHYSICAL COPY," and "Looking forward to getting a PHYSICAL edition."

Since sharing the announcement earlier this month, Sony has been notably quiet in the face of the backlash. To urge the company to reverse its decision, fans have also created a petition, which now has over 326,000 signatures.

According to analysts, despite pushback from fans, the PlayStation maker won't reverse its decision because "digital is just too lucrative."

• Bethesda Game Studio has shared a major update
• The announcement confirms two Fallout remasters in addition to further Starfield support
• The developer is also teaming up with Obsidian Entertainment for a new Fallout title

Bethesda Game Studios has just shared a major update, confirming that it will continue supporting Starfield, and is currently working on remasters of both Fallout 3 and Fallout: New Vegas.

"We love making these worlds as much as you love playing in them. Today, we want to share what's next," begins the latest post on the Bethesda website.

It adds that the company is "investing more deeply in the worlds players love" — but what exactly does that mean?

First, the developer says its latest release, 2023's Starfield, will continue to receive updates and support throughout the coming year with gameplay improvements, new story content, and "additional updates" planned.

The popular Fallout series is also receiving plenty of love. Fallout 5 is currently in development, though it's still a "long-range destination" in the early phase of production that will likely take many years to complete. In the meantime, however, players will be able revisit the worlds of both Fallout 3 and Fallout: New Vegas in the just-announced remasters.

There's no word on when those will release either, but I imagine they're not too far away — particularly that Fallout 3 remaster, which has been rumored to be in the works for years.

The post goes on to confirm that Bethesda is partnering with New Vegas developer Obsidian Entertainment on a "new Fallout project". This is presumably the New Vegas sequel teased in reports earlier this month that suggested the two teams were collaborating on a new title.

Of course, upcoming RPG The Elder Scrolls 6 is also mentioned, and described as the studio's "primary development focus today." As expected, however, a release date is not mentioned, and the title is still likely half a decade away.

All of this comes just over a week after Microsoft announced that Xbox, Bethesda's parent company, would be undergoing the "most significant restructure" in its history with a total of 3,200 jobs lost over the coming months.

In an email sent to Xbox employees, CEO Asha Sharma said that while the move would be "painful" it would allow the brand to to focus on "higher priority projects" with its Activision, Bethesda, King, Mojang, and Xbox Game Studios teams — a strategy already evident in the high-profile releases announced today.

• Assassin's Creed Black Flag Resynced director Richard Knight says staff have "DLC ideas"
• He explains that the main game is the team's focus right now and doesn't know whether the Freedom Cry DLC will get a remake
• Knight also revealed that New Game Plus is in development

Assassin's Creed Black Flag Resynced game director Richard Knight has revealed that staff on the development team have downloadable content (DLC) ideas, but is uncertain whether the Freedom Cry expansion will get a remake.

In an interview with YouTuber JorRaptor, Knight was asked if the team is actively exploring additional post-launch content, such as a remake of the DLC Freedom Cry, which is set 15 years after the main game and stars Edward Kenway's friend and quartermaster, Adéwalé.

While Knight acknowledged that the 13-year-old DLC is beloved not just by fans but by the team, plans for the game's future are uncertain. He explained that it's focused on updating the base game for now, but revealed that team members do have "DLC ideas."

"The reception has been amazing, but it's still so early right now," Knight said. "I know some folks on the team have DLC ideas. We need to balance those out with our future and then updating the core game."

"But beyond that, I just want to say our focus with Black Flag remake has always been Edward," he added. "He's the kind of heart soul of the original game, and so you know maybe there could be more to tell there too."

The director couldn't comment further on plans or on a potential DLC, only that the team has its hands full right now.

In the same interview, Knight also confirmed New Game Plus is in the works, but couldn't offer a release date.

"This is the one thing I can say: Yes, we're working on that right now," Knight told JorRaptor. "For sure. It's one of the first things. Partly because Shadows has already built their version, so it's considered a low-risk feature for us. We're still doing the work, so I can't promise exactly a day or anything, but we're definitely working on this one. It's just such a natural thing."

When asked if the Shadows' New Game Plus made it easier for the Black Flag Resynced team to add the feature to the game, he joked that Simon Lemay-Comtois, associate game director of Shadows, "did the hard work" of introducing it in the first place, and it gives the Black Flag Resynced team "something to look at."

"We have different challenges in terms of how that works," he said. "We can't skip to the hideout, necessarily. But we're looking into it."

On the possibility of the game having extra rewards for New Game Plus, like in Shadows, Knight suggested the game is still in early development, but, "If it's up to me, yes."

"There's still production discussions about what we can do and how much time it takes," he said. "Every item we make needs a model. Sometimes it needs cloth sim. All sorts of things."

In terms of a release date for the mode, he added, "I really can't promise anything – just to say it's at the top of the list of things. There's a lot of things. Some are harder than others, but it's something we definitely want to get done."

Assassin's Creed Black Flag Resynced is now available on PS5, Xbox Series X and Series S, and PC.

• Richard Knight, director of Assassin's Creed Black Flag Resynced, has explained why hidden blade combat was removed from the remake
• He says the team "prioritized core combat"
• Knight adds that the team is also monitoring player feedback but "can't make any promises"

Assassin's Creed Black Flag Resynced director Richard Knight has explained why the newly released remake of the 2013 game doesn't feature the original's hidden blade combat.

Black Flag Resynced is built from the ground up and features very little of the original code, but offers a faithful recreation that honors the original story, characters, and world. Many aspects have been changed to modernize the decade-plus-old game, including a revamp of the fight system, which notably does without Edward Kenway's hidden blade combat, which allowed the assassin to take down multiple enemies in a swift chain-kill.

In an interview with YouTuber JorRaptor (via IGN), Knight revealed why the team chose to scrap the feature, explaining that it wasn't a priority.

"During development, if you looked at Edward — he's so powerful right now and has so many tools, and so we prioritized core combat because we needed to nail that," he said.

"Something like throwing weapons, while it's cool, it's just like, 'He already has ten ways to kill somebody.' So, given the cost to reinvent the feature and rebuild it from the ground up with today's characters, rigs, and animations, there's a lot more that goes into it. It was just lower-priority for us."

Edward's hidden blade combat was a pretty cool feature of the original game, so understandably, a lot of fans were a bit miffed to discover the remaster ditched it.

However, additional comments from the director suggest that the development team could make some changes in the future.

"We can't make any promises, [but] we're listening to the community," Knight said. "We're interested in what people want the most.”

Assassin's Creed Black Flag Resynced is now available on PS5, Xbox Series X and Series S, and PC.

TechRadar Gaming's Managing Editor Rob Dwiar rated the game four stars in his review, calling it "a great remake of a classic game and does a great job of walking the tightrope between respecting the original source material and introducing new content and modernizing aged features."

• GameStop CEO Ryan Cohen says Sony's decision to end physical game production is 'totally irrelevant' to the company
• The statement is supported by both physical and digital games, which only contribute 18% to overall revenue
• Cohen's comments likely won't help gamers in their push to retain physical game discs

The backlash against Sony continues after its controversial choice to stop new physical disc production of PlayStation games from January 2028 and it looks like the US' biggest dedicated video game retailer isn't taking a stand.

In an interview with Bloomberg, GameStop CEO Ryan Cohen dismissed the idea that the company will be impacted by Sony's decision to end physical game copies, stating "it doesn't matter at all," despite ongoing uproar from consumers.

"It mattered in the past; software makes up less than 12% of the business," Cohen said. "Collectibles makes up over half of the business, so it's totally irrelevant."

Frankly, it's a harsh and cold stance, but it isn't exactly incorrect, as Bloomberg highlights that both physical and digital copies of games are only 18% of GameStop's total revenue. The store has mostly transitioned to a focus on collectibles like Pokémon cards, and that's evident the moment you visit its website.

It's no secret that Sony's decision to end disc production in 2028 hasn't gone down well with most consumers, as many feel as though it's a direct threat to game ownership. A digital-only console means games (or other media) can be taken away from gamers at any time, and Sony has done that recently with over 500 purchased movies removed from user libraries.

Essentially, GameStop's reasoning for the end of game discs being irrelevant is similar to Sony's, as Sony highlighted the fact that most gamers are purchasing copies digitally in its announcement.

Despite that, the consensus among consumers is that the elimination of discs is quite unnecessary, only cutting off another option of purchase. It's also worth noting that prices for games on the PlayStation Store won't be as low as they would usually be via second-hand or video game retailers.

Sony has yet to address the matter since the announcement, even with the sheer amount of backlash it's receiving online, and gamers will likely be hoping that statements from CEOs like Cohen won't harm the fight to retain physical game copies.

• Market research firm Newzoo reports that Grand Theft Auto 6 has "the strongest pre-order campaign ever recorded"
• The game earned roughly $180 million in digital pre-order sales across the US and the five largest European markets during the last week of June
• It's estimated GTA 6 will achieve $3.3 - $5.2 billion in cumulative global sales by the end of launch week

Grand Theft Auto 6 reportedly achieved the strongest pre-order period ever and is on track to earn over $5 billion by the end of its launch week.

That's according to video game market research firm Newzoo, which released a new analysis reporting that the upcoming Rockstar title earned roughly $180 million in digital pre-order sales across the US and the five largest European markets during the last week of June.

These markets represent 69% of lifetime console players for GTA 5, which Newzoo used as a guide to estimate that the total global spend was around $260 million in the first week of pre-orders, concluding that this "kicks off the strongest pre-order campaign ever recorded."

"That is a massive sum with major implications for how GTA 6's total sales should be forecast," the firm said. "Placed on the sales curve GTA 6 is likely to follow, that puts it on pace for $3.3 - $5.2 billion in cumulative global sales by the end of launch week."

The report states that popular titles, such as Cyberpunk 2077 and GTA 6, follow three sales curves: the "brand-new IP," the "sequel with performance uncertainty," and "the proven sequel - a known quantity." GTA 6 "will most closely resemble the proven sequel curve," and will see linear growth as we get closer to release, with Newzoo predicting that the first-week pre-order sales account for roughly 5.8% of the total sales by the end of the game’s launch week.

With this being said, the firm believes GTA 6 could reach $4.5 billion in sales by the end of its first week on sale, which is roughly 51 million copies sold.

GTA 6 is the most anticipated game of all time, but it Newzoo noted that, contrary to social media reports, the game "has not done a billion dollars in pre-orders 21 weeks out" from launch.

"This is absurd. Given how pre-order curves look, nothing ever has and nothing ever will in the near future," Newzoo said. "What the data actually shows is $180 million in digital pre-order spend across the US and the five largest European markets in the final week of June, translating to a global opening week of roughly $260 million, with most of the ramp still ahead."

It added, "Run that figure through the plausible band of pre-order curves, and GTA VI is on track to book between $3.25 billion and $5.2 billion in week-one launch revenue. Even at the most conservative reading, namely that GTA 6 front-loads harder than any major title in our dataset, it lands at a tremendous number by any historical standard."

GTA 6 officially launches on November 19, but physical copies don't come with a disc, but a digital download code. Despite the controversy surrounding the move, a recent report suggested that the physical edition is a top seller at multiple retailers.

• Former PlayStation boss Shawn Layden says developers need to lead with innovation to justify the increasing cost of consoles
• He says studios are "limiting our reach just because of the games we’re building now"
• While Grand Theft Auto 6 will be a hit, Layden says "there are a lot of people in the world who really don’t care" about it

Former PlayStation boss Shawn Layden thinks studios need to start investing in unique games that entice a wider audience to justify the increasing cost of consoles.

The price of hardware has been rising over the past few years. We can blame the rising cost of manufacturing, the shortages driven by AI data centers eating up all the components, or inflation. For whatever reason, the current landscape is a mess, and the next generation is bound to be expensive.

As Sony and Microsoft hike the price of current-gen systems, despite the PS5 and Xbox Series X and Series S being six years old, analysts suggest that the PS6 and next Xbox could cost as much as $1000. It doesn't sound out of the realm of possibility when you consider Valve has just launched the Steam Machine, a console-PC hybrid, for the same cost.

From what little we know about the PS6, we can expect technical improvements over the PS5, which could mean better ray-tracing and higher frame rates. With PlayStation's plan to end physical disc production in 2028, analysts predict that it could also be an all-digital console, sadly.

But would this justify a $1000 price tag? According to Layden, who spoke about the changing industry in an interview with Kotaku, it doesn't, and Sony will need to lead with software innovation to draw in gamers instead.

“I mean really, how much more ray tracing can you put in there?” he said. “And will my eyes actually see 120 frames per second?”

Layden can't say what the PS6 will look like compared to the PS5 since he hasn't worked at Sony since 2019, but if there's a chance the technical gap between the two consoles is too narrow, software is where things need to change.

"I think we’re already kind of limiting our reach just because of the games we’re building now. I mean, variety and range seem to be narrowing," Layden said. "Most games are falling into a standard set of buckets."

He pointed to the genres of games we've been seeing over the years, including zombie apocalypse and space-marine games, action titles with "guys with really long swords and not much armor and dragons."

Layden then brought up GTA 6, and while he acknowledged that the game is going to be a massive hit, some gamers don't care about it.

"So, you see those categories and coming around that, of course, Grand Theft Auto is going to be like an asteroid piercing the atmosphere and hitting the gaming universe with great force and power," he said. "But there are a lot of people in the world who really don’t care about Grand Theft Auto, the non-gaming community."

He continued, explaining, "We talk about how big we are, $220 billion, $250 billion industry, but our social impact is the reverse. Everybody has a favorite song. That’s probably the least revenue-generating entertainment category, music, compared to gaming and film and television. But yet it has the widest impact. And so gaming, it’s huge on the revenue side of things, but it’s a very select group that are doing it.

"We’re getting more money from the same people all the time and not necessarily bringing in new people into the experience. And if these people who aren’t in the gaming experience have already said ‘we don’t care about Call of Duty, we don’t care about Grand Theft Auto, we don’t care about Gran Turismo,’ doing more of those same games is obviously not going to appeal to those people either."

While Layden thinks discoverability is one facet of the issue, the main problem is creativity, and if developers "close ranks" and continue making shooters by appealing to what the "base user" wants, things will be fine, "but we won’t get any bigger. We won’t bring any more people into the tent. And that’s probably bad."

He added, "We need to bring out more games for more people, which means actually you have to have more people making games and in different places and different experiences. I want to find out what games from Uruguay look like and what kind of game designers we have in Bulgaria."

• Dragon's Dogma 2 producer Naoto Oyama says Performance Mode will reach 60FPS on console ahead of the Dark Arisen release
• Oyama says the Switch 2 version will hit 30FPS and "even higher"
• He adds that Capcom's RE Engine has been "a really great fit" for Switch 2

Dragon's Dogma 2 is coming to Nintendo Switch 2 later this year alongside the launch of its Dark Arisen expansion, and Capcom has been making some major improvements to the base game in preparation.

Speaking in an interview with Eurogamer about the process of porting the fantasy role-playing game (RPG) to Switch 2, producer Naoto Oyama said that Capcom's RE Engine "has actually been a really great fit for Nintendo Switch 2."

He explained that the team has been able to use knowledge of previous Switch 2 ports, like Pragmata and Resident Evil Requiem, and the improvements made to the RE engine to create a solid port for Dragon's Dogma.

"Because this is an internal [Capcom-owned] engine, we've been able to accumulate knowledge and know-how from other teams," Oyama said. "And that means that the improvements that are made to the engine with each title, and the different features that are added with new games, get to stay with us - and we get to benefit from them on future titles. It's a really positive cycle for us."

The producer confirmed that the team has also been working to improve the game's overall performance, not just on Switch 2, but also on the launch PlayStation 5 and Xbox Series X and Series S platforms.

"In particular, we've been trying to find as many small tweaks as we can make so we can build up and have a big performance improvement on consoles when it comes to Performance Mode itself," he said, adding that this will be a feature of the August title update, allowing the game to reach 60FPS in Performance Mode on console.

Oyama continued, confirming that the game can reach 30FPS on Switch 2 and "even higher" during many scenes.

"That means that, commensurately, all that effort we've put into the PS5 and Xbox Series X/S versions of the game also pays off in the Switch 2 version," he said, "and we're currently seeing a minimum 30 frames per second rate performance on that hardware (and, in many scenes, it's even higher!).

"So it's a little while to go until the game releases, but it's exceeding our expectations on Switch 2, and I hope the players agree that we've done a great job again with bringing this game to that platform."

Dragon's Dogma 2: Dark Arisen, which introduces a new region, Norgan, new armor, weapons, dungeons, and more, launches on October 9.

• Aston Martin just revealed the Dreadnought, a digital-only military SUV designed exclusively for Call of Duty: Modern Warfare 4
• It features rugged armor plating and a powerful V12 engine
• The vehicle will feature in the game's DMZ mode and the free-to-play Warzone battle royale

Legendary luxury car manufacturer Aston Martin has just revealed the Dreadnought, a heavily armored all-wheel drive SUV said to offer "supercar levels of performance" and "elite tactical performance" on the battlefield.

Its Chiltern Green painted body combines rugged military armor plating with advanced aerodynamics to deliver a powerful combination of both speed and protection, while the interior includes luxury elements like an Oxford Tan leather dashboard and golden gear lever.

Under the hood, it boasts a mammoth V12 engine and comes with a unique range of combat-oriented features such as dedicated weapons storage and reserve fuel tanks.

Its name is intended to conjure images of the HMS Dreadnought, a famous 20th-century British vessel that was so significant it spawned a whole new class of battleship.

The catch? It's not a vehicle that you will actually be able to buy; it's a digital-only concept that's been designed exclusively for the upcoming video game Call of Duty: Modern Warfare 4.

According to the car maker's chief creative officer, Marek Reichman, designing the vehicle posed a "not inconsiderable challenge" to reimagine what Aston Martin could be in a virtual world where "the only limit is imagination."

Although the car is fictional, Reichman said that it was imagined as "a vehicle living in the real world" throughout the design process, and therefore "feels genuinely real."

You'll be able to go behind the wheel of the Aston Martin Dreadnought in Modern Warfare 4's DMZ mode when the game launches on October 20, 2026. It will also appear in the free-to-play battle royale Call of Duty Warzone.

Fans attending the upcoming Fanatics Fest in New York will be able to see a full-size model of the car in the flesh at the Call of Duty stand.

• PlayStation has delayed the launch of the FlexStrike Wireless Fight Stick
• The company says production delays have caused the hardware to be postponed
• The PlayStation 5 peripheral will no longer launch on August 6, but "at a later date"

PlayStation has issued an update on the release of its FlexStrike Wireless Fight Stick, announcing that the hardware has been postponed.

The FlexStrike was originally slated to release on August 6, but now, in an updated PlayStation Blog post, the company has confirmed that "due to unexpected production delays," it "will launch at a later date."

"We’re working to ensure we deliver the best possible experience to our players with FlexStrike, so we’re taking extra time to put the finishing touches on the product," PlayStation said.

"We apologize for this delay and look forward to bringing the FlexStrike experience to the community when it launches."

Pre-orders for the fight stick opened on June 12, but the company confirmed that players can check their order status through PlayStation Direct and will receive communications regarding their order.

"Players who pre-ordered through another retailer should look for updates directly from that retailer or contact them with any questions," it added.

The FlexStrike is a PS5 peripheral and costs $199.99 / £179.99.

TechRadar's senior reviews writer Harry Padoan got the chance to test out the fight stick earlier this year, writing that it "hits the right notes" performance-wise when tested against Marvel Tokon: Fighting Souls, and is "approachable and straightforward to use," and "offers ultra-low latency in both wired and wireless capacities."

Elsewhere, Sony has announced plans to end physical game disc production. While remaining silent against the backlash, the company recently posted an advertisement for the FlexStrike, which received massive pushback.

• The Blood of Dawnwalker director, Konrad Tomaszkiewicz, says a delayed next-generation would be beneficial for Rebel Wolves
• Tomaszkiewicz says it's "easier" to work with the current generation and PC
• He says two more builds would multiply "the amount of work you need to do"

The Blood of Dawnwalker director Konrad Tomaszkiewicz isn't worried about the impact of what a delayed next-gen could mean for Rebel Wolves because working on the current-gen consoles is "easier."

It's unclear when the next-generation hardware will launch. Rumors suggest that the PS6 could launch as late as 2028, which would make it eight years between the start of the current generation, with Project Helix, the next Xbox console, also eyeing a 2028 release.

With console prices increasing due to manufacturing costs, not to mention the RAM shortages caused by a rise in AI data centers, there's a chance the next-gen consoles will be highly expensive.

While Sony and Microsoft have yet to reveal how much their new hardware will cost, a delay in the next generation could be on the table as the companies wait for things to settle down and for consoles to become affordable again.

This would also mean studios won't have access to next-gen tech for quite some time to develop their games, which would force them to stick with current-gen.

However, for The Blood of the Dawnwalker studio, Rebel Wolves, this would actually be beneficial to the development team.

The Blood of the Dawnwalker is the first installment in Rebel Wolves' dark-fantasy role-playing game (RPG) series, launching later this year, and has already teased a sequel set in a modern timeline.

When asked by Eurogamer whether the next console generation being delayed would be an issue for the studio and the future of the game series, the director said, "It doesn't at all."

"To be honest, it's even better for us," Tomaszkiewicz explained, "Because when you have the game, and you know the systems and the features adjusted to these particular consoles, you know what you need to do. Always, a new platform is a new challenge: you need to learn it, you need to know what are your borders, what you can do, what you cannot do. And also, it's an additional build you need to create that you need to take care of later."

The director continued, saying that since The Blood of the Dawnwalker has four builds - PS5, Xbox Series X and Xbox Series S, and two PC builds, it's already a ton of work for testers, so another console generation to work with would be another challenge.

"Let's say we have four builds, and later on you want to deliver a patch for the players. You need to be sure that these changes work on the Xbox, on the PlayStation, PC one, and PC two," Tomaskiewicz said.

"When you have next-gen, you're adding an additional two builds, and it multiplies the amount of work you need to do. It sounds easy but you need to know that there is a group of testers who need to test every platform separately - not only this particular change but whether the whole game has no blockers, if you can finish it from the beginning to the end, and so on and so on.

"It's a huge effort, to be honest, and if we work on the consoles we have right now, it's easier, because we know how many builds we have and it's easier to manage."

The Blood of Dawnwalker launches on September 3.

Assassin's Creed Black Flag Resynced is here, and it looks like this remake has been a massive success. Ubisoft says that it’s already sold more than two million copies, with players all around the world discovering (or rediscovering) its wonderful 1700s Caribbean setting and all the twists and turns of its engaging pirate story.

Our own Resynced review saw the game awarded four stars out of a possible five, praising its many modernized mechanics and just how faithfully it adapts the 2013 original. Although the main review was handled by our resident Assassin’s Creed expert, Managing Editor Rob Dwiar, I’ve spent the last few days pouring hours into the game and am having an excellent time so far.

I’m almost halfway through now, and there’s already so much to like about it, as you’ll see with some of the highlights below, but also one little thing that’s been bothering me.

The visual upgrades are a huge success

You don’t need to have put Resynced side by side with the original Assassin's Creed 4: Black Flag to appreciate just how much of an improvement the new visuals are. It’s no hyperbole to say that this is the best-looking emtry to date, edging out the already stunning Assassin's Creed Shadows thanks to its smaller but more detailed world.

The opening sequence has you parkouring your way through a lush tropical rainforest, showing off incredibly dense plants and little details like dangling vines that really help sell the setting. The gorgeous ray-traced lighting dances through the canopy superbly, light scattering down onto the little pools of water that are dotted throughout the jungle and reflecting off them realistically.

If you examine the layouts in detail, there have been loads of changes, but key elements from the original level layouts have been preserved smartly, like the fallen tree trunks that protagonist Edward Kenway darts across, so everything feels just right.

It’s the same story when you reach the city of Havana, which feels larger and more bustling than ever before. The streets are packed full of non-player characters (NPCs) wandering around, chatting to one another, moving crates, or standing around market stalls to give the impression of a lived-in world.

As for the open sea, I don’t think another game has nailed the waves quite this well. The water physics are phenomenal, with countless waves that stretch off into the horizon. The sea here looks far brighter than the original game ever did, but rather than taking away from the atmosphere, I appreciate how inviting it makes it all look. This is a world that’s just begging to be explored.

The visual overhaul extends to the game’s cutscenes. The wooden 2013 character models are no more, replaced with far higher fidelity versions that look much more convincing. Faces are no longer stiff and awkward-looking, either, thanks to enhanced motion capture, making it much easier to get stuck in and immerse yourself in the story.

Refined combat means swashbuckling feels better than ever

Going into Resynced, having seen a handful of trailers, I was quite worried that the combat would feel like that of Assassin's Creed Mirage: awkward, clunky, and a throwback to the systems of the older games in all the worst possible ways. Thankfully, when I actually got my hands on the game, it was immediately clear that my concerns were misplaced.

The combat system here is like the simplicity of the original game’s mechanics merged with all the style and flair of the fights in Shadows. Enemies have decently sized health bars or shields now, which you can whittle down with sword strikes before hitting a perfect parry to trigger a stylish finisher. This isn’t your only option either, as abilities like the rope dart or kick let you quickly stagger tricky enemies without breaking your flow.

There’s a fantastic rhythm to all of it, and I’ve found that charging in with my swords drawn has quickly become my favorite way to tackle encounters. It certainly helps that the most frustrating instant-fail parts of missions have been entirely reworked as well, giving you more freedom than ever to experiment with Edward’s arsenal.

There's finally no modern-day nonsense

Rob lamented the loss of some of the modern-day content, but I’m in the exact opposite camp. I think taking it out was the right decision, as the diversions into the modern setting are some of my least favorite parts of older Assassin’s Creed games.

I’ve always found the series’ whole meta narrative incredibly tedious — filling what would otherwise be grand adventures with a barrage of pointless conversations between characters that I’m convinced nobody ever cared about. Can anyone earnestly say that Desmond Miles is the best Assassin’s Creed character? No, and he just takes up precious time that we could be spending with someone actually entertaining and charismatic like Ezio Auditore da Firenze.

The modern-day stuff was especially bad in the original Assassin’s Creed 4: Black Flag, casting you as an unnamed game developer working for a company controlled by the evil Templar Order. Wandering around a plain office block reading files and chatting with a handful of annoying coworkers is indescribably dull — I enjoy games that let me escape from my daily life, not recreate it.

Yes, the segments do introduce a little bit of satire, riffing on some of the more ridiculous events of the alternate history plot, but otherwise you’re not really missing anything with their removal.

Like Shadows, there are still some elements of the overarching narrative here as well for those that really care: the intro makes it clear that the game takes place in a simulation, and there are plenty of documents that reference the modern Assassin vs Templar struggle (on top of new Animus Rift challenges that explore interesting ‘What if’ scenarios connected to Edward’s life).

Thankfully, that’s all optional, so it can be promptly ignored if, like me, you’d rather focus on the historical fantasy.

But I wish the UI was a little more distinct

It’s clear that Resynced draws quite heavily on Shadows both technologically and mechanically (in addition to a healthy splash of Skull & Bones for the parts where you’re at sea). This, of course, isn’t a problem in and of itself, as Shadows is clearly an excellent foundation to build upon, but I do wish that the design of the menus and UI was more distinct.

There have been some tweaks for sure, like the position of different elements and the icons of map markers and so on, though to me lots of it still looks a little bit too similar - the loading screens are the scale, and the inventory menus are practically identical, for example, as are prompts when you’re being seen while in stealth. Both games even use the same fonts throughout.

It’s definitely not a big deal, but it all leaves Resynced looking more like a Shadows DLC than a remake of an older game at its most surface level. A more imaginative UI that drew more from the original Assassin’s Creed 4 and less from the most recent instalments would really help give Resynced more of a distinct identity.

Assassin's Creed Black Flag Resynced is out now for PC, PlayStation 5, and Xbox Series X and Series S.

• A Steam user has found a way to store games on SSDs with an auto-navigation and auto-start script
• These are effectively physical 'game cartridges' complete with key art
• However, costly SSDs means this is a pricey endeavor (the Steam gamer was lucky enough to pick up used drives on the cheap)

Physical copies of PlayStation games are coming to an end from January 2028, and as the backlash around that continues, a restoration of physical media on PC has been discovered — and it's novel to say the least.

A Steam user on Reddit has managed to store games on 'cheap 2.5-inch' SATA SSDs, effectively acting as old-school 'game cartridges' with key art, and a script that auto-navigates Steam to each game's page. The user also notes that automatically starting games from each drive is possible.

This comes amid a significant uproar from gamers following the revelation of Sony's plan to eradicate physical game discs, supposedly by the time its next PlayStation console arrives. It's a very controversial move that has united gamers across all platforms to fight to retain discs and to ensure game ownership remains intact.

With that said, physical media for PC has been dead for a long while, since a modern desktop PC doesn't come with a disc drive, and there are hardly any publishers selling physical copies for the platform.

With most games only accessible digitally on PC, in theory those titles can be taken away from buyers at any time. The trouble is that consumer-friendly figures like Gabe Newell, who leads Valve, the owner of Steam, won't be in charge forever.

So in the future, under new leadership, it's possible more anti-consumer measures might be introduced, or other aspects of PC gaming that consumers dislike, such as DRM (like Denuvo).

Steam Game Cartridges from r/pcmasterrace

Imagine if this 'game cartridge' system was adopted by PC game publishers? It's a smart idea, and a nice thought, but clearly not a realistic one. For starters, it'd be a prohibitively expensive method of reintroducing physical PC game copies.

Of course, platforms like Epic Games and Steam require users to be logged in and have their app installed to play games, so it's still a long way off true game copy ownership, anyway.

However, this concept would be paired perfectly with GOG, a platform that is DRM-free and doesn't require the launcher to play purchased games — in other words, you fully own purchased games on GOG.

Admittedly, publishers releasing PC game cartridges in the form of SSDs is a pipe dream, especially with the current state of the hardware market, and the RAM crisis, complete with skyrocketing SSD prices.

The idea comes at the wrong time, then, but if the RAM crisis ever settles down, then maybe this is something we'll see more PC hobbyists doing — and perhaps even the odd publisher.

Reflecting on my time with Tomb Raider: Legacy of Atlantis at Summer Game Fest 2026, I really can’t wait to fight more dinosaurs and solve more puzzles as Lara Croft once more — but I’m yearning to see more to get a better idea of the reimagining at work.

Playing one area complete with lush rainforest setting, puzzles, waterfalls, and dinosaurs, I, first and foremost, was instantly having a great time, and the experience scratched both my Tomb Raider and my Uncharted itch.

However, it was quite a self-contained preview, and my overwhelming emotion after finishing it — after basking in its beauty, at least — is that I really need to see more to get a better handle on the reimagining and the specifics of how that differs from a remake. I got a glimpse into Lara’s Peruvian adventure, but not much more.

Welcome to the jungle

What I can categorically say, however, is that this is a reimagination for the modern day, well and truly. The visuals are stunningly beautiful, and the rendition of the jungle that this iteration of Lara Croft finds herself in is exquisite.

The lush and verdant vegetation, beautifully detailed ruins, and fabulous water effects all combine to make for a really beautiful setting, and this may be the best-looking Lara Croft game ever once it comes out — which is saying something after the Survivor trilogy. Full of secret tunnels and routes, as well as overgrown passages to cut down and spectacular jumps to make across ruins and walkways, the game’s environments are set to be spectacular playgrounds.

The core of the segment I previewed involved Lara solving an ancient water and gear puzzle to progress past a giant gate, and presumably open a route to find treasure. The challenge itself was well done and featured a good mix of what I would call the b*****d-hard puzzles of older games, with some parts that were more intuitive. It felt well-balanced between giving you hints and giving you nothing.

Such was the attraction of the area and to explore all it had to offer, the inner looter in me took great glee in searching every nook and cranny for shiny ornaments, trinkets, and secrets, but I was left wondering whether these are just things to be found and stuffed away in a menu, or whether these, hopefully, are secrets that lead to something greater or play into side quests, or similar. One can only hope.

It’s got the moves

Lara herself is a joy to play again, and this version did not disappoint. Wonderfully voiced and acted by Alix Wilton Regan, I really felt like this version of the icon felt more ‘human’ than ever before.

Away from some gravity-defying jumps, this mainly came from a weightier, more realistic move set that felt more grounded. Even the flair moves and acrobatics felt believably human through my controller. She also feels more vulnerable, less of a video game behemoth with overpowered guns, and much more breakable, which adds a bit of peril too.

The modernization of Lara’s tools feels well done; gadgets are intuitive to use and helpful without spoon-feeding you too much, while they are also well implemented in terms of how they look on screen, with a scan’s net wrapping around ruins, for example.

Lara also has a new focus ability to add to her modern skillset that works a lot like bullet time from Max Payne and is satisfying to use — and to build up, by deploying well-timed dodges and acrobatic moves.

This all came to the fore toward the end of my preview when I encountered some iconic enemies: dinosaurs! Taking on three velociraptors with only Lara’s trusty handguns shone a light on how much skill you need to dodge and acrobatically move out of the way of attacks, but also how valuable it is to use the focus ability to gain an edge.

Finishing the preview with the famous Tyrannosaurus Rex chase scene was a thrill too, and in this new beautiful guise, the game managed to brilliantly capture the adrenaline-fueled, panic-ridden affair spectacularly. If this is a microcosm of the spectacle and adventure that’ll fill the entire game, then it’ll be a special ride; and as a result, it really does feel like the time is right to jump back into Lara's boots.

Having said all that, I really would like to see more to get a proper, meatier look at what this reimagining is going to look like on a grander scale. The mix of modern takes on gameplay, action, and combat mixed with some old-school approaches that hark back to the origins of one of gaming’s finest icons has got me incredibly keen and excited to see how more of it comes together.

Until we hear more, though, I’ll just have to wait until the game releases on February 12, 2026, for PlayStation 5, Xbox Series X and Series S, and PC.

• PS5 user reports being locked out of Ghost of Yotei digital copy for 'half an hour' due to license verification
• License verification isn't new, but this case is important amid Sony's plans to axe physical game copies
• Once physical game copies are gone, access to games on PlayStation will be at Sony's disposal

Sony's plans to push for an all-digital future for games on PlayStation have come under major scrutiny since the announcement, and one case highlights just how dangerous those plans are to game access and ownership.

A Reddit user (in a now-removed post) reported being locked out of the digital copy of Ghost of Yotei on PS5 for half an hour, even after refreshing licenses. When attempting to open the game, the message reads: "Can't use this content. Your licenses are being verified. Try again later."

It's important to note that this type of scenario isn't exactly new; license refresh prompts can occur after a long period, especially when sharing a game with another user. However, this Ghost of Yotei license check example comes amid Sony's ongoing, controversial decision to end the production of physical game discs from January 2028.

Once the supposed digital-only PS6 arrives, this very example of a consumer being locked out of a game can happen at any time. Unlike physical game discs, access to digital PlayStation game copies is at Sony's discretion, and the same will soon apply to all game copies, which essentially means game ownership will be non-existent.

Comment from r/gaming

Comment from r/gaming

Since there has been no follow-up statement since the disc axe announcement, it seems Sony is waiting for the storm to subside so it can ultimately commit to its digital-only plans, despite pressure from consumers online.

Unlike Microsoft's decision to walk back on its 'always-online' Xbox One plans after backlash in 2013, it may take a tumultuous effort from consumers, game studios, and video game retail stores to make an impact.

It's also quite ironic that Sony, which previously mocked Microsoft for the ability to share physical game copies, is now responsible for eliminating physical game copies. In the same vein as the subscription-based PlayStation Plus, which is a requirement to play games online, if consumers don't continue to push back against digital-only plans, there will be no going back once the PS6 arrives.

• Sony Santa Monica has confirmed God of War Laufey will be available on a physical disc
• The studio's comment come after PlayStation's announcement to retire physical game discs from January 2028
• This means God of War Laufey could release before the end of 2027

Following PlayStation's announcement to retire game discs, Sony Santa Monica has confirmed that God of War Laufey will be available on disc, suggesting the game could launch within the next year.

The studio's comment comes from X, where it shared its schedule for the God of War Laufey panel at San Diego Comic-Con.

In the thread, Sony Santa Monica added, seemingly in response to fans who have been asking for the past few weeks following PlayStation's announcement, that "We can confirm God of War Laufey will be available on disc."

Sony confirmed earlier this month that it would end the production of game discs starting from January 2028. Now that we know Laufey will get a physical disc, it suggests that the game will launch before 2028.

The new God of War entry was announced last month at Summer Game Fest 2026 and is set to star Kratos' wife, Faye. It would be great if the game launched in 2026; however, there are five months left in the year.

The latter half of the year is stacked with upcoming game releases, including GTA 6 in November and Marvel's Wolverine in September, so I find it unlikely that the new Laufey will release any time soon.

Given the studio's comment, it's more likely it will launch before the end of 2027, or, if we stretch it to the last possible moment, January 2028, before physical discs are retired.

Sony has faced overwhelming backlash since sharing its plan, with many fans hoping it will reverse its decision if there's enough support.

A petition has also been created, which now has over 310,000 signatures, urging Sony to back down, but for now, the PlayStation company has remained silent.

• The PlayStation and Xbox One versions of Dying Light: The Beast have been cancelled
• Techland says the game "was built from the ground up to take full advantage of current-generation hardware"
• The decision "reflected the technical realities of development and our commitment to delivering the best possible experience"

Techland has announced that Dying Light: The Beast will no longer be released for last-generation consoles.

The latest entry in the survival horror series launched in September last year for PlayStation 5, Xbox Series X and Series S, and PC, and it was Techland's plan to eventually bring the game to PlayStation 4 and Xbox One at a later date.

Now, in a statement shared on X today, the studio confirmed that it has "made the difficult decision" to cancel the ports "after careful consideration."

"Dying Light: The Beast was built from the ground up to take full advantage of current-generation hardware. Its open world, advanced visuals, and fluid combat and traversal all depend on processing power and memory that previous-generation consoles simply cannot provide," Techland said.

"As development progressed, it became clear that bringing the game to those platforms would require compromises that would prevent us from delivering the experience we set out to create."

It continued, saying the decision wasn't a "matter of choosing to leave those platforms behind" but rather one that "reflected the technical realities of development and our commitment to delivering the best possible experience."

"We know many of you were looking forward to playing on PS4 or Xbox One, and we are truly sorry for the disappointment this causes. Anyone who was expecting to play on either platform will be eligible for a refund. Thank you for your understanding and continued support."

In TechRadar Gaming's Dying Light: The Beast review, reviewer Christian Guyton said the game "went from potential expansion to a fully-fledged sequel, and although its origins are on full display in its narrative and protagonist, it never feels constrained by them."

"It’s not reinventing the wheel," Guyton wrote. "Techland has a solid formula that mixes traditional open-world action sandbox elements with a solid parkour-based movement system and high enemy density, so it’s understandable that The Beast wouldn’t be too much of a deviation from the norm. Still, the new setting is a breath of fresh air, and it still feels fantastic to dropkick a zombie off a roof."

A new edition of the game, Dying Light: The Beast Restored Land, was released earlier this year and included the base game, all post-launch content, and the 'Restored Land' survival mode.

• We can exclusively reveal The Fight of the Braves from the Resonance: A Plague Tale Legacy soundtrack
• Composer Olivier Derivière describes it as 'one of the most epic tracks' on the whole soundtrack
• Resonance: A Plague Tale Legacy releases on August 27, 2026

Action-adventure game Resonance: A Plague Tale Legacy is the next game in the brilliant Plague Tale series, and we've got one of the tracks from its soundtrack to reveal exclusively right here.

It's the one track that composer Olivier Derivière describes as "the most contrasted score from [the] A Plague Tale series". The Fight for the Braves is an intense and pulsating song that goes big on percussion, crescendos, and haunting choral vocals. A cheery tune this is not.

Derivière says, "The Fight of the Braves is one of the most epic tracks on the OST. We needed something truly glorious to capture the spirit of the ancient Minoan warriors. Rather than relying on a full orchestra, the rousing energy of the magnificent Amalgamation Choir, combined with thunderous percussion, perfectly conveys the relentless challenge ahead."

Derivière goes on to say that, "The echoing musical phrases also beautifully depict the deep connection between Sophia and that distant era, a mystical resonance traveling across the ages."

The soundtracks to the first two Plague Tale games are some of my absolute favorites from recent years, and perfectly aligned with the games' bleak and dark stories. From what the composer says about the wider soundtrack, it sounds like we're in for something special.

“Resonance, although part of A Plague Tale universe, is a very different game and therefore needed a fresh musical approach without leaving the core emotions and musical traits of the franchise,” explains Derivière.

Using musicians and vocalists from Cyprus and Greece to get an authentic feel, the Amalgamation Choir were sought out to create a spell-binding score to accompany Sophia's adventure.

The Resonance: A Plague Tale Legacy soundtrack will launch on music streaming services and be available for digital download alongside the game on August 27 this year.

• The Entertainment Retailers Association has slammed Sony's decision to kill physical discs
• The UK trade organization says digital games "should complement physical formats, not replace them"
• The ERA says, "Removing discs doesn’t represent progress – it simply removes choice"

UK trade organization, Entertainment Retailers Association (ERA), has criticized Sony's decision to end production of physical PlayStation discs.

The gaming company has received overwhelming backlash since announcing its plan to retire physical discs in 2028, and now, as reported by The Game Business, the ERA, which represents most major video game retailers in the UK, including Amazon, Game, Sainsbury’s and HMV, has condemned the plan, calling it "a triumph of corporate convenience over consumer choice."

"Every year, millions of gamers still choose to buy physical copies because they value true ownership," CEO Kim Bayley said in a statement. "A disc can be shared with family, traded in, collected, preserved and, crucially, still played years from now. A download licence often offers none of those freedoms."

Per NielsenIQ and market research firm GfK, The Game Business reports that 45 percent of all physical games sold in the UK in 2025 were for PS4 or PS5, which represents almost half of all physical game revenue during this period, and a majority of sales were made through the post as opposed to in-store pick-ups on release day.

The ERA also said that 25 percent of gamers under 25 use discs and the total UK disc-based games market was valued at over £300 million in 2025, "demonstrating that there remains a substantial and committed audience for boxed games."

"Retailers see this demand every day," Bayley said. "Physical games continue to bring people into shops and give consumers real value through gifting, collecting and resale. The industry should be embracing every legitimate way consumers want to buy games, not narrowing their choices."

The CEO continued: "Digital distribution has transformed gaming and is hugely popular, but it should complement physical formats, not replace them.

“Consumers deserve the freedom to choose how they buy their entertainment. Removing discs doesn’t represent progress – it simply removes choice. That’s bad for gamers, bad for retailers and ultimately bad for the long-term health and preservation of our games industry."

Since its announcement earlier this month, Sony has remained silent in the face of the backlash. Many fans have banded together to urge the company to reverse its decision, including signing a petition that now has over 310,000 signatures.

• Call of Duty: Black Ops Season 5 has been revealed
• The update drops on July 23, 2026
• Big additions include new weapons, maps, and modes

With Call of Duty: Modern Warfare 4 on the way, Activision has revealed the next batch of content coming to 2025's Black Ops 7 and the free-to-play Warzone battle royale.

As detailed on the Call of Duty blog, the major additions include five new multiplayer maps, three of which drop alongside the season's launch on July 23.

The one I'm most looking forward to is Jubilee, an all-new 6v6 environment set in a rural Japanese town. It's joined by Frequency, a remaster of a Black Ops 4 map, and a remake of Black Ops 2's iconic Dig (itself a version of World at War's Courtyard).

The two other maps, Turbo Tilt and Freerun: Descent, will be added in the subsequent Season 5 Reloaded update.

A wealth of new modes

Some new limited-time modes are dropping as part of the update as well: Overdrive Domination (a twist on the classic Domination mode that incorporates the power-up stars from Overdrive), Gauntlet Rush (which rotates between five distinct game modes), and, in the mid-season, the return of Cranked Moshpit.

It wouldn't be a new season without some fresh weapons and attachments, and the ones coming in Season 5 are some of the wildest yet.

At launch, you'll be able to unlock the FG42 assault rifle, a modernized version of the WW2 weapon with serious damage and almost no horizontal recoil, and the dual Gremlin SMGs, which trade the ability to aim down sights for extreme firepower and mobility.

Later in the season, the Mammoth LMG is being added and, true to its name, it's a massive gun with two high-power barrels that fire continuously in addition to a new mace melee weapon.

On the attachment side, completing weekly challenges will unlock the likes of the Jäger 45 Grid-Breaker Kit — a crazy pistol conversion that turns your side-arm into a portable EMP blaster — or the M34 Novaline Garand Conversion that transforms the futuristic burst-fire rifle into an old-fashioned top-loaded one.

If you're keen to dive in, Black Ops 7 is available now for PC, PlayStation 5, PlayStation 4, Xbox Series X and Series S, and Xbox One.

• Former Rockstar Games producer John Ricchio thinks Grand Theft Auto 6 will be "monstrous" in scale
• He says the developer tends to make every game bigger than the last
• However, he wouldn't want to work on the game because of how ambitious it is

Former Rockstar Games producer John Ricchio believes Grand Theft Auto 6 will be a massive game and is glad he isn't working on such an ambitious project.

In a new podcast interview with Kiwi Talkz, where the developer discussed his time at Rockstar and the crunch culture that came with the role, Ricchio was asked whether there was any part of him that wanted to work on GTA 6, or if thinking about the project stressed him.

"I think the fact that every single time they do a GTA, it's like ludicrously bigger than before is like something that I think about," Ricchio said. "I can only imagine the size of GTA 6. It must be monstrous, or if not monstrous, it's probably way more detailed."

GTA 6 will have a much larger Vice City map, allowing players to explore several regions of Leonida. There will also be a ton of open-world activities and features to access, including car shops, clothing stores, hairdressers, safehouses, as well as boats that players can take on the water.

The developer suggested that if Rockstar "kept the same footprint as GTA 5, which was significantly bigger than GTA 4, significantly bigger than RDR [Red Dead Redemption] and continued to build upon that framework, GTA 6 will be a massive game.

"Between RDR and GTA, I think they were continually growing the size of the world, which is a big deal, right?" he said. "It's a lot more stuff to build. It's a lot more performance to deal with. There are a lot of considerations with going with a bigger world, but it really does make you feel like you're in a place, right? It makes you feel like you're in a huge place."

For this reason, Ricchio jokingly added, he's "pretty happy" he's not working on the game.

"Not that it wouldn't be cool to work with those people. I still think about my Rockstar teams all the time," he said.

"It is really difficult, and it's a hard period of your career when you're working that hard on something, and getting to the end and then getting to have people be really excited about what you've done is just magic, it is so rewarding.

"I'll never forget some of the play with the public events for Max Payne or for RDR, and even GTA, we were involved in very specific pieces, but just having people so excited about what you've made or being a part of something. It is so incredible. It is such a good feeling to make something, to spend a lot of time [on something] and have people appreciate it."

Ricchio continued, saying if he was still at the studio and working on GTA 6, he wouldn't be "amenable" to how things operate currently, which would "probably lead to an exit for me."

"I've learned a lot about different ways that you can do things and different ways to build successful, kind of hard projects, and it doesn't require that way to do it on the backs of burning people out," the developer said. "Clearly it works, and they make games that do really well, and I expect GTA [6] to do really well even at the higher price point."

• Future Games Show will return for Gamescom 2026
• The main showcase will begin on August 26, followed by the FGS Live, and the FGS Best Of Gamescom will air on August 30
• Future Games Show at Gamescom will feature world premieres, new trailers, and more

The Future Games Show will officially return next month for Gamescom 2026 with three digital showcases.

Future Games Show at Gamescom will air the same day the industry event kicks off, on August 26, and feature new announcements from "some of the industry’s most creative studios," including world premieres, exclusive trailers, developer deep dives, and brand-new game demos.

The recent Future Game Show Summer Showcase in June included 40+ games and 11 world premieres, and reached over 17.8 million live and launch-weekend views, so viewers should expect some more exciting game reveals.

FGS Live From Gamescom will immediately follow the main showcase on August 26, be hosted by the FGS editorial team, and feature more world premieres and exclusive trailers, as well as news and interviews from the Gamescom show floor.

To round out the event, the FGS Best Of Gamescom broadcast will kick off on August 30 and take viewers to the show floor to wrap up the best games of the event. Those tuning in can also expect exclusive booth tours, developer interviews, and a recap of Gamescom’s most exciting announcements.

All three digital shows can be watched on Future Games Shows' Twitch, YouTube, X, TikTok, Facebook, and GamesRadar+.

"The Future Games Show is the best place to discover new games, from indie gems like acclaimed-puzzler Blue Prince to AAA blockbusters such as sci-fi RPG Exodus," said Daniel Dawkins, Content Director of Future Games Show at Future. "Our Summer Showcase delivered 3.72 wishlists per live viewer, comfortably outperforming industry averages, thanks to our super-engaged viewers.

"Since launching in 2020, we have been proud to showcase the industry's most exciting titles alongside premier hosts like Troy Baker, Alix Wilton Regan and Ben Starr. This Gamescom, we are delivering three massive digital showcases packed with the latest news and world premieres for PC and consoles. Don’t miss it!”

• One of the original Xbox founders, Laura Fryer, suggests Sony is stripping away game ownership via an all-digital future
• It comes after PlayStation announced physical game discs won't be produced starting from January 2028
• Fryer claims Sony let Rockstar 'take the heat' by announcing a digital-only GTA 6 first

Sony is still under fire after its latest announcement of a future all-digital future for PlayStation games, as physical game copies are due to be axed — and not only are consumers livid, some gaming industry veterans are too.

As reported by Notebookcheck, Laura Fryer, one of the original founding members of Xbox, has recently condemned Sony's announcement ending physical game discs for future PlayStation games, and highlights the threat the move poses to game ownership.

The announcement from Sony has since resulted in major backlash regarding game ownership from thousands online, including a slight pushback (or support for physical media) from indie game developers like Astrolabe Games.

In this case, Fryer hasn't been shy about noting just how dangerous the end of physical game discs will be once 2028 arrives, especially since rumors suggest Microsoft may follow in a similar direction with its next Xbox console.

"Digital is convenient until someone else decides you've had enough, and there are some games and movies where I will never have enough of them," Fryer stated, which is arguably a valid statement since Sony recently removed over 500 purchased movies from users' libraries.

It's worth noting that Rockstar Games recently opened GTA 6 pre-orders, with the announcement that there won't be a physical copy of the game, which Fryer highlights as an important step to Sony's latest plans, stating: "Sony waited for Rockstar to make the first move, take the heat, and now they're going all in to make this the new normal."

Fryer even references Don Mattrick's infamous statement regarding an 'always online' Xbox One console experience, as she suggests that this is what Sony, Microsoft, and, frankly, Hollywood are doing today.

"When was the last time you put a disc in and the game just worked without a big download? All the major players, Sony, Microsoft, even Hollywood, they're all aligned here. Digital kills the used market, and it stops your old library from competing with new games on the next console."

That 'always online' future is closer than it ever has been, and with Sony also shutting down PS3 and PS Vita stores in 2027. That means whenever the PS6 (or future PlayStation consoles) eventually becomes a retro console like the PS3, there will be no way to play games on the system unless it's via digital means — and that directly eliminates game ownership completely.

Sony's social media team are having a rough week: anything they post is getting piled on by angry gamers who are outraged by Sony's plans to stop the production of game discs.

Many PlayStation owners are vowing to boycott the PlayStation Store, cancel their PlayStation Plus membership and never buy PlayStation products again.

It's a PR nightmare for sure, with pretty much any online PlayStation content becoming a place for gamers to protest, derailing any attempt to talk about anything else.

It reminds me of the response to Sonos' introduction of a new and hugely flawed app, which Sonos now admits was badly done.

Sonos' PR nightmare lasted for around 18 months, there is now optimism and rebuilt trust around the new changes it's bringing to improve the app. Could Sony learn from Sonos' experience and its attempts to rebuild customer trust?

I think the answer is: yes it could, but no it won't.

What Sonos got right and Sony probably won't

Speaking to TechRadar earlier this year, Sonos CEO Tom Conrad set out his views on how to try and make angry customers happy again. "You just have to show up in people's life with some humility and do the hard work of earning their trust back through great execution, great product, great software, great experiences, and never forget what you put people through."

So far, Sony isn't doing that: rather than respond to gamers' concerns, it's battening down the hatches and staying silent about its move to digital-only. And that's a shame, because there are genuine reasons for gamers to worry about Sony's decision.

There are three key concerns about digital-only. The first, and I think the most important, is cost. The PlayStation Store is ludicrously expensive: for example Spider-Man 2, a three-year-old game, is £69.99 digital today in the UK, where I'm based. Competition between retailers means it's around £37 on disc.

The second is second-hand gaming. I buy many games second-hand, and many gamers like to sell their games after they've completed them or got annoyed by them, so that they can spend what they recoup on more new games (a win for the industry overall). So I can buy Returnal for about £20 on eBay. I can't buy the digital edition second-hand, so if I want the digital version it's… you guessed it, £69.99.

To be fair, you can get both games, and others, on PlayStation Plus Extra. But not everyone wants or can sustain yet another subscription, and we know that all subscription services go up in price — often dramatically so, as we saw with Xbox Game Pass last year.

And the third is ownership. Sony's disc announcement came just days after it deleted customers' purchased copies of over 500 movies, making it clear that purchasing doesn't mean owning forever. And those movies cost a lot less than £69.99.

Sony may have to eat humble pie for a while in order to mimic Sonos here, seeking out customer views to talk about those concerns, and maybe thinking about how to address them — so for example it could tell us that digital codes would still be sold through multiple retailers, like Nintendo does with its key cards, or that we'd be able to resell our digital-only games (even if it hasn't developed the mechanism for this yet).

However, the reality is that for a firm the size of Sony, even a significant customer backlash such as 246,586 signatures on a petition represents a microscopic proportion of its 125 million PlayStation Plus subscribers, let alone the many more PlayStation owners — and it can afford to ignore them.

That's something of a gamble. Just ask Microsoft, whose Game Pass price hike scared off far more customers than expected — according to reports, it lost 4 million out of 34 million Game Pass subscribers when it was expecting huge growth instead, forcing a partial reversal.

But Sony's gaming business is far bigger, and that means it can still upset a lot of customers without feeling much pain.

I suspect Sony is going to take a different lesson from the Sonos situation: even at the height of customer anger, Sonos still sold lots of speakers, soundbars and subs.

Then again, maybe Sony is more rattled than it's currently letting on. Two days after the digital-only announcement, with customers raging online, Sony CEO Hiroki Totoki sold more than half of his Sony stock and Sony's chief strategy officer unloaded a bunch of Sony shares too.

If you love cinematic action games like The Last of Us, then there’s one upcoming release that should be on your radar. Summer Game Fest 2026 gave me the opportunity to go hands-on with Blood Message, which seems set to deliver a killer mix of gripping stealth, visceral melee combat, and intense set-piece moments.

Set in Ancient China, it follows a nameless hero and his son on an epic 1,000-mile journey through the scorching deserts of East Asia towards the historical city of Chang'an to deliver a vital message. The pair must survive against impossible odds, navigating vast sieges and escaping the clutches of relentless enemy forces.

An epic journey

Because this is the first single-player title by Naraka: Bladepoint developer 24 Entertainment, I had no idea what to expect when I sat down for my demo.

Showcasing an early segment of the game, the demo opens with our protagonist searching a house, desperate to recover an important letter as hostile soldiers comb through the surrounding town. The high production values are immediately apparent: everything here is rich in detail, with plenty of high-fidelity objects for you to pick up and pore over. The architectural style of the building around you is striking as well, with clay walls, sandy floors, and thatched reed roofs.

While Ancient China is certainly becoming a more common setting in games, I can’t think of the last time I saw its arid desert regions depicted. I’m desperate to explore more of its tantalizingly exotic environments and soak in the unique aesthetic.

Playing with a DualSense Wireless Controller, I also quickly appreciate how the movement feels very fluid and benefits from some impressive animation that, like The Last of Us Part 2, looks seriously cinematic and realistic without sacrificing responsiveness.

It’s not long until I find myself in combat against a group of foes, and it’s just as excellent. You have a heavy attack and a light attack, plus the ability to parry. This is by no means a unique formula, but the impeccably slick way that the protagonist interacts with the environment leads to some of the most gripping encounters that I’ve ever experienced. There’s a real meatiness in your swings, which realistically causes enemies to trip and stagger.

Attacking a foe next to a stacked wooden shelf will send them tumbling into it, knocking objects onto the floor and stunning them for a moment. Launch a heavy kick while your opponent is standing in front of a table, and they’ll be pushed right over it onto the floor, creating vital distance when you’re surrounded. Fail to deflect an incoming strike yourself, and you’ll often be forced onto your knees, tapping a button to pelt anything heavy that’s within arm’s reach to give you a few moments to escape.

Although my combat time was limited, I was still impressed by the variety of ways in which fights could unfold, particularly when there was an allied companion in the mix. There were definitely some moments that felt scripted, like when two enemies locked swords with me at the same time near the end of a brawl to trigger a climactic struggle. That’s not necessarily a bad thing, as it helps introduce unexpected and exciting moments.

I really enjoyed going in with my sword drawn, but most of the time, combat is entirely optional thanks to a robust stealth system. This is another area where Blood Message feels similar to The Last of Us Part 2, forcing you to scurry through long grass and crouch in cover to avoid patrols. Get behind one of your quarries undetected, and you can initiate a brutal takedown, though be warned that any wrong move risks thrusting you straight into open combat.

At certain points, getting seen is inevitable, triggering bombastic chase sequences that have you sprinting away from barrages of arrow fire, scrambling up ledges, and leaping over perilous gaps. The path you need to take always feels very intuitive, though there are a few little alternative routes sprinkled throughout if you want to experiment.

Everything I played could easily rival the output of a developer like Naughty Dog, and with Blood Message set to release on consoles and PC, this should be at the top of gamers’ wishlists.