• Stranger Than Heaven director Mikinobu Abe says the game's Showbiz system was "a real challenge" for RGG Studio
• Abe says lots of research was put into finding out what a show promoter does and how to depict that in-game
• Abe adds that "At some point we did have a small rhythm game," but the idea didn't match the team's vision

Stranger Than Heaven director Mikinobu Abe has revealed how RGG Studio designed the game's Showbiz narrative system and how difficult it was to get right.

In an interview with TechRadar Gaming, Abe said the Showbiz, an entertainment management system requiring the main character, Makoto Daito, to build a business, find sources of inspiration for music, and plan productions as a promoter, "was a real challenge for us."

The director explained that RGG started by asking: what does a promoter actually do? Because "you know what a singer does, and you know what a band does, but you don't exactly know what a promoter does in the music industry," so research began from there.

Abe revealed that "At some point we did have a small rhythm game, but it didn't exactly match the feeling that you're promoting a show," so the team went back to the whiteboard phase to try different things.

"One thing that we noticed is that a promoter is the person who brings in not just the money, but also the inspiration and the whole vision of the show," Abe said. "We thought that's an interesting aspect that we can put into this game."

In Stranger Than Heaven, players can walk around cities and interact with things in the environment, like a grandfather clock or a bonfire, and collect sounds as inspiration for music. Daito can then take these samples and collaborate with a composer to create new music and plan a production for the singer and band.

"The inspiration sources are basically like when you have a certain job, you always have these antennas looking for something," Abe said. "So, if you're a musician, you always have this antenna for the music you're hearing, and that can inspire people to create new stuff, and that was no different for Makoto as well.

Abe added, "That's why this game system of finding and then using that inspiration to create music came to life in the game."

Stranger Than Heaven releases on January 15, 2027, for PS5, Xbox Series X and Series S, and PC.

• Stranger Than Heaven director Mikinobu Abe says RGG Studios did a lot of "difficult" research to depict the game's many cities across different time periods
• However, Abe says "historical accuracy wasn't the goal from the very beginning," and the team took creative liberties
• He says there is a lot of "fiction" woven through the cities for the player experience

RGG Studio did plenty of research for its multi-era action role-playing game, Stranger Than Heaven, but director Mikinobu Abe has said historical accuracy wasn't the end goal.

In a discussion with TechRadar Gaming about the early stages of development, Abe confirmed that a story spanning 50 years and five cities in Japan required a lot of research, which "itself was really difficult," and that RGG visited all the cities depicted in the game and libraries for material.

"No one knows what it was like back in 1915 Kokura, or 1929 Kure," Abe said. "So, we had to dig into a lot of our pictures, and we visited a lot of museums. We even bought a lot of books that were published back then, or magazines that were published back then, and read every single one of them. There was one time that bugs were coming out of them, which was not good to have in the office! We did a lot of research like that."

However, as much as research was vital to get a sense of the time periods RGG wanted to depict, the director said "historical accuracy wasn't the goal from the very beginning," and the team took creative liberties.

"We took a lot of inspiration from what we researched, but we wanted to depict the city in a way that we feel really represents the video game experience that we want the player to have," Abe explained. "There's a lot of fiction within the cities, but we wanted to capture the tone of what it could have been like or how it could have felt to be in that place."

It wasn't just historical research; Abe said he and the art director, Daishi Kanaya, researched paintings, vintage lenses, and film that were created during these decades, and that they "took a lot of inspiration from the equipment side of things," like what brush artists used when drawing at the time.

"We took a lot of inspiration from those and re-imagined how we, as creators in 2026, would use that equipment and create this new vibe or atmosphere for the game," he said. "That's just how this older colour, and the look, and the tone, and the atmosphere of the city came to life.

"I don't think 1915 Kokura was that populated or was that big of a city, but you know, we really wanted to capture the essence and humanise it in a way that we feel like it's really entertaining for people to play."

Stranger Than Heaven releases on January 15, 2027, for PS5, Xbox Series X and Series S, and PC.

You could be forgiven for having reservations going into Call of Duty: Modern Warfare 4. After all, both last year’s instalment, the much-derided Black Ops 7, and this game’s direct predecessor, Modern Warfare III, were clearly rushed and displayed a level of sloppiness that suggested the first-person shooter franchise had reached its breaking point.

Thankfully, it’s now apparent that these were merely temporary hiccups, and Modern Warfare 4 sees developer Infinity Ward successfully bring Call of Duty back from the brink with a fresh and exciting instalment that represents the absolute pinnacle of what the series has to offer.

The brilliant single-player story campaign delivers blockbuster thrills, there’s a stellar extraction shooter component filled with tense encounters in DMZ, and the core multiplayer experience is wonderfully crafted. It’s a package that you shouldn’t miss, and if it represents the trajectory of future installments, I’m confident that we’re in good hands.

Boots on the ground

The Modern Warfare 4 campaign is simply superb and sets a new benchmark for the series’ cinematic storytelling. It truly feels like the culmination of the last decade of the Call of Duty series – and not just the Modern Warfare games.

It all kicks off in the fictional city of Hajin, South Korea, where you play as the lowly Private Park. An unwilling conscript in the country’s mandatory service program, he and his squadmates are suddenly thrust onto the front lines when a routine patrol is interrupted by the start of a full-scale invasion by North Korea. There are some genuinely shocking scenes in the opening as your team pushes through a rapidly crumbling city, dodging artillery strikes and witnessing widespread civilian casualties.

The early death of a squadmate hammers home the high stakes, and the decision to focus on newcomers rather than the established Modern Warfare cast makes it clear that there’s no plot armor here. You genuinely start to care about these new arrivals, with each member bringing a distinct and memorable personality to the squad’s dynamic. Dunn, a US Marine embedded in the local unit, is a particular highlight. His cultural cluelessness and overconfident swagger are frequently played for laughs, stopping the otherwise bleak tone from becoming too unrelentingly miserable.

It’s a big departure from the almost Marvel-movie-like silliness of the recent Call of Duty games (I’m looking at you, giant Harper mission from Black Ops 7), and the focus on a ground invasion makes for a grittier story that’s more in line with the events of the original Modern Warfare trilogy. Despite this more constrained focus, there are still plenty of memorable set-piece moments, such as an invigorating sequence that has you rapidly switching between different team members spread out across an air base, working together to fend off waves of North Korean troops.

There’s even one massive, open-world mission that unfolds similarly to a Far Cry game. It’s far more in-depth than the disappointing open-zone levels of 2023’s Modern Warfare III, with resources to scavenge, outposts to clear, and even a few puzzles to crack. It took me a few hours to clear, and since I didn’t see everything, I really appreciate being able to return to it later from the mission select screen and pick up where I left off.

Park’s story plays out mostly linearly, but it's interspersed with missions that detail the exploits of the fan-favorite Captain Price in the lead-up to the invasion. Set a few years after the events of the previous game, which, spoiler alert, ends with Price executing his long-term adversary, General Shepherd, in the middle of the Pentagon, the former SAS soldier is now on the run and travels between global locations hunting the members of a sinister cabal.

Price’s segments offer all the bombastic Mission: Impossible action that made the recent Black Ops 6 campaign so great. One minute you're infiltrating a New York nightclub, and the next you’re speeding through Paris, hanging out the side of a car chased by legions of heavily armed gangsters. Vladimir Makarov, a terrorist Price pursued throughout the previous game, is unceremoniously killed off in just the second mission, paving the way for the introduction of Archer, a new foe portrayed by Mads Mikkelsen. Unlike Makarov, he’s a compelling villain with coherent motivations and, importantly, enough screen time to appear like more than an afterthought, as his predecessor unfortunately did.

While Park’s journey sees the recruit come face to face with the horrors of war but emerge victorious thanks to camaraderie and teamwork, Price’s is all about the dangers of abandoning your morals and sacrificing those close to you in pursuit of revenge. They contrast excellently and, while the messaging certainly isn’t subtle, the way both gradually converge for a unified conclusion is nevertheless highly satisfying.

Off the books

The events of the campaign lead directly into the new DMZ extraction shooter mode, which sees mercenaries returning to the crumbling ruins of Hajin to find and extract abandoned military tech left over from the war. It plays like a simplified version of titles such as Arena Breakout: Infinite or Escape from Tarkov, with your chosen operator dropping in to the map from an upgradable field base.

This serves as a little hub world that you return to in between runs, offering limited storage for your scavenged gear, a 3D printer to forge new equipment with collected resources, a vendor for spending extracted cash, and intelligence detailing the non-player character (NPC) foes and most dangerous players active in the zone. While most extraction shooter games include base-building elements, it’s rare to see your home as a physical 3D space you can actually explore, and it makes the experience feel much more immersive.

You have three options when deploying into Hajin: Story Missions, Dynamic Ops, and Free Roam. Free Roam is the most basic: it drops you into the massive map with a few other players to pursue your own goals, whether that means finding good weapons to extract or trying to complete DMZ Orders, little challenges that guide your experience. Dynamic Ops is more guided, feeding you a stream of multi-stage objectives with increasing rewards for each that you manage to complete.

They’re assigned at random, with a good variety of options in the mission pool that range from taking out key NPC targets to taking over military camps and collecting stashed bombs to destroy marked vehicles. Story Missions, meanwhile, offer a more linear experience that feels much closer to the campaign.

One early highlight had my team of three taking on guards at an abandoned hospital, pushing our way up to the intensive care unit and wheeling a sedated enemy general to a rooftop extraction point under heavy fire. It was genuinely exhilarating, and became even more exciting when a squad of enemy players turned up to disrupt our mission.

Other players can appear regardless of your chosen mode, leading to tense PvP situations where one wrong move can mean the difference between a successful escape and losing your current operator and all of their equipment. Not every encounter has to end in a fight, though, as you can work together with enemy teams (and even opt to join them) if they’re willing to cooperate, leading to some fun emergent play.

I entered one story mission and quickly discovered that my team of randoms was absolutely terrible, with no apparent interest in actually completing our tasks, so I beelined to a nearby enemy squad shouting “friendly” until they sent me the invite to join them. I quickly led my new friends right back to my useless former teammates, and took great pleasure in helping mow them down to steal all their gear.

No two games feel the same, and if that wasn’t reason enough to keep coming back, Hajin itself is a treat to explore. It’s big, beautiful, and filled with a variety of aesthetically distinct zones ranging from freezing cold, abandoned North Korean villages to the rusty ruins of the South Korean city and even some of the barren outskirts of Russia. Even when you’ve seen it all, the dynamic weather effects can still take you by surprise, introducing challenging conditions like dense fog or heavy rainstorms that make it more difficult to navigate and spot foes.

DMZ would be a strong offering as a standalone extraction shooter game, so it represents incredible value when bundled in alongside the rest of the Modern Warfare 4 package. This is a mode that I’m going to be coming back to time and time again in the weeks and months ahead.

A fresh start

Of course, no Call of Duty game is complete without a robust suite of core multiplayer modes, and Modern Warfare 4 delivers a truly superb experience across the board in this regard. The pacing of matches is perfect: noticeably snappier than the comparatively pedestrian battles of Modern Warfare II but not as overwhelmingly rapid as the wall-jumping, hip-firing action of Black Ops 7.

Fast movement helps you navigate the smaller maps of classic modes like Team Deathmatch or Kill Confirmed quickly so you’re always encountering new enemies to fight, keeping the excitement high. Focusing on tactical positioning is still rewarded, thanks to a finely tuned TTK (time to kill) that gives the player who lands the first hit an advantage, but not a guaranteed victory against particularly skilled opponents. New traversal mechanics like a ledge grab that lets you hang off the side of buildings and objects are seamlessly implemented too, opening up new exciting opportunities on every battlefield.

As I noted in my impressions of the Modern Warfare 4 beta, the overhauled ballistic system is far more than a marketing bullet point and genuinely impacts how you engage with weapons by accurately simulating the trajectory of bullets based on the position of your muzzle. In practical terms, it means being able to reliably hit shots when quickly shooting from the hip, which gives you a chance against players that slide around corners with SMGs at breakneck speeds to try and catch you off guard.

The guns themselves are all fantastic to use, with best-in-class model fidelity, impactful sound effects, and slick animations. There’s a great variety in the arsenal to boot, which spans from modern assault rifles to the antique WWII gear used by the real-world North Korean military. GUNNY, a new automated helper smartly built into the gunsmith system, makes it easier than ever to tweak your attachments for that perfect build. While I will always prefer poring over the detailed stats, giving newcomers the ability to automatically create good attachment setups based on their specific playstyles helps keep the playing field even.

As for the maps, they’re some of the best that we’ve had in recent years. They’re definitely on the smaller side unless you dive into the massive Ground War: Combat Outpost mode (which plays almost like a Battlefield match), though none of them stand out as suffering from poorly balanced spawn points or unfair sightlines. They’re visually stunning. Those taking place in South Korea, such as Silkworm, stand out particularly with their lavishly detailed streets, while little animated intros grant each arena a distinct visual identity.

Wrap all of this up in a slick UI that finally doesn’t look like the Netflix home screen, and it’s hard not to come to the conclusion that Modern Warfare 4 is going to reshape the direction of the long-running series going forward. If I had to truly nitpick, I would fault the lack of faction divisions in the operator lineup – being able to tell at a glance which team a player is on without having to rely on the red enemy indicator would help readability.

For something this insignificant to be my only complaint is a testament to how strong the Call of Duty: Modern Warfare 4 package is

Should I play Call of Duty: Modern Warfare 4?

Play it if…

Don’t play it if…

Accessibility features

As with most modern Call of Duty games, there is an expansive selection of accessibility settings. This includes a wide selection of visual presets designed to enhance readability, as well as an assortment of subtitle options for the campaign.

The controls are also highly customizable, with full remapping supported whether you’re using a keyboard and mouse or a controller. You can also tweak aim assist settings and enable presets designed to reduce motor strain.

How I reviewed Call of Duty: Modern Warfare 4

I played more than 25 hours of Call of Duty: Modern Warfare 4 for the purpose of this review. This included a full playthrough of the campaign, multiple DMZ sessions both solo and with a friend, and plenty of multiplayer. I also drew on my experience playing more than ten hours of the game’s beta, and some extra hands-on time in a studio visit earlier this year.

I tested everything on PC using a 5070 Ti-powered model by retailer Sca with a compact Corsair 2000d RGB Airflow case, Asus ROG Strix B860-I Gaming Wifi motherboard, Intel Core Ultra 7 265K CPU, a 2TB WD Black SN770 SSD, 32GB of DDR5 Corsair Vengeance RAM, and an Nvidia 5070 Ti manufactured by Asus. This setup lets me play smoothly on custom graphics settings at 1080p with most options set to High.

For peripherals, I used the new Logitech G Pro X2 Rapid keyboard and Logitech G Pro X3 SuperStrike mouse throughout my time with the game.

First reviewed October 2026

• Stranger Than Heaven director Mikinobu Abe explains why the game's story spanning decades is being told in one game instead of multiple titles
• Abe says it was "a week isn't enough to tell the story" of how a yakuza organisation is built
• The director says the era-spanning story worked best when framed around a man's life

Stranger Than Heaven director Mikinobu Abe has explained why RGG Studios chose to tell an era-spanning story in one game, rather than across multiple titles.

"The whole starting point was that we wanted to depict why, or how, someone would create such an organisation like a yakuza organisation," Abe said in an interview with TechRadar Gaming.

Stranger Than Heaven centers on the main character, Makoto Daito, and the origins of a Yakuza organisation spanning 50 years across five cities in Japan, and Abe explained that the initial idea of containing the story within a smaller timeframe simply didn't work for the team's vision.

"We started from there, and while we were creating the narrative, we started to slowly realise that a week isn't enough to tell the story," he added. "We then explored how much time we needed to tell the narrative of a man who's going to build a gigantic yakuza organisation."

Abe went on to explain that this story worked best when framed around a man's life (Daito's) and realized it was the best outcome instead of splitting the story across multiple games, despite how long the narrative is.

"It was really important for us that the player experience the whole life of a man, because we wanted to tell this epic story of how the organisation became an organisation," he said.

"The timespan needed for that was basically a man's life. So, if we split it, people are going to experience it separately. But again, the main focus of the narrative was to tell why he created this organisation, and the timespan needed to tell that story was a life."

The director added, "So we just decided to create it and do it in one game. I will also say that the game itself is pretty long, but I'm quite satisfied with what we’ve built."

Stranger Than Heaven launches on January 15, 2027, for PS5, Xbox Series X and Series S, and PC.

• Electronic Arts has confirmed it will "be bringing together" its "Respawn and DICE studios to collaborate on a future project"
• Multiple sources have confirmed with Variety that it is Star Wars Battlefront 3
• The confirmation comes as EA shuts down BioWare and lays off 400 staff members across all studios

Star Wars Battlefront 3 is reportedly in development after Electronic Arts confirmed that Respawn and DICE will work collaboratively on a new project.

According to Variety, EA’s Cam Weber, president and chief studio officer, and David Tinson, president and COO, have confirmed the publisher is leaning into live-service online games after seeing success with Battlefield 6.

The executives said the game was "a great success, and we learned a lot from the launch and the live service" and alongside more Battlefield titles, "we’ll be bringing together our Respawn and DICE studios to collaborate on a future project."

EA didn't specify what this project is; however, Variety confirmed with "multiple sources" that the game is Star Wars Battlefront 3. The game has made headlines recently, with initial reports claiming it was to be developed at DICE alongside Destiny developer Bungie.

Star Wars Battlefront 2 launched in 2017, but live-service support ended in 2020, leaving the popular online multiplayer game in the dust with no further content updates, and it was thought the series was on ice.

Saudi Arabia’s Public Investment Fund, Silver Lake, and Affinity Partners acquired EA in September 2025, but the deal wasn't officially closed until August 2026, making the restructuring the publisher's first major move.

Alongside Respawn and DICE's project, EA will continue to "invest heavily” in the Apex Legends franchise over the next few years, with plans to introduce new multiplayer modes and other content, and has committed to delivering "our two huge launches coming up," which are Marvel's Iron Man and Star Wars Jedi 3.

It also plans to continue supporting EA Sports, with two new projects in development, The Sims franchise and Skate.

Unfortunately, it's not all good news. The executive's plan also included a major restructuring across its studios and projects, resulting in 400 layoffs and the permanent shutdown of the legendary Dragon Age and Mass Effect studio, BioWare.

Roughly 50 people were laid off from the studio, and work on Mass Effect 5 has been canceled.

Former BioWare cinematic supervisor Tony de Waal has spoken up about the studio's closure, saying that Mass Effect 5 would have offered "a level of autonomy and choice that no other game has been able to match"

• Stranger Than Heaven director Mikinobu Abe says the game's combat system was inspired by classic Ninkyo yakuza movies
• He says the action scenes in those movies were "raw and gritty" and encapsulated the feeling RGG Studios wanted to showcase
• Abe adds that the combat system also correlates with Makoto Daito, who will start as an inexperienced fighter before evolving

Stranger Than Heaven director Mikinobu Abe has revealed that classic yakuza movies inspired the upcoming action game's combat system, and that it will tie into Makoto Daito's character development.

Speaking in an interview with TechRadar Gaming, Abe shared how RGG Studios conceptualized the game's combat, saying that it "really wanted to make sure that the player feels this atmosphere that it’s either you kill, or you get killed," and revealed that "we took a lot of inspiration from the old Ninkyo movies."

Ninkyo is a classic subgenre of Japanese yakuza-themed movies made in the 70s and 80s. Abe said RGG was influenced by movies like New Battles Without Honor and Humanity, starring Bunta Sugawara, who also plays a character in Stranger Than Heaven, because of its unrefined action scenes.

"While we were watching these movies, we noticed that what made those movies special was how raw and gritty the action scenes are in those movies," he said. "No one throws a cool-looking fist punch or anything; it's just people rolling around and fighting. We felt that atmosphere was what made those genres special."

The "raw" action scenes also influenced the game's main character, Makoto Daito, and his gradual progression to becoming a better fighter than he starts; players will see him evolving the more they become attuned to the combat system.

"We took a lot of inspiration from that, and wanted to make sure that Daito is a character who starts out not being too good in a fight," Abe continued. "As he progresses, though, he gets more comfortable fighting people. Because of that, because the game is about one man's life, we definitely wanted to depict how the main character is evolving, or I guess more like ageing, through the narrative. We wanted to make sure that the player can also feel that, while also feeling that tension of kill or be killed."

Abe added that "It was really, really important that the combat feels intuitive to create this sense of synchronisation between the player and Daito" and to allow the player to "immerse themselves in controlling Makoto."

"As the player's skill gets better, so does Daito as a character gets better," the director said. "So that was the whole concept of what we wanted to depict through this combat system."

Stranger Than Heaven releases on January 15, 2027, for PS5, Xbox Series X and Series S, and PC.

• Stranger Than Heaven director Mikinobu Abe says the game's narrative is very unique
• Abe hopes that Makoto Daito, the main character, and his background resonate with players of mixed heritage and that players will engage with the narrative
• Abe says, "We put a lot of focus on telling this narrative about a man's life who starts by facing a lot of racism"

Stranger Than Heaven director Mikinobu Abe hopes the game's multi-era narrative and its mixed-heritage protagonist will resonate with players and those who have experienced discrimination.

In an interview with TechRadar Gaming, Abe explained how Stranger Than Heaven's story, which spans 50 years across five distinct eras and cities in Japan, is not a concept he's ever experienced in a video game before, and believes it's "not just entertainment."

"I would say experiencing one man's life as a narrative and as a gameplay experience is something that I have personally never played before as a video game medium. I think that aspect of the game could be something that’s not just entertainment," Abe said.

The director continued to discuss the main character, Makoto Daito, who is of Japanese-American descent, and how his mixed heritage background and the racism he experiences when he first arrives in Japan are aspects of the story that he hopes players engage with.

Abe also said that while RGG Studios was developing the narrative for Makoto, it "felt it was really natural that music would be a big part of this character," and was one of the things that would help break the barriers of the racism he experiences.

"Once he comes to Japan, he faces a lot of discrimination, and people won't even talk to him just because of his race and language," he said. "So, music was the only thing for him that would break those barriers and help him communicate with people. That was really natural for us to put into the narrative.

"Of course, Captain Orpheus is the one who's going to teach him how to make money off of music. And for Daito, because he has that experience, it was really natural for him to start making money, and you know, start showbiz as his life's work. So that's why we always wanted the concept of music in this game to tell the narrative of Makoto’s life. That was the starting point of why we wanted music."

Abe continues, saying that he and Daito's actor, Yu Shirota, have both experienced discrimination and wants players to immerse themselves in the story, even if they're only playing Stranger Than Heaven for entertainment.

"Because of the way Makoto Daito’s story is written, where he starts from a mixed-heritage background, comes to Japan, and gets discriminated against, I hope that Makoto’s life journey really speaks to people around the globe who have had similar experiences," Abe said.

"I myself have had one before, and our lead actor also had a similar experience before, so we put a lot of focus on telling this narrative about a man's life who starts by facing a lot of racism. I hope it really encourages people, as well as the player who just wants to entertain themselves while playing the game can also get immersed in this narrative."

The director concluded, "So the concept of a man's life is, I think, one of the biggest things that I would love the player to experience, and I can’t wait for them to experience."

Stranger Than Heaven launches on January 15, 2027, for PS5, Xbox Series X and Series S, and PC.

• Stranger Than Heaven director Mikinobu Abe says the game was always going to be different from the Yakuza or Like A Dragon games
• Abe says, "There was no conversation whatsoever about what Yakuza or Like A Dragon was like"
• He adds that RGG Studios "never compared" Stranger Than Heaven to its past titles, so it became "something new"

Stranger Than Heaven director Mikinobu Abe has explained why the upcoming role-playing action game was developed as a completely new experience from RGG Studio's Yakuza franchise.

In an interview with TechRadar Gaming, Abe said approaching Stranger Than Heaven was "a big task" and a "huge challenge for us," but knew "from the very beginning that we wanted to make this experience different from the previous games."

Unlike the Like a Dragon games, which typically take place in one location and timeframe, Stranger Than Heaven shifts to a historical timeline by telling a story across five distinct eras and cities spanning 50 years.

It's an ambitious decision for RGG, but Abe said the team intentionally forgot everything it knew from making the Yakuza series to create something new.

"While we were developing Stranger Than Heaven, there was no conversation whatsoever about what Yakuza or Like A Dragon was like," Abe said. "We intentionally forgot what it was like in our previous games and started from scratch. We were doubting every single pixel of what we had in Yakuza."

This included everything from the game's map, the UI, and how RGG wanted to approach the world; Abe said it even applied to the narrative and cutscenes, and the team "never compared" Stranger Than Heaven to its past titles.

"Every single aspect of it, we started thinking about it from scratch, just to suit the style of Stranger Than Heaven," he added. "We were never trying to make this different because we never compared it with our previous games, so in the end, it became something new."

Stranger Than Heaven launches on January 15, 2027, for PS5, Xbox Series X and Series S, and PC.

Stranger Than Heaven is exactly the sort of game I want to champion. It’s rare to see a team of young developers given a significant budget and seemingly generous freedom to create a half-century-spanning epic that tackles heavy themes while taking bold risks with both the combat and music-influenced management game at its core.

My four-hour whistlestop tour across several of the game’s time periods between 1915 and 1965 in this latest fantastical tale from the Japanese criminal underworld did make it hard to see just how well all of this ambition from RGG Studio will come together in the end. But I haven’t really stopped thinking about it since.

And when you’ve played and previewed dozens (maybe hundreds) of games, it’s harder to find ones that leave a mark like that — ones that genuinely leave you wanting to play and see more.

What I admire most about Stranger Than Heaven is that it knows what it wants to be and fully commits to that idea to create its own unique vibe.

Music is the throughline. On one side, it's the way the protagonist, Makoto Daito, finds his place in a hostile world, as a way for him to break down barriers and overcome prejudice he faces as a Japanese-American immigrant.

There is a level of detail and adoration in the musical performances I saw in-game that made it easy to get swept up in the atmosphere — whether it was a professional big band showstopper full of belting brass, or an impromptu sing-a-long that draws in a large crowd on the streets of Kokura.

Play it, Daito

Music is also a fundamental part of several other aspects of the game. Mainly, it’s a key part of the main management mini-game in Stranger Than Heaven. Instead of running a hostess club or a confectionery shop as we've seen in Yakuza and Like a Dragon, Daito works as a promoter in the showbiz business. That involves creating tunes, hiring talent, scoping out venues, drawing in punters, and making sure performances run smoothly.

I dabbled with putting on a show or two, and can see how it has the potential to be another all-consuming distraction that RGG is known for, diverting you away from the main story for many hours. There’s a satisfaction to tinkering with all aspects of the performance to rake in the most cash, ensuring you’ve got the best singers and musicians performing the right sort of music in the right venue to suit the audience’s mood.

What also keeps that music throughline in other areas of the game is the way you draw inspiration for your next tracks and shows from the world around you. Those sparks also come from the combat, with small flashes or cues as kicks and punches fly that you can focus in on to unlock new sounds, instruments, or playing styles.

It’s a nice way to tie the game together, although I’m very aware that combat was a point of contention for some in earlier previews. I definitely struggled to grasp it fully in the beginning, but I was starting to get into the flow of it by the time I was wrapping up my time with the game. It has its own rhythm, swapping out flashy attacks and arcade-style simplicity from prior Yakuza games for more grounded and messy fistfights.

Mastering the art

It does require a bit of controller contortion to execute fully, with actions for your left and right hands and legs split across the left and right bumpers and triggers. Throw in directional blocking, perfect parries with spot-on timing, and the need to dodge some attacks, and it’s a lot to hold in your head and execute with ease.

Weapons add another dynamic, ranging from swords, knives, and batons to more improvised weaponry such as crowbars and a giant wooden mallet. These can be found or bought and switched between mid-combat to give you a bit more fighting power against multiple foes or tougher enemies.

Oh, and there’s ‘willpower’ too: a resource that you and opponents have that can be whittled down with repeated attacks, eventually causing you or them to fall to the floor when it’s emptied. You can then punish them with more severe finishers or find yourself fending off an assault while prone so you can get back on your feet.

It is a lot. And with pretty much all of these elements introduced from the first fight, I was getting beat up fairly regularly for a while. As I say, though, I eventually grew to like it with more practice, and I found myself taking down a few of the tougher enemies that are hiding around the game’s different locations in some extended but rewarding duels.

Those fights are just one of the many distractions that are dotted around the game’s towns, which include all sorts of games to play, items to find, and arenas to fight in. Even just exploring the spaces was fascinating, especially wandering through the entertainment capital of Sotenbori. It hits you with an overwhelming cacophony and a barrage of lights that RGG fans will be eager to experience in this different time period.

I think that’s what I appreciated most about Stranger Than Heaven: it does exist within that same universe of the existing RGG games, but is its own adventure in a new and confident direction.

Yes, it’s building off the Yakuza and Like A Dragon elements that are clearly in its DNA — in terms of the mix of brawling and business management, as well as its approach to story and presentation. But it feels like its own evolution. Or, to speak in the game’s terms, it’s several familiar melodies and motifs that have been remixed into a surprising new composition.

Stranger Than Heaven launches on PlayStation 5, Xbox Series X and Series S, and PC on January 25, 2027.

Anomalith might be one of the most interesting releases of 2026. A third-person survival shooter set in a twisted, retro vision of Japan, it’s a major departure from publisher FuRyu Corporation’s usual role-playing game (RPG) output.

It looks almost like the company’s take on Resident Evil, with 17-year-old protagonist Reona Minazuki venturing into deadly anomaly zones filled with grotesque creatures at the behest of a shadowy government organization.

Real-time gun combat, managing your small inventory, and keeping track of precious ammunition form a key part of every mission. Each run unfolds in an almost extraction-shooter-like format, and between missions you can use the resources you’ve scavenged to upgrade your gear.

There’s more to Minazuki than meets the eye, though, with the hero able to harness a mysterious set of mutant powers brought on by exposure to these supernatural environments. I spoke to producer Gai Kidokoro over email to learn a little more about how this project took shape and discover some of what’s in store for players.

Expanded arsenal

Anomalith is Kidokoro’s first original project, having joined FuRyu in the company’s anime division, which has helped produce hit titles like Is It Wrong to Try to Pick Up Girls in a Dungeon?, before making the leap to its gaming business to direct some licensed titles. Working on games has “always been an area I was interested in,” he says, adding that his career has been “a little different from that of FuRyu’s other producers.”

It therefore seems only fitting that he is producing quite a unique project, with Anomalith standing apart as FuRyu’s first third-person shooter. Interestingly, Kidokoro says that the genre was chosen because both he and the director “love third-person shooters and guns” and set out to create something based on the things they enjoy.

“Rather than thinking, 'Let’s deliberately challenge ourselves with a completely different genre,' it was really more about wanting to make a game in a genre that we personally love,” he continues.

This fascination with firearms seems evident in the game’s weapon customization system, which lets players “swap out a fairly detailed range of parts,” including a variety of attachments such as “sights, grips, stocks, and more.” These help you personalize the appearance of each gun, but also provide statistical bonuses to help in the field.

The producer is also keen to highlight the player’s ability to scavenge “pieces of equipment called Artifacts that enhance your character’s stats” and change your overall build.

“These include loot-based, hack-and-slash-style elements,” he teases, “and if you manage to equip an Artifact with extremely high values, some skills have the potential to become incredibly powerful.”

The team is well aware that not everyone is going to be interested in tweaking their guns or experimenting with the nitty-gritty of their character’s stats, which is why the game offers a wealth of cosmetic options for players to outfit themselves with – some already available to try in the recent free Steam demo.

“We realized that there are quite a lot of people who don’t necessarily get the same enjoyment we do from firing their favorite, carefully customized gun,” Kidokoro begins. “We thought, 'Maybe adding character outfits and customization would make it more fun for those players,' and that’s why we ended up including such detailed character customization options. Judging from the response to the demo, I’m really glad we added the outfit customization.”

Uncanny valley

The world design is shaping up to be a treat, with plenty of intricate detail to pore over. In fact, Kidokoro highlights this as one part of the experience that he is most excited about. “The development team has put a tremendous amount of effort into designing the Otherworlds,” he explains. “There are many areas where something may initially look like nothing more than an ordinary ceiling, but if you stop and look up, you might find something that gives you a real sense of unease.”

He describes the fundamental concept behind it all as the “anxiety and fear lurking within familiar scenery” and reveals that it was inspired by popular ideas of “liminal spaces, including things like the Backrooms,” referring to the viral meme featuring endless wallpapered corridors that recently inspired a horror film adaptation.

“Within the development team, we often use phrases like ‘give it a liminal-space atmosphere’ when discussing the visual direction.”

This extends to the soundtrack. Aside from the game’s title theme, the music of Anomalith doesn’t feature any vocal tracks. Nevertheless, the producer argues fans “can definitely look forward to the soundtrack” and warns “many of the tracks are quite dark and unsettling.” He jokes: “I recommend listening to them during the daytime.”

Although Anomalith seems very different, long-time FuRyu fans will recognize some common elements shared with the publisher’s past games, such as the focus on a teenage protagonist. Kidokoro thinks the reasons behind this particular motif “would vary” depending on the title, but personally reckons “that it is easier for audiences to emotionally root for younger characters.”

“Watching boys and girls confront unreasonable circumstances and ultimately overcome them can also feel more hopeful and moving than a story centered on adults,” he continues. “Of course, we have been influenced by other games. However, we try to keep those influences as references rather than simply copying them. Our main criterion is always whether a particular element is necessary for players to enjoy the world and experience of Anomalith.”

We will be able to find out whether this formula pays off when Anomalith launches for Nintendo Switch 2, PC, and PlayStation 5 on October 29, 2026.

• Bloomberg's Jason Schreier says Rockstar Games went on trips to Miami for research for Grand Theft Auto 6
• Rockstar went on "police ride-alongs" and "wound up hovering over a Beyoncé concert" in a helicopter
• The developers also met people who revealed their past crimes when they learned the team worked on GTA

Rockstar Games did extensive research on Miami for Grand Theft Auto 6 and even encountered people who shared about past crimes when they learned the developers worked on GTA.

Speaking in a new YouTube video about his time at Rockstar North and his behind-the-scenes experience seeing GTA 6 before the general public, Bloomberg's Jason Schreier said he was told about the many trips Rockstar developers, including artists and leadership, made to Miami.

Since Miami and Los Angeles inspired GTA 6's Vice City, the team chose to do in-person research. They went on group trips and "went all over the place" for inspiration, even doing "police ride-alongs" and visiting "some scary places."

"At one point, some of the artists were in a helicopter taking photos of aerial views of the city, and they wound up hovering over a Beyoncé concert," Schreier said.

Speaking more about the ride-alongs, Rockstar also met tons of "really colorful characters" in Miami who shared their own life experiences with the developers.

Senior vice president of technology Jonathan Ashcroft revealed to Schreier that he spent his 40th birthday at a nightclub during one of these trips and said it was funny because he and some other developers were "these light-skinned Scottish people just like looking totally out of place wandering around this club" and "scrutinizing the lighting instead while everyone else around them is partying."

Returning to these "colorful characters" Rockstar met, Ashcroft said that they would divulge information about past crimes when they learned the team worked on GTA.

"As soon as they know where you're from, they just want to tell you every crime they or their friends have ever done," Ashcroft said.

In the same video, Schreier revealed that Rockstar Games reportedly spent years developing a new weapon interface for the game, but eventually stuck with the classic weapon wheel the series is known for.

• Lucasfilm Games vice president Douglas Reilly suggests more Star Wars games could be made following the success of Star Wars: Galactic Racer and Star Wars: Zero Company
• Reilly says that while "huge triple-A games like Battlefront are always going to be an essential part of the strategy," the "goal" is to find "the best partner"
• This goes for both triple-A and smaller independent studios

It sounds like Lucasfilm Games wants to release more Star Wars games following the success of Star Wars: Galactic Racer and Star Wars: Zero Company, but it's not necessarily looking for triple-A studio pitches.

That's according to Lucasfilm Games vice president Douglas Reilly, who told The Game Business that games developed by independent studios "very much is part of the strategy."

"Obviously, huge triple-A games like Battlefront are always going to be an essential part of the strategy," Reilly added. "But one of the great things about Star Wars is it has all kinds of other opportunities to tell stories in different genres.

Reilly said, "The goal has been to find the best partner who makes that experience come alive inside the galaxy far, far away," and it doesn't necessarily "have to always be triple-A."

"Sometimes it can be double-A, and it’s really about the experience that we’re delivering and the fantasy we’re fulfilling," he said, adding that Lucasfilm Games has "tried to be more flexible about who we’re willing to take pitches from."

Saber Interactive is quietly working on its Star Wars: Knights of the Old Republic remake, which it confirmed is still in development, while a new game from Arcnaut Studios and Mass Effect trilogy director Casey Hudson, Star Wars: Fate of the Old Republic, is now in the works.

In addition, a new report has now claimed that Destiny developer Bungie and DICE are "aggressively" pursuing a Star Wars: Battlefront 3 project, but official confirmation has yet to come in.

"Good ideas can come from a lot of different places," Reilly continued. "You don’t have to necessarily be a top five publisher to make a great Star Wars game. There are some hurdles.

"We have a high-quality bar, and that means typically we work with more experienced teams than ones with no track record. But we’re exploring all kinds of things, large and small, with partners that are going to surprise folks."

I reviewed both Star Wars: Galactic Racer and Star Wars: Zero Company, and they're among the best games of the year. Galactic Racer is the Star Wars racing game I've always wanted and an exhilarating roguelike racer with endless customization, while Zero Company acts as an excellent companion story to the Clone Wars era with immensely fun turn-based tactics gameplay.

• Bloomberg's Jason Schreier says Rockstar Games spent years developing an alternative weapon system for Grand Theft Auto 6
• He says, "They wanted GTA 6's weapon system to be more like Red Dead," with a reimagined weapon wheel
• However, after years of iteration, Rockstar stuck to a classic design

Rockstar Games reportedly spent years developing a new weapon interface for Grand Theft Auto 6, but eventually stuck with the classic weapon wheel the series is known for.

As reported by Bloomberg's Jason Schreier, who shared a YouTube video about his visit to Rockstar North, co-studio head and head of development Rob Nelson said that the team wanted the game's weapon loadout system to be more like Red Dead Redemption 2 than GTA 5.

"They wanted GTA 6's weapon system to be more like Red Dead, where you couldn't just carry an unlimited number of guns," Schreier said, which was "a little more realistic."

In Red Dead Redemption 2, loadouts are tied to your horse, and players can only carry a certain number of weapons on their person at a time, whether a pistol or a shotgun, while the rest is stored on your saddle.

The team wanted to recreate a similar system for GTA 6 by having storage tied to the player's car and a limited loadout of weapons that players can carry at any given time, but wanted to reimagine the weapon wheel.

"So the idea that they were thinking was like, well, if we use a weapon wheel, is that just going to remind people of all these blank spots in it? It'll remind people of what they can't actually do, what they can't carry. And so maybe we shouldn't use a weapon wheel," Schreier explained.

"And so they spent months, if not years, trying a million different things that would replace the weapon wheel."

Schreier revealed that Rockstar tried "trays and webs and all sorts of different things in the UI" and other ways to replace the weapon wheel, but in the end, the team ended up back at the weapon wheel.

"They tried not having one," he said. "They tried all these different iterations on this. After all that, they just wound up back at a weapon wheel, and in the final game it's just a weapon wheel again."

Schreier believes this was part of the "dark periods" of development that "led to some problems for the game", as developers continuously reworked prototypes for the UI, only to end back at square one.

However, he added that "really ended when the game started coalescing, I would say around [the] end of 2022, beginning of 2023, something like that is where they really started to see it all come together."

"As I mentioned in the story, the first trailer that they released in December 2023 was really a guiding light for a lot of the people on the team to see, 'Oh, this is what the game is going to look like,'" Schreier said.

Rockstar recently released the cinematic GTA 6 launch trailer, ahead of GTA 6's launch on November 19. The game is coming to PS5, Xbox Series X, and Series S, with a new report claiming the PC version could launch in early 2027.

• Rockstar Games has been working on Grand Theft Auto 6 for 11 years, as the artists needed to plan out the map first
• The game's roads are much narrower and denser than GTA 5's, which created "ripple effects," according to Bloomberg's Jason Schreier
• Schreier says head of development Aaron Garbut told him, "All these things sort of come [back] to bite you later"

Rockstar Games has reportedly been working on Grand Theft Auto 6 much longer than realized, since the studio needed to plan out the game's ambitious map first.

That's according to Bloomberg's Jason Schreier, who shared more details about his visit to Rockstar North in a YouTube video after releasing his behind-the-scenes GTA 6 article.

While it's common knowledge that full-scale development of GTA 6 began around 2018 and was originally planned to be made alongside Red Dead Redemption 2, pre-production on the game actually began much earlier.

"Something that I learned while talking to those folks [the developers at Rockstar North] is that there are a few artists at Rockstar who have actually been working on GTA 6 for more than 11 years since 2015, if not earlier," Schreier said. "2015 is when Rockstar started kind of planning out GTA 6 in the sense that it was conversations before like before that."

Schreier explained that the game's massive map, which is twice as big as GTA 5's world and more densely populated and interactive, was a priority for the studio and the first thing it planned.

"2015 is when they started going to Miami, actually starting working on the map of the game, which is always the first thing that Rockstar does on these big open-world games as they start planning out the map first," Schreier said.

He added that gradually over the next couple of years, top leadership then mobilized everyone to work on Red Dead Redemption 2, as the game needed a lot of help due to its ambitious systems. However, a few artists continued work on GTA 6's map.

Aaron Garbut, art director, current head of development and co-studio head at Rockstar North, also told him that "the roads are significantly narrower in GTA 6 than they were in GTA 5," which fans may have noticed in the trailers.

This created a more realistic depiction of a fictional Los Angeles, and less like a racing game with wider spaces to zip through like GTA 5. However, Rockstar's goal of making GTA 6's map have narrower roads and denser traffic from the beginning presented some technical challenges, or what Schreier called "ripple effects."

Garbut told Schreier, "All these things sort of come [back] to bite you later," because narrow, denser roads meant the team had to implement more surrounding buildings, and artists have worked on the concept for 11 years.

GTA 6 launches in under one month, on November 19, for PS5, Xbox Series X, and Series S. Rockstar recently released the cinematic GTA 6 launch trailer, which offers a deeper look into the game's story. Elsewhere, a new report claims the PC version could launch in early 2027.

• 007 First Light will launch on Nintendo Switch 2 on March 18, 2027
• The edition was originally scheduled to launch this year but was delayed
• IO Interactive says it will continue "refining the game's optimisation and performance" in the lead-up to the game's release

IO Interactive has finally announced that 007 First Light will launch on Nintendo Switch 2 on March 18, 2027.

The release date is much later than initially promised — IOI originally said the Switch 2 edition would arrive this year after the game's PS5, Xbox, and PC launch in May — however, it's now said that the delay allowed the team extra time to address performance issues and that it will continue to improve optimisation in the following months.

"Since announcing additional development time to ensure the quality of experience players expect, IO Interactive has brought hands-on builds of 007 First Light to both Gamescom and Tokyo Game Show, where players and press had their first opportunity to experience Bond's world running on Nintendo's hardware," IOI said in a statement.

"Player response from both events has been positive, reflecting the progress being made across the game as development continues toward launch."

The studio added that "the development team will use the coming months to continue refining the game's optimisation and performance on Nintendo Switch 2, ensuring it meets the standard players expect at launch."

On top of a Switch 2 release date and a new gameplay trailer running on the hardware, the 007 First Light – Deluxe Edition is now available for pre-order for $69.99 / £69.99.

The Deluxe Edition offers the Gleaming Lighter, Gleaming Earphones, Gleaming Dart Gun, and Gleaming Pen gadgets, plus four additional outfits, including the Day of the Dead, the Desert Explorer, the Silent Anchor, and the Gentleman Operator.

In addition, the 007 First Light - Special Edition on Switch 2 is also available exclusively at Amazon, giving players access to the Classic Tuxedo.

Anyone who pre-orders the game on Switch 2 will also receive early access to the GoldenEye Suit at launch.

IOI released 007 First Light's first major free downloadable content (DLC) earlier this month, which included New Game Plus, Photo Mode, and a brand-new "00" difficulty level, among other activities.

• Rockstar Games co-head of development Aaron Garbut says Grand Theft Auto 6 leaks from 2022 were an "invasive" moment
• The leaks caused a huge shift at Rockstar that forced a five-day in-office work policy for security reasons
• Rockstar’s head of publishing, Jennifer Kolbe, says Rockstar plans to reexamine the policy after GTA 6 launches

Rockstar Games has addressed the initial Grand Theft Auto 6 leaks from 2022, calling it an "invasive" moment that resulted in a huge policy shift at the studio.

In a lengthy interview with Bloomberg, where Rockstar leadership discussed GTA 6's long development period, co-head of development Aaron Garbut touched on the huge leaks from 2022 that changed how the studio works today.

In September of that year, someone hacked the company's Slack channel and leaked dozens of raw, unfinished gameplay footage before Rockstar was ready to unveil anything. Rockstar released a statement about the leaks, and despite copyright takedowns, the footage quickly spread like wildfire, and though law enforcement later tracked the alleged hacker down, it was too late.

"It feels like somebody’s wading through your dirty washing," Garbut said. "It’s like they’re inside your head. You see your early work out there. Nobody’s ever supposed to see that. It’s really weirdly invasive. And so it’s quite hard to deal with on an emotional level."

As a result, Rockstar introduced a controversial policy in 2024 requiring every developer to work in-office five days a week for security reasons; developers were also banned from accessing Rockstar’s servers and tools outside the office, which forced them to take vacation days if they needed to stay home for childcare or emergencies.

The policy set back the cultural progress the studio made after Red Dead Redemption 2's release, a game made under extensive periods of "crunch." With GTA 6, Rockstar knew it couldn't repeat those mistakes; however, the new policy following the leaks meant no more hybrid working.

Rockstar’s head of publishing Jennifer Kolbe told Bloomberg, however, that the studio plans to reexamine the policy after GTA 6 launches, though she doubts it will be able to switch to the more common three-days-in, two-days-out hybrid work model.

"The idea that we would have the game in that many environments is something that I think the security team would not love," Kolbe said. “I think if we did not have a game that people wanted to steal as much, maybe it would be an easier conversation."

Unfortunately, more leaks have since occurred, notably ahead of Rockstar's GTA 6 extended look, and persist to this day, with a prevalent leaker known as 'Cyberleek' threatening to release more in the lead-up to the game's launch on November 19.

In case you missed it, Rockstar has released the cinematic GTA 6 launch trailer, which offers a deeper look into the game's story.

• Rockstar Games has released the launch trailer for Grand Theft Auto 6
• The trailer features Jason and Lucia and sets up the game's story
• We see new cinematic footage and gameplay systems in action

Rockstar Games has released the launch trailer for Grand Theft Auto 6, showcasing new story details and a deeper look at crime-duo protagonists, Jason and Lucia.

The trailer, which was captured "entirely in-game from a PlayStation 5," begins with some narration from Jason talking about his time in the army, before we see him receiving a call from Lucia in prison, suggesting the prologue will be from his perspective before we're introduced to his counterpart.

A montage of different scenes plays out, including missions with both characters, the pair getting hot and heavy in a shower, dancing in a club, fighting off bad guys and the police, as well as jumping off a building into a swimming pool.

Interestingly, we see Lucia wearing an ankle monitor, meaning she hasn't completely escaped the law just yet and some of what we're seeing is from the beginning of the story.

We also see Jason wearing tactical gear wading through water with two other men behind him, almost like he's leading an army mission; could this be a flashback to his army days?

The entire trailer looks incredibly cinematic, with footage showing a helicopter crashing into the side of a building, Lucia climbing the wheels of an airplane Mission Impossible-style, and Jason sneaking onto a huge ship; several other gameplay systems can also be seen in action, including bank robberies and seemingly quick-time events.

We also have a brand-new story synopsis provided in the description, which you can read below.

"Jason and Lucia have always known the deck is stacked against them," it reads. "But when an easy score goes wrong, they find themselves on the darkest side of the sunniest place in America, in the middle of a criminal conspiracy stretching across the state of Leonida — forced to rely on each other more than ever if they want to make it out alive."

The trailer also features a new track, 'Flower in a Hurricane,' from electronic duo Justice, the composers behind the original score of Grand Theft Auto 6, feat. Tame Impala, SZA, and King Gizzard & The Lizard Wizard, who are also included on the Grand Theft Auto 6: The Album.

GTA 6 launches in just over a month on November 19 for PS5, Xbox Series X, and Series S. A new report claims the PC version could launch in early 2027.

• Control Resonant composer Petri Alanko says he likes to "go to extremes to add depth to everything" in his work
• He says each Resonant has "their own features in the concept track" that can be picked apart
• Alanko says, "Nothing is obvious and nothing is rubbed into your face, and in the end it’s all only music made with love and enthusiasm"

Control Resonant composer Petri Alanko has revealed that his music features easter eggs that may take fans years to uncover, as he likes to "go to extremes to add depth to everything."

Speaking to TechRadar Gaming about his favorite aspects of the Control series and its music, Alanko said there are "layers" to each soundtrack, and some of them are only revealed "when you dive deep into my project file timelines and start digging out the details of sounds."

"One trick I’ve used about a million times with various tools is to add some string section’s 'resin' sound to something else, turning it into a resemblance of a stringed instrument," Alanko said. "Some of the tricks will probably never surface and are more or less subliminal, some of them slightly more at the forefront, but as I mentioned, I love to hide all kinds of nods and winks everywhere, pay homage to the greats."

He continued, sharing that if any hardware synth is involved in his work (which he explained is a big part of his musical arsenal), it was " reamped through a speaker setup and a pair of microphones," which was a trick he learned from the articles concerning the late Konradi "Conny" Plank, the sound engineer and producer of Kraftwerk and Ultravox.

"I learned my chops back in the day meticulously inspecting and evaluating Die Mensch-Maschine, Computerwelt, Vienna and Rage In Eden," Alanko said, adding that he "learned a good deal of studio tricks during my early adulthood" when he worked as a synth programmer and a producer for various productions, and all of that experience has "proven to be rather handy during the creation of the Control Resonant soundtrack."

Alanko went on to share some neat details about the creation of the game's enemies, the Resonant, and said each has "their own features in the concept track," with Hedron, for instance, having "clangorous, metallic, sequenced, patterned, constantly moving" sounds.

"Hiss wants to corrupt everything and especially with that entity, the pitches start going all over the place," he said. "And Mold is a triumphant spectacle of all kinds of dispersers, turning everything into some sonic goo."

Alanko said his passion allowed him to add as much detail as he wanted, which also meant leaving in small hints that listeners likely won't find until years later.

"I have, and I will go to extremes to add depth to everything," Alanko said, "and the most beautiful thing is when people realise something after, say, seven-eight years, and I get an email from someone who just realised the rhythm of a certain sound was actually Morse code for 'BEWARE'.

"Nothing is obvious and nothing is rubbed into your face, and in the end it’s all only music made with love and enthusiasm."

Alanko has discussed the early stages of Control Resonant's development, revealing that he was brought on to the project "very early" and was still working on Alan Wake 2. He explained that this proved to be a better outcome and suggested that other studios should value music more if they care about their games and avoid AI.

Funselecktor Labs Inc. is known for its minimalist yet vibrant takes on various forms of motorsport, starting with Absolute Drift in 2015, followed by Art of Rally in 2020 and Golden Lap in 2024. Now, the independent studio is tackling offroading, but rather than competing against the clock or other drivers, over the hill is about exploring an open world on your lonesome (or with a friend or three) at your own pace.

Taking inspiration from the recent wave of cozy games, over the hill doesn’t have concrete aims or objectives as such. Rather, you simply pootle around the various maps to discover various points of interest and earn Pebbles, the game’s currency, to upgrade your vehicle to better navigate the environment.

Off the beaten path

over the hill sticks to the same cardboard-cutout aesthetic of the developer’s past efforts. Textures are flat and basic, but they’re elevated by the pastel colors and lush lighting effects, with environments drenched in pinks, oranges, and greens that invite players to explore them.

There are two main regions to choose from at the start of a game: Canada and Algeria. Each has its own sub-areas (three for Canada and two for Algeria), featuring all kinds of terrain and climates; you’ll see rain, snow, and sandstorms, which naturally affect your driving and navigation abilities, adding an extra element of challenge.

The music complements the visuals perfectly. The in-game radio gives you four ‘albums’ to choose from, each representing a certain flavor of ambient, from synth-heavy pieces to folksy guitar numbers, all with gentle melodies to lull you as you play. I was impressed with the score’s production value, given that it merely serves to subtly set the mood as you play.

This is a game low on story and characters, but high in vibes — specifically of the zen variety. Aside from the Buddha statue that acts as your tutorial guide, the only other character is Crazy Günther, the hippie mechanic you visit to customize your vehicle. His textual dialogue (there’s no VO) adds a small amount of flavor to an otherwise purely functional NPC, and it chimes well with the gentle tone of the game.

Once you learn the basics in the brief tutorial, you’re left to explore the world. Campsites are the chief points to discover, as they act as the game's main fast travel hubs. You can also use them to fast-forward time, useful if you want to wait for a different time of day or skip certain weather events.

Other points of interest in the maps include crates that unlock cosmetic features for your vehicle, as well as scenic points from which to take photographs. You can also find Trial Challenges to complete, which take you along treacherous routes of varying lengths to test your off-roading skills, and find wildlife to snap. These discoveries and activities earn you Pebbles.

Pedal to the metal?

If you’re looking for a fast and furious off-roading experience, over the hill isn’t it. Instead, it takes a considered, sedate approach to the sport, one that rarely rewards harebrained driving and impatience. Speeds are slow at the best of times, with second gear being the highest. True to real life, vehicles have both low and high range gears, with the former being used to give you better control and traction on slippery surfaces and steep slopes. Such surfaces are indicated organically via the game’s visual style, without making it too obvious by overtly highlighting them.

Anyone who’s played MudRunner or SnowRunner will be in familiar territory with over the hill. As long as you’re in the right gear range, you don’t have to worry too much about being sensitive with the throttle; you’ll either make it up a slope or you won’t, regardless of how you modulate the throttle. Steering is fairly laborious as well, with the wheels being slow to turn and recenter on most vehicles, which only adds to the challenge of navigating around obstacles. I’ve never been offroading in real life, but this is how I’d imagine 4x4s to handle.

When the going gets too tough, you can use various bits of equipment to get you out of tight spots. First and foremost of these is the winch. A single button press will fire it at the tree you’re looking at (as long as it’s in range), and holding that same button will reel you towards it. You can also slacken the winch with another button, useful when you want to descend rather than ascend. If you want more control, you can use the winch in manual mode, which lets you choose which side of your vehicle to winch from and which tree to anchor to within a certain radius.

The winch can be used as many times as you like and is always in your inventory. Other tools, though, have to be selected before you enter a map; if you want to alter your loadout while playing, you’ll need to visit the mechanic. They’re also single-use items, although you select multiple instances of them, and they replenish whenever you visit a campsite. Among them are a portable anchor, which you can winch onto when there are no trees around, and two wooden planks to lay across small gaps or on the ground to give you more traction. These are a little fiddlier to use, as it can be a chore to line them up with your wheels, and misaligning them even slightly can easily result in your vehicle slipping off them. Still, they’re very useful and rewarding when you find yourself stuck. Other tools include a portable camp, a repair kit, and a car jack for righting your vehicle if you roll it over, which is easily done.

There’s a respectable number of customization and upgrade options for your vehicles. There are a variety of vehicle bodies to choose from, ranging from classic 4x4s and wagons to more utilitarian and industrial models — and yes, there’s even a campervan. The differences between them are more than cosmetic, as they each have their own speed and handling characteristics, despite the game not actually listing these stats. The selection is resolutely vintage, with no model looking beyond the 90s at best. Most are inspired by iconic real-life vehicles, too, as suggested by their menu descriptions.

You can personalize your vehicle with a large number of trinkets, unlocked via the crates you find throughout the world. Sadly, however, the paint options are more limited. As for upgrades, you can improve attributes such as speed, grip, protection, and tool capacity — all of which you’ll need to do if you want to explore every area completely. Again, though, the upgrades are limited in their stages, and you’ll find yourself maxing out your vehicle’s potential quite quickly.

Riding shotgun

While over the hill offers a good time solo, it’s more fun with friends. Having companions by your side (you can have up to four players in a server) not only takes some of the burden out of exploration, but also introduces the possibility of mischief. This is because you can winch to each other’s vehicles, which is obviously a big help when one of you is stuck in the weeds, but also allows you to pull each other off cliffs and into rivers. However, in order not to put the winch-ee at too much of a disadvantage, they can de-winch themselves at any point.

You can also explore independently if you so wish, and fast travel for one doesn’t mean fast travel for all, which gives everyone greater flexibility to explore. The whole experience ran smoothly during my testing; I didn’t encounter any problems with connectivity or lag, save for one occasion when my friend’s framerate dropped considerably, but Funselektor said this is a known issue with the preview build I played, so it’s entirely possible it’ll be rectified before launch. For most of my time in both single- and multiplayer, the game ran very smoothly, even at Ultra settings. The only real bug I experienced concerned some input clashes when I remapped certain buttons, but this was easy to work around.

Perhaps my main gripe with over the hill is that there’s just not that much to do. And while the central act of driving over rough terrain is fun thanks to the skill and problem-solving nous it requires, the mechanics lack real depth to sustain the game for long periods in the face of little additional activity. There’s not quite enough feel and feedback from slipping and sliding on loose ground to make it as engaging as it could be, and the lack of any sort of drifting mechanic — guaranteed to amplify the fun of any driving game by a factor of ten — is a real shame, especially since Funselektor has great form in this area, if its previous games are anything to go by.

I can only hope that future updates will add more to the driving and DLC will arrive to give players more to do. But for now, over the hill remains a fun time to while away an hour or so, but not much more than that.

Should you play over the hill?

Play over the hill if…

Don't play it if…

Accessibility features

There are no accessibility features to speak of in over the hill. Subtitles for dialogue are on by default, since there’s no VO, and the closest the game comes to offering any comfort features is letting you disable motion blur.

How I reviewed over the hill

I played over the hill for about 10 hours, seeing most of the main areas and features the game had to offer. I was also given a save file by Funselektor with all areas, upgrades, and customizations unlocked.

I mainly played solo, but I also tested online multiplayer by playing with a friend. I played on a gaming PC with an AMD Ryzen 7 7800X3D processor, an RTX 5070 GPU, and 32GB of RAM. I played mostly with a controller, but I also tested its mouse and keyboard controls.

I’m a fan of racing and driving games, and I’ve played similar off-roading games, such as SnowRunner. I also played a lot of Art of Rally, one of Funselektor’s other titles.

First reviewed October 2026

• Control Resonant composer Petri Alanko shares what game he would like to work on next
• He says he would "love to do a proper sci-fi score one day" and enjoys "emotional psycho-thrillers a lot"
• Alanko says he would pass on any "cute cartoon-like games" like My Little Pony

Petri Alanko, the composer for Remedy Entertainment's Control, Control Resonant, and Alan Wake 2, has revealed which genre of game he would love to work on next, but insisted that "cute games" are a hard pass.

In an interview with TechRadar Gaming, Alanko said that with "synth" being part of his musical arsenal, he would "love to do a proper sci-fi score one day," and shared his enthusiasm for thrillers.

"Just gimme a project and free hands, thank you," Alanko said. "I enjoy emotional psycho-thrillers a lot; they offer so much writing ground, but combining that with some other, say, sci-fi flavours, now that would be something I’d love."

As for what he's working on right now, the composer said he's moved on to another game soundtrack, which he couldn't reveal, and also the movie Häyhä, which is about a WW2 Finnish sharpshooter, Simo Häyhä (aka The White Death).

He explained that "scoring movies is relatively easy, really," as "you have the linear media unchanged in front of you," and compared to the average game, " you need only a handful of music for it."

"I certainly don’t want to look down on any film composer," Alanko added. "I know several of them, and they are very dear to me, but in some ways, I feel like that posse has it pretty easy in their line of work."

Alanko went on to share which genre of game he would absolutely avoid if offered the chance to compose music for, including cozy games, because they don't align with his personal tastes.

"One thing is sure: I’m not much good for a My Little Pony game," he said. "Or cute cartoon-like games. Or rally games. Nothing against them, but I don’t have that in me. I’m from a Northern faraway country, and I live with a forest behind my house, and Nordic Noir is more or less a code of conduct in my whereabouts (laughs), so that pretty much stamps my life with [a] 'psycho-thrillers ahoy' badge."

Elsewhere, Alanko suggested studios should value music more if they care about their games and avoid AI at all costs, saying, "Love your game, love your handiwork. Respect the client: the gamers, the fans, dammit."

• The PC version of Grand Theft Auto 6 will reportedly launch in early 2027, a few months after the console versions
• Some fans believe a 2028 release was possible, but Rockstar Games has moved the PC release up
• Fans speculate that Rockstar wants to get ahead of a potential PS5 emulator

A new report has claimed the PC version of Grand Theft Auto 6 will launch in early 2027, and fans believe Rockstar Games wants to get ahead of a potential emulator.

The news comes from GamesBeat, which reports that Rockstar plans to release the PC version of GTA 6 "in the first quarter of 2027," and that's according to "four industry sources familiar with the studio’s plans, all of whom requested anonymity to avoid damaging business relationships."

It's worth taking this report with a grain of salt, as Rockstar has yet to announce any PC edition; However, this is GTA 6 we're talking about, and fans are already theorizing over potential reasons a PC release could arrive mere months after the PS5 and Xbox versions, despite the PC version of GTA 5 arriving roughly two years after the console editions.

Many have speculated that Rockstar moved the PC release date up to anticipate a possible PS5 emulator, which would allow PC owners access to a "PC build" of GTA 6 without having to wait and pay for the official version. This would also allow users to avoid the "double dipping" scheme that many believe Rockstar is going for.

One redditor suggested Rockstar is "Not waiting a year with the PS5 emulator breathing down their necks." Some other fan wrote something similar, saying, "GTA 6 will probably be emulator ready a month after launch. It’s almost guaranteed at this point."

Some have also pointed out the more recent leaks from 'Cyberleek' (via GamesRadar) and suggest the studio wants to get ahead of the hacker.

"I actually believe this because of the leaks and emulator thing, they probably want the game out asap," a fan said on Reddit, as another wrote, "Im leaning heavily towards an original 2028 PC launch, but some exec has seen the speed that recomps are coming out and realised if they dont release it quick, everyone will be playing it for free."

Other fans think Rockstar hasn't announced the PC release date yet in order to maximise console edition sales; we've recently seen retailers hit with huge price hikes on the PS5 and PS5 Pro in anticipation of the game's launch.

"Not the first rumour we've heard like this," one fan said. "I find it believable - I strongly suspect the PC version is already pretty much done and the 'delay' is artificial from Rockstar to maximise the console release."

We'll have to wait for an official announcement from Rockstar, but in the meantime, PS5 and Xbox users don't have much longer to wait because GTA 6 launches next month on November 19.

In other news, new details have emerged ahead of the GTA 6's launch, which details even more gameplay features and immersive systems.

• The God of War Laufey - Collector's Box has been revealed for £130 / $149.99
• The box doesn't include a copy of the game, just like Grand Theft Auto 6's collector's edition
• Fans are frustrated with the exclusion of the game from the collection, with some calling it "greedy"

Santa Monica Studio has revealed its God of War Laufey Collector's Box, and just like Rockstar's Grand Theft Auto 6 collector's edition, the pricey package doesn't include the game.

The studio shared the "Collector's Box" in a social media post, confirming that the £130 / $149.99 package includes a light-up Faye statue, 51-card Oracle Deck, and a mini art book, noting that the God of War Laufey game is "sold separately."

That's the part of the announcement that has fans talking, with many sharing their frustration over yet another collector's edition that doesn't offer a physical or digital copy of the game.

"I remember when collector's editions used to come with games. Not liking this new trend," one user responded, as another wrote, "'Game sold separately?' ...man, [the] gaming industry is getting greedier and greedier."

The lack of physical games has been a point of contention ever since Sony announced its plans to stop producing game discs by January 2028. The PlayStation company isn't alone; Rockstar Games is also skipping physical discs for GTA 6, the biggest game launch of all time, and players will instead receive a code in the box, a decision that initially caused an uproar.

On top of that, the studio recently announced The Goodtime State – Vice City Collection, a £349 / $399 premium collector's box featuring exclusive merchandise and no game.

"I see Rockstar is an inspiration for everyone," one redditor said about the Laufey - Collector's Box.

Another said, "We need to stop calling these collectors edition when they dont include the game and start calling them over priced cash grabs."

For now, it doesn't look like every company is cutting out games from their expensive collector's editions; Blizzard, for example, is selling its World of Warcraft: Forever's Collector's Edition with a digital download code included, and Tomb Raider: Legacy of Atlantis's version will also offer a physical copy and steelbook alongside other goodies.

Still, fans are particularly worried about the future of collector's editions, which used to typically offer more than just a pretty statue and artbook.

"They [Santa Monica Studio] soft launched this back in Ragnarok, when the collector's edition only had a download code, same for Horizon Forbidden West. Eventually the statue is going to be digital as well," remarked a fan.

• Control Resonant composer Petri Alanko tells TechRadar Gaming how he approached the game's musical aesthetic
• He says "human vocals" and the "significant" relationship between Dylan and Hedron helped inform his writing
• Alanko says Dylan being an "involuntary hero" provided "a lot of writing material"

Control Resonant composer Petri Alanko has shared how the game's new setting and the relationship between protagonist Dylan and antagonist Hedron informed the soundtrack.

"Usually, it’s the scenery that hits best, and how the main character is related to the scenery, be that a connection or a disconnection," Alanko told TechRadar Gaming in an interview when asked about his design process. "It’s interesting, as there also are no rules whatsoever; again it’s a classic case of 'Hey, I think THAT would make you think this…'

"It’s basically psychological to an extent, really. Trying to play with your brain first, and later on with the player’s brain."

Alanko said "human vocals" was a term he and Remedy identified as part of the Resonant's core music aesthetic, "offering a whole dimension, practically." In addition, the "significant" relationship between Dylan and Hedron, a powerful Resonant entity, was another angle that "drove this first phase onwards."

"The path of the main character [Dylan] and the main antagonist’s [Hedron] relationship with him, it’s indeed a very conflicted pairing," he said. "Dysfunctional, one would say, but that provided a very human layer to the original setting.

"Dylan, being one might call 'an involuntary hero', or 'anti-hero' even, provided a lot of writing material; his path from a blank, soulless and partially mindless being into something willing to sacrifice himself just to find his sister is worth a dozen stories alone, not to mention the fact that their relationship hasn’t been exactly peaceful."

The composer went on to say that terms like "rough," "larger than life," "gut-wrenching," "human, yet inhuman," and "organic" were all on his Post-It notes at the beginning of development, concerning how he approached Dylan.

On the other hand, for Hedron, he had "strangely familiar yet frightening," "clangorous," "structured and sequenced," "mathematical and procedural" as his terms.

"And when I mention 'procedural', I mean the appearance," Alanko added. "It’s almost as if Hedron communicated with circular shapes, hence the term."

Alanko also shared his approach to the whole Remedy-verse score and musical landscape with TechRadar Gaming, saying, "There’s always the absolute evil lurking in there," at the games' core.

There’s little else quite so satisfying in gaming as a really chunky parry sound effect. When you read your opponent precisely and time a deflection to perfection, hearing that impactful audio cue as a reward is about as good as it gets — especially if you can follow it up with a devastating finishing move. Valor Mortis nails this.

I never tired of hearing the reverberated twang of blades clashing in my time with the first-person ‘Souls-like’ from One More Level. And given how much time is spent duelling with the reanimated corpses of Napoleonic soldiers, body horror monstrosities, and a few unique creatures I won’t spoil, it’s really something the developers had to nail.

So, I’m pleased to say that they have, and it’s one reason why I stuck with Valor Mortis through several of its other less successful aspects.

The opening, however, is strong. You awaken on a battlefield, surrounded by corpses, the rousing voice of Vincent Cassel as Napoleon in your ear encouraging you to move forward. But this conflict has turned into something far worse than just blades and cannon fire. A plague of sorts has torn through the land, transforming humans into monsters and unlocking mystical powers for you to use in your quest to understand exactly what’s happened while you’ve slumbered.

It’s all a setup that fits the Dark Souls-inspired core of the game, with its dangerous, foreboding, war-torn world to explore. This time, lanterns serve as the safe spaces to save your progress, level up using the blood from dead enemies, tweak your build with several skill-tweaking gems, and restart from when you inevitably die.

Your power to fight back against the horrors builds slowly and doesn’t ever get massively expansive. First, a sabre. Then, a pistol. After that, well, it’s the ability to shoot fire from your hands and put enemies in stasis. You can switch between these and a handful more melee, ranged, and magical powers at will — and will often need to do so to tackle different enemy types most effectively.

Bonjour

For example, basic soldiers can be taken out with a few sword slashes. A more imposing axe-wielding officer is better handled by keeping your distance as you burn it with fire to set off the explosive keg on its back. There’s a malformed grenadier who protects its sack of explosives with an engorged hand, but when it moves to lob a grenade at you, a well-timed shot can cause a massive explosion.

As you proceed forward, each encounter requires you to assess whichever threats you’re facing and break down the best way to take them out or exploit a weakness with the tools at your disposal. Of course, you can always go wailing in with a sword, but it’s rarely the smartest move. You have limited stamina, and the aggressive enemies can obliterate you in just a few hits.

As is the trial-and-error nature of these types of games, it takes a few encounters with some new foes to get the better of them, but I wish Valor Mortis wasn’t so obsessed with the trickery of it all. Long delayed attacks that are preceded by multiple feints and five seconds of interpretive dance before a sudden blow pulverises you is kind of funny the first couple of times, but by the dozenth time I was getting irate.

The same goes for some aspects of the level design, which is regularly full of traps and “gotcha” moments. Enemies pop up out of bushes, others surprise you from behind doors, items are placed for you to be ambushed, or trigger rocks falling on you, or make you step on sections of floor that fall out from under you. I get that these moments are meant to keep you on your toes, but when they happen repeatedly in quick succession, they start to feel cheap rather than challenging.

What I do like is that at least Valor Mortis mixes up linear gauntlets with open areas that give you more freedom in how you approach. There are opportunities to sneak up or around to get better vantage points and backstab enemies for an instant kill or significant damage. Thinning out larger groups is definitely something you’ll need to do, as even facing just two enemies at once puts you at a massive disadvantage in the game’s first-person view.

Variety is added further with some fantastic sections that combine the frenetic platforming of the team’s previous Ghostrunner series with the tight combat mechanics to create some entertaining and inventive set pieces. A section across broken-up ships that are suspended in time above the sea is a highlight, as you hop and swing between the splintered decks, take out snipers with your musket, and slash through any remaining soldiers prowling around.

Finding its footing

On the other hand, a diversion into a mine is perhaps one of the game’s most dreary and aggravating sections. Here, lots of tight, dark, and windy corridors are not the easiest to see or fight in. Then, while you’re also trying to dodge and parry different enemies, the game decides to throw freewheeling minecarts that can almost kill you in one hit down these same small alcoves at the same time. A fun idea, in theory, but there’s a point where a situation becomes too chaotic for you to assess it and react to it quickly enough, and so my approach changed to brute force and luck rather than skill.

But then I was quickly brought back again by another thrilling on-rails segment that makes full use of all abilities and weapons you’ve gathered until now, before culminating in a surprising out-of-this-world boss fight that puts the rewarding parrying mechanics front and centre.

When that works, it really works. And the flourishes One More Level adds with ranged weapons and magical abilities are welcome tactical options — even if you will have to rely on swordplay more than anything else. The fact I kept getting beat up but wanted to keep coming back to nail a parry combo shows where the strengths of Valor Mortis lie. It’ll likely scare many away, but if challenging Souls-likes are what you enjoy, here’s another with an intriguing premise and a neat twist to add to your list.

Should you play Valor Mortis?

Play it if…

Don’t play it if…

Accessibility features

Valor Mortis offers very few accessibility features. In terms of dialogue, there is only an option to adjust the subtitle size between small, medium, and large. Mouse and keyboard, and controller options are available, with full key rebinding possible on the former and several control schemes available to choose from on the latter. You can also adjust the field of view, turn off or tone down camera shaking, as well as turn blood splatter and dismemberment on or off if you prefer a less gory experience.

How I reviewed Valor Mortis

I played over 10 hours of Valor Mortis on PC using an Xbox Wireless Controller and playing audio through my Bose QuietComfort Headphones. I’m using a fairly mid-range rig with a Ryzen 5 9600X, an AMD Radeon RX 9060XT, 48GB of RAM, and a Samsung 990 EVO Plus SSD. My monitor is the MSI MAG 27CQ6F.

With some tweaks to the settings, I was able to play the game on High at 1440p with frame generation on and maintain a comfortable 100+ fps at almost all times. It may not be a hugely demanding game, but it looks good and runs smoothly, which is ideal for reaction-based combat.

First reviewed October 2026.

• Control Resonant composer Petri Alanko says every Remedy game has "absolute evil lurking in there"
• Alanko says he and Remedy rely on players' intelligence to understand the "psychological aspect to it all"
• He adds that "Remedy is not a dictating entity; we don’t do walking simulators, and we don’t hold hands"

According to Control Resonant composer Petri Alanko, every Remedy Entertainment title has a sinister aspect at its core, and he relies on the player's intelligence to understand it through his music.

When asked if there is a particular approach to the whole Remedy-verse score and musical landscape in an interview with TechRadar Gaming, Alanko explained that "There’s always the absolute evil lurking in there," with an added psychological aspect.

He said, "It affects instruments, instrumentation," as well as "the overtone series" (a sequence of musical pitches or frequencies that naturally sound above a main base note when it is played), as something so evil it "has a gravity" and "that affects the sounds, too, by bending and separating the overtones from each other."

"Its nature is very prominent, and there is a psychological aspect to it all: when you hear something familiar to be slightly off, it triggers your lizard brain into action, and with some preparation, we’re able to have a very suitable fight-or-flight reaction to introduce some action as a spice," Alanko said. "It is a very, very interesting process to affect people, to sort of kick them into action without actually telling them what to do."

As for how he and Remedy portray that "evil" across the games, he explained that they rely on players' understanding of subtext and context clues to find the meaning of what they're experiencing.

"Remedy is not a dictating entity; we don’t do walking simulators, and we don’t hold hands; we believe in intelligence and the ability to think and deduce something from the facts given," he said. "Same applies to music: a set of hints and a basic feeling may be introduced, but it ends there.

"A good mentalist always lets the audience do the magic. And everyone has seen those really awful marketplace magicians; nobody wants that for a birthday. Remedy is not that. We believe in a thinking, investigating, curious human being."

This applies across all of Remedy's games, whether it's Control, Alan Wake, or Quantum Break; however, Alanko and the studio know they can't regurgitate the same thing over and over again, but players will find a commonality between each series.

"Every new IP adds to the recipe, more or less, and though we don’t exactly want to repeat ourselves, there must be something in common and something familiar to the scores and the soundtracks, and that’s something you can’t really create overnight," Alanko said.

"The same applies with everything: it gets better with time. For instance, we introduced orchestra to Remedy’s sonic identity with Alan Wake, and it was there as is, but also as a slightly mangled version of itself, too. Then there was a very softly played grand piano, with enough compression to turn Manhattan into a peanut, with a reverb that ate half of Helsinki, basically. Quantum Break allowed for much more industrial and electronic flavours to enter the soup, and Control brought musique concrète in."

He added that those three qualities created "What I love to call 'A Remedy Sonic Bermuda Triangle', some top-notch processing," noting that a "huge amount of raw material is originated from acoustic sources, as "There’s very little 'just synths' stuff, although I do love my arsenal."

In the same interview, Alanko has suggested studios should value music more if they care about their games and avoid AI at all costs.

What could possibly be left to say about Grand Theft Auto 5?

In the 13 years since the release of Rockstar Games’ open-world magnum opus, we’ve had a nonstop running commentary from YouTubers, podcasters, and game journalists about its world, writing, and many secrets. Entire careers have flourished based on the art of talking about GTA 5.

Rockstar’s 2013 open-world opus has had such an effect on culture since its initial release that it’s hard to imagine a world without it. It’s seen releases and remasters across three console generations. It’s won the highest awards in some countries and been outright banned in others. And an entire generation of gamers has grown into adulthood knowing the streets of Los Santos better than their hometown.

Alas, GTA 6 is on the horizon – following years of trailers, teasers, and unfortunate leaks, the sixth Grand Theft Auto game arrives on November 19, 2026. The fact that the game won’t launch with a physical disc version won’t stop it from dominating conversation and the sales charts on Xbox, PlayStation, and PC for years to come.

I’ve spent a good few years playing GTA 5 (in order to keep PEGI off our backs, that’s as specific as I’ll be getting) and have put in thousands of hours across various versions of GTA 5 and GTA Online.

As a final salute to Los Santos, I loaded up GTA 5 on my PlayStation 5 and PS4 to see how one of the best games of all time has evolved during its ten-year tenure at the forefront of gaming culture.

Re-remastered

Full disclosure: I’d never actually played the PS5-native version of GTA 5 before starting work on this piece, and loading up the game for the first time, I wasn’t sure if Los Santos could still surprise me after so many years spent drifting through its virtual streets.

Luckily, I was proven wrong — not in the prologue, which is showing its age at this point, but in my first drive around the open world. After speeding through the first few missions as Franklin, I stole an Aston Martin-esque sports car and blasted north on the Great Ocean Highway, stopping along the way to take in the enhanced visuals and classic San Andreas vistas, and ultimately spending around an hour just drifting through the streets and countryside trails.

GTA 5’s PS5 edition comes with a few new graphics modes, and the one that stands out is Performance RT. This combines the ray-tracing of the Fidelity mode and the 60 frames per second (fps) framerate of the Performance mode, and leaves the game looking simply gorgeous.

There’s only so far you can polish 13-year-old character models, and some textures are beginning to look a little JPEG-ish, but the environmental design, excellent weather effects, and increased framerate made GTA 5 feel more alive than ever. The game has always had best-in-class driving controls for a casual title, and passable combat and on-foot input, but doubling the framerate to a stable 60fps makes everything feel more immediate and responsive.

Speaking of driving, the PS5’s DualSense controller gets a few neat tactile responses with this version of the game — you’ll get a bump on the right trigger as your car changes gear, feel the weight of each trigger pull in a shootout, sense the rumble of passing traffic. It’s a small change, but one that pulls you even further into the game’s criminal underworld.

Not that immersion was ever an issue. I played GTA 5 on PS5 up until the end of the first heist, and I felt that, in some ways (more on that later), the writing had aged tremendously — though I’m not sure how much of that is down to my own progressing adulthood.

As I step into the latter half of my twenties, Franklin’s frustration with the everyday struggle at the start of the game comes through as incisive and relatable. Michael’s unstable ennui is, likewise, easier to imagine with the weight of the world resting a little heavier on my shoulders. I don’t quite relate to Trevor yet (maybe that’s one for my thirties). It’s quite something for a game to imprint on you as a blockbuster action experience in your teens, only to reveal some much more grounded undertones years later.

That’s not to say that GTA 5 is any less of a spectacle than it was at launch. This is where Rockstar really started presenting its games as directed, cinematic experiences, a formula it perfected with the follow-up Red Dead Redemption 2.

Even the first few missions — sneaking into Michael’s mansion as Franklin, the boat chase just a few missions later, and of course the jewel store heist — are loaded with moments ripped straight out of Hollywood. And a near-endless render distance makes launching off of Mount Chiliad on a dirt bike seem terrifyingly real.

It’s really quite amazing that GTA 5 originally launched on PlayStation 3. My original disc has been lost to time, but looking at videos, the original holds up pretty well — despite its 720p resolution and graphical patina, it’s still entirely enjoyable today. And beyond graphics, its gameplay and world wouldn’t feel totally out of place in a 2026 release.

The PS4 version holds up even better — I remember being stunned by Rockstar’s 2014 trailer for the remastered version of the game, which focused on new wildlife, non-player character (NPC) density, and graphical improvements. It’s the version of the game I’ve spent the most time in, thanks in large part to these updates, and it still feels utterly alive today.

Cultural impact

Indeed, the massive reaction to GTA 6 proves that the Grand Theft Auto series is very much alive in the public consciousness, even if the long wait for its next entry rendered it dormant for a while.

It’s worth remembering how totally dominant GTA 5’s hold over online culture has been, especially for the first five years of its life cycle. We’ve seen countless YouTube video essays debating Mount Chiliad conspiracy theories and in-game UFO sightings, let’s play channels dedicated to covering GTA Online’s endless updates, and scammy shitposters claiming to have early copies of GTA 6.

Many of us will remember the mad dash to our gaming setups the day a new heist was added to GTA Online, or endless hours spent playing minigames and missions to grind for a new sports car or apartment.

Then there are the memes. ‘Watch your jet’. ‘Davey!’. Franklin showing up to defend his home. The green vs purple alien war. The Welcome to Los Santos texts. ‘We got X before GTA 6’. As one of the most-played games in the world for its entire lifespan, GTA 5 has propped up the online nonsense industry for years, priming the algorithm for an inevitable landslide of GTA 6 content in about a month’s time.

And as one of TechRadar’s contributing music nerds, I just have to talk about the radio stations. GTA 5 introduced me and thousands of others to some of the best music of the 2010s. I will never, ever forget the first time I raced Lamar through the streets of LS in a boosted sports car to the sound of ‘Appetite for Destruction’ by N.W.A., courtesy of West Coast Classics, or driving up to Paleto Bay to Frank Ocean’s Blonded Radio station, or idling in Vinewood while listening out for Cara Delevigne’s insane quips as the host of Non-Stop Pop.

In large part, GTA 5 is responsible for my love of rap music, dance music, country music, and radio DJing, which I continue to utilise as a writer and musician today.

Where do we go from here?

GTA 5 stands as a true titan of modern gaming and holds a deep-rooted place in my heart and hard drive alike. With that said, it’s not perfect, and jumping back into Los Santos left me with a couple of things that I hope GTA 6 can improve on.

First of all, GTA 5 is, in part, a story about contemporary masculinity struggling and failing to cope with late-stage capitalism – but in telling this story, it treats its female characters horribly. The only female characters with any substance are Michael’s wife Amanda and daughter Tracey, and Franklin’s aunt Denise, all of whom are portrayed as whiny annoyances that serve as plot devices for the male characters to revolve around and objectify.

In fairness, the game is a satire of American culture, which has no shortage of problems with sexism and objectification, and there’s an abundance of annoying male characters as well – neurotic heist-master Lester Crest and TV host Lazlo come to mind. But the game’s male characters get the chance to develop through or into their flaws, even if, as in Lazlo’s case, it’s only to become more of a punching bag.

Rockstar has said it’s leading with a more grounded tone for GTA 6, and the game introduces the series’ first female protagonist, Lucia, which suggests we’ll be getting at least one fully realised female character.

Gamers’ expectations and the window for jokes about gender have both changed quite significantly since 2013, and GTA Online grew to feature several key female NPCs throughout the 2010s, so I’d be surprised if GTA 6’s other female characters don’t have a little more substance.

We already know GTA 6 will introduce a hugely expanded map and RDR2-style role-playing mechanics, so my other request concerns how we get around that new immersive world. For lack of a better term, GTA 5 has a bit of jank about it – the ‘tap to sprint’ mechanic has never been anything but annoying, and its strange approach to climbing ledges and ragdoll physics is good for a laugh but not great in the heat of a firefight or police chase. Rockstar, with its infinite budgets and massive staff, is certainly powerful enough to smooth over the few bumps left in the GTA experience.

With these complaints well considered, GTA 5 still stands tall over the gaming industry, not only as a titanic financial success, but as an enduring blueprint for open-world excellence. It remains a totally gripping gameplay experience and, despite some dated writing, a genuinely cinematic heist adventure. In short, GTA 6 has a lot to live up to.

Before brandishing Geralt of Rivia's twin blades and braving a "new game" in The Witcher 3: Wild Hunt — Remastered, the main menu invites you to check out the re-release's patch highlights.

Clicking the option opens a top-level list of the title's abundant updates, improvements, and enhancements, from "Upgraded Visuals and Performance" to a "Reimagined Skill System." But while these entries showcase the game's most significant and ambitious inclusions, some of the remaster's best new features are hidden under the catch-all category of "And Much, Much More."

For example, the fact that the grey-maned monster hunter no longer navigates ladders and waist-high ledges like a toddler sorting out their motor skills might impress seasoned fans more than any fancy new lighting tech. Looting resources while riding Roach – another awesome update that doesn't earn its own bullet point – will similarly delight anyone who previously endured getting on and off Geralt's trusty steed every time they wanted to pick a flower.

While these subtle tweaks aren't as sexy as, say, the stunning visual update, they are welcome, meaningful fixes that not only make the game better, but also reflect CD Projekt Red's larger commitment to deliver more than the bare minimum to make a quick buck.

Much more than a pretty makeover

Of course, while you're effortlessly gathering alchemy ingredients from the saddle, you'll indeed also appreciate the significant graphical leap the game has achieved. The Witcher 3's 2022 next-gen update was already a looker, but the remaster's response to it is a confident, "Hold my beer (or Redanian Lager).

The lighting effects – and resulting shadows – are far more realistic, textures pack noticeably sharper details, and flora-filled environments look as though they've leapt off a postcard. Overall, there's an across-the-board fresh layer of detail and depth that makes the Continent come to life like never before.

If you're tackling the Wild Hunt on a PlayStation 5 Pro, you also have some say in just how striking you want the game to look. A Performance mode uncaps the framerate, guaranteeing the game runs at 60 FPS minimum – but is capable of hitting as high as 90 FPS.

Meanwhile, a dedicated Ray Tracing mode consistently hovers around 60 FPS, while funneling more horsepower into rendering the absolute best lighting effects. Both options more than get the job done, though I preferred the slight visual bump and solid framerate offered by the latter selection.

Combat worthy of a Witcher

It also doesn't hurt that you can now soak in the picturesque sights – such as sunlight realistically filtering through dense foliage – without having to pause every few seconds to reposition Roach. That's right, another "And Much, Much More" addition addresses your mount's previously frustrating collision detection, ensuring the 1,000-plus-pound animal no longer gets caught up on jutting branches and small rocks.

Roach's smoother movements have also apparently rubbed off on Geralt, as the sword-swinging, spell-casting hero not only navigates environmental obstacles with ease, but wields his steel like a proper badass on the battlefield. Previous iterations of The Witcher 3 have been endlessly praised for their graphics, storytelling, quest design, and content-packed open world, but their combat mechanics were typically left out of those acclaim-filled conversations.

That's been remedied in the remaster, as CD Projekt Red has seemingly reworked the clunky combat from the ground up. Where the protagonist's attacks previously felt loose and lacking weight, they now pack a more precise, impactful punch. But not at the cost of speed, as enemy encounters also feel faster, more fluid, and kinetic.

Some factors – from smoother animations and smarter, more reactive enemies to new finishing moves and, crucially, a dynamic camera that no longer struggles to keep up with the lightning-quick action – combine to deliver an experience that now has me eager to breach any bandit camp or monster lair I might stumble upon.

An unbeatable, beast-slaying bundle

CD Projekt Red could have polished the visuals, improved the combat, added a few quality-of-life fixes, and then collected a fat paycheck for their efforts. But they dug deep, considered fan feedback, and made the typical remaster look like a stain on the titular beast-slayer's boots.

Speaking of Geralt's well-trodden footwear, a new style-forward transmog system allows you to wear the armor and wield the weapons you want without sacrificing any attached stats. You'll find further flexibility in the reimagined skill system, which offers newfound freedom for molding your playstyle, experimenting with skills, and generally forging a meaningful character progression path on par with contemporary RPGs.

But these inclusions, too, barely scratch the surface of a lengthy list of improvements that could over-encumber Roach's Beauclair saddlebags. Quest tracking has also been streamlined, looting is less tedious, and meditation is now more immersive and interactive. All that, and a much deeper photo mode ensures you'll spend more time snapping pics than swinging your swords.

Needless to say, The Witcher 3: Wild Hunt Remastered is the absolute best, most definitive version of a game that was already a genre-defining banger when it launched 12 years ago. Toss in the fact that this impressive update also includes the base game's two massive, equally excellent expansions – Hearts of Stone and Blood and Wine – and securing this bundle is a no-brainer for anyone who's yet to conquer the Continent.

Best of all, those who already own any previous version of the award-winning RPG won't pay a single Novigrad Crown for the update, as it's completely free for returning fans.

Should I play The Witcher 3: Wild Hunt — Remastered?

Play it if…

Don't play it if...

Accessibility features

On top of standard settings for adjusting subtitles, interfaces, and HUD elements, The Witcher 3 includes an expansive suite of accessibility options under a new, dedicated section dubbed "Bard's Ballad."

This mode includes several default presets – from unlimited item durability to faster boats – meant to make the game less taxing for those who might experience mental fatigue.

But the mode's nearly 20 toggles can also be tailored to individual needs, so different options, like color-blind-friendly Witcher Senses or fisheye Witcher Senses, can be selected individually based on a particular player's needs and preferences.

How I reviewed The Witcher 3: Wild Hunt — Remastered

I played The Witcher 3: Wild Hunt — Remastered for 30 or so hours. Having already invested dozens upon dozens of hours in more traditional playthroughs of both the original 2015 game and its 2022 next-gen update, I approached the remaster differently, focusing on the many fresh features, updates, and enhancements that separate it from its previous iterations.

I played the game on a PS5 Pro using my budget TCL 4K 65" TV, with HDR enabled. I tested the platform's Performance and Ray Tracing modes, finding the latter offered the preferred experience. For audio, I tested with both my TV's onboard stereo speakers and Sony's PlayStation Pulse Elite headset.

First reviewed October 2026

• Control Resonant composer Petri Alanko explains the process of developing Dylan's theme song, which is Jesse's theme played backwards
• He explains how Jesse's theme was more about power, while Dylan's is "a source of growth"
• Alanko says, "Dylan’s is more upward-reaching, as if it was asking for permission for Dylan’s existence"

Control Resonant composer Petri Alanko has shared his process for developing Dylan's theme song, compared to how he designed Jesse's, his sister and the main character of Control.

In the same interview with TechRadar Gaming, where Alanko explained how he created the game's eclectic soundtrack for Remedy Entertainment, the composer said the method for writing Dylan's theme was distinct from Jesse's, because their origins start in different places.

Without going into spoilers, Alanko explained that their paths are different, but, "Due to their roots, they actually share the same theme - but Dylan’s is essentially Jesse’s theme backwards."

"It first appeared already in the original Control at a few points, but here I wanted to slap the gamer’s face properly with it," Alanko said. "They share the DNA, so the theme’s shared too. What was Jesse’s power theme is, for Dylan, a source of growth; it appears in different harmonies across the game, and depending on the events, the harmony root is changed under the melody a few times."

He added, "Jesse had her power theme played in direct conjunction with her position only in the ending, whereas Dylan’s appears all the way, texturizing his path from nothing to a superhero."

Alanko continued, explaining that "The scale of the protagonist is larger in Control Resonant," and while Jesse's theme "landed" and was "grounded" in a way that was "a 'THIS IS ME' statement," he said, "Dylan’s is more upward-reaching, as if it was asking for permission for Dylan’s existence."

"From the very early points of development, I had the feeling Dylan was asking for a justification for his release and his freedom," he added. "Dylan is an involuntary hero; although he chooses to become one, he just doesn’t know it in the beginning.

"By grabbing a walkie-talkie from a corpse hanging mid-air after having come out from the building is his knowingly made decision: 'I choose this.' He chose to walk that path, and I wanted to pinpoint and emphasize the attempt by creating a few very driving percussion patterns through the story."

While Jesse and Dylan have two different juxtaposing themes, Resonant also features a blended theme for both called 'Sibling Theme.' Alanko shared that the game's end credits track, 'The One I Once Knew,' "was easily one of my favourites," as 'Sibling Theme' "wouldn’t exist without it."

"We weren’t able to use any vocals with the 'Sibling Theme' as there was a metric ton of voiceovers happening, and we didn’t want to distract the gamer from the core feeling of the Broken Conduit, the place where 'Sibling Theme' is played through various devices and means," he said. "I had one of the music industry’s most beautiful voices appear on the end credit track, 'The One I Once Knew' (TOIOK), Amelia Jones, who recorded and edited her own vocals and sent me everything she had performed, and I didn’t have to change a thing from her selections. Awesome voice, awesome work ethic, awesome ear."

• Control Resonant composer Petri Alanko says he was brought on to the project "very early" while still working on Alan Wake 2, which he thinks resulted in a better soundtrack
• He suggested that if studios care about their game, then they should respect their soundtrack more and avoid "AI music"
• Alanko says, "If you value and respect your IP and your game - and your story - give a lot of love and time for the music"

Control Resonant composer Petri Alanko has suggested studios should value music more if they care about their games and avoid AI at all costs.

In an interview with TechRadar Gaming, the composer, who has a long history working with Remedy Entertainment, discussed the early stages of developing Control Resonant's soundtrack, revealing that he was brought on to the project "very early" and was still working on Alan Wake 2.

"I was still neck-deep with Alan Wake 2, and I used Control Resonant’s concept to detach myself from the Dark Place where Alan Wake 2’s events were happening," Alanko said, adding that it was beneficial to be brought on to the game during this time because, "The earlier I exist in the project, the better the outcome."

Alanko went on to talk about how he hears how other studios bring composers into the mix far too late into a game's development, which can be a great detriment to the quality of the soundtrack.

He suggested that if studios care about their project, then they should respect the music aspect more, and expressed a dislike for "AI music" specifically.

"I sometimes feel a great pity to hear a colleague was dragged in three months before the final deadline and they need to compose eight hours of music or similar," he said. "If you value and respect your IP and your game - and your story - give a lot of love and time for the music.

"And please, no library or AI music. Love your game, love your handiwork. Respect the client: the gamers, the fans, dammit."

The composer said he's been working with Remedy since 2004, and so he always has "some kind of an idea what their stories need," and the studio "also know what to expect from me," which shortens the soundtrack development process considerably, meaning less meetings and emails.

"The coherence of material increases greatly," Alanko said, "I’d say value for quality is much, much higher, not to forget the value for money. I’m known to work my ass off for a project I love, and I don’t exactly count hours - if you do this job properly, you cannot count in the first place, but one needs to remember there are no free days or free themes. And, at some certain level you need to re-evaluate your work/life balance, which I have done already ages ago. It was a surprisingly fruitful decision, and I’ve felt much better ever since. This was in 2011 already, so nothing new as such."

Alanko added, "When the time passes, you will notice 'speaking developer' (as in 'speaking French') gets easy and becomes your second nature, and you’ll start supervising your own creating so that your artistic outcome suits better to any sudden changes. And after a little time, you’ll notice how effortlessly you’re still able to maintain a high creative level and high emotional value despite what in the beginning looked like a restriction.

"Just hone your workflow into a decent order, and your ass will follow, basically. Know your tools, know the client’s tools."

In the same discussion, Alanko shared how he created the eclectic soundtrack for Control Resonant, revealing he captures a lot of everyday sounds on a recording device that he later manipulates into harmonies.

• Rockstar Games just released a sneak preview of six Grand Theft Auto 6 radio stations
• They include Cocoteo FM, Back Country Radio, AfroBank FM, The Chamber 106.6, Flash FM, and Dirty South Classics
• The studio also confirmed that " a series of on-demand podcasts" will also be available to listen to in-game "in vehicles or on foot"

Rockstar Games just dropped a preview of Grand Theft Auto 6's radio stations, while also confirming the existence of on-demand podcasts that players can listen to in-game.

Ahead of GTA 6's launch next month, fans can now head to Rockstar's website and listen to six "hand-picked stations from the Leonida airwaves," including singles from the game's official soundtrack.

"Spanning stations dedicated to everything from Classic Rock to Talk Radio, Grand Theft Auto 6 features the biggest and widest-ranging selection of in-game radio and podcasts yet," Rockstar said.

The six radio stations include:

• Cocoteo FM: Leonida's home for the best of modern Latin music. Hosted by El Martillo and La Gata and featuring everything from bachata and merengue to dembow and reggaeton — Cocoteo FM is el party que nunca se apaga.
•  Back Country Radio: MW and Delta Dawne blast renegade country music to the Grassrivers, Port Gellhorn, and beyond. Stay tuned for Back Country’s roving reporter, swamp meteorologist, and Delta’s not-so-secret lover Mud Dog Mike checking in from the driver’s seat of his Grassrivers airboat.
•  AfroBank FM: Turn up the gbedu with Burna and Palmsy, AfroBank FM's dynamic duo curating the best in African music, from 20th-century classics and undiscovered gems to contemporary sounds like amapiano, 3-step, and more.
• The Chamber 106.6: Crushing metal has landed in Leonida. Jump in the pit with DJ Kerry and DJ Tom for classic metal from the ‘80s and beyond as they channel Leonida’s deep metal roots.
• Flash FM: The Vice City institution that delivers the best in pop music with Robyn and Alex — guaranteed to make you dance no matter where you find yourself in the Goodtime State.
•  Dirty South Classics: A little southern hospitality from Trick and Trina, blasting regional rap and hip-hop classics. From the beach to the block, nobody reps Leonida and the South like they do.

In addition, Rockstar has confirmed that "for the first time ever" GTA 6 will introduce "a series of on-demand podcasts, with both radio and podcasts available to listen to in vehicles or on foot through newly introduced headphones and earbuds connected to their smartphones."

This means players can tune into podcasts in-game using earbuds or headphones while playing as Jason and Lucia, and on the radio while driving around Leonida and Vice City.

Last month, Rockstar also released a sneak preview of 'Grand Theft Auto 6: The Album'. The soundtrack will feature 24 original tracks from artists like Travis Scott, PinkPantheress, Morgan Wallen, Keith Richards, and more, and the first six singles are available to listen to now.

• Control Resonant composer Petri Alanko says the game's "nightmarish" open environment influenced his approach to creating the soundtrack
• He says he "tried not to re-do Inception" because "That would’ve been a tad tacky" and "reduced Remedy’s concept"
• Alanko says "Accentuating Dylan’s starting point" was the origin point for conceptualizing the music within the open-world environment

Control Resonant composer Petri Alanko has shared how the game's new setting influenced the soundtrack compared to the first game, and how it helped him represent the protagonist, Dylan.

The Control sequel takes place in a warped version of Manhattan, a totally new environment from the first game's interior setting of The Oldest House, which offers more "open-world" exploration and pushes players to engage in side content alongside the main story.

The setting has been compared to Christopher Nolan's Inception, with its surreal art style and gravity-defying buildings; however, according to Alanko, he didn't want to copy the movie because it would have diminished Remedy's storytelling.

"I tried not to re-do Inception," Alanko said. "That would’ve been a tad tacky and would have reduced Remedy’s concept to something less worthwhile. I don’t personally believe in replicating or redoing, although in some rare cases an homage is fitting, actually, but such cases are indeed very few."

He added, "It was a great relief that we exited The Oldest House and used the nightmarish Manhattan-like surroundings for the game setting," with the scale of the buildings being a source of inspiration, particularly when it came to depicting Dylan within such a huge world.

"It’s beautiful, epic, majestic even," Alanko explained. "There’s so much more to the scenery than just the buildings; it’s about the scale and the feeling, feeling small and replaceable… how would you represent Dylan there so that one felt he’d be irreplaceable? That was the source of the backbone of Dylan-related pieces in the game."

The composer went on to say that "Accentuating Dylan’s starting point was an origin point for conceptualizing the music and among the first things I did," explaining that since Dylan is "a blank slate," it helped formulate the tracks to go alongside his journey.

"He’s a blank slate, a tabula rasa, and he’s to recover and become first a human, then something else," he said. "Hence the descending nature of the harmony of 'Tabula Rasa' and the clangorous percussion — it’s an introduction to Dylan and Hedron, in simple terms, a little like a concert overture.

"One could easily think the undulating noisy sounds towards the end would represent breathing - or, breathing again after a coma - for both the protagonist and the antagonist. I wanted to express the fragility and how brittle Dylan actually was, from how little he started, and where he ended up."

Control Resonant is playable now on PlayStation 5, Xbox Series X, Series S, and PC.

• Control Resonant composer Petri Alanko says he captures sounds using his iPhone or a field recorder, which he later transforms into harmonies
• He says, "The weirder, the better," but the studio doesn't have an "audio bible" for what it wants
• Alanko adds, "What I’ve noticed in my past: the worse the recording is, the better the outcome"

Control Resonant composer Petri Alanko has explained how he created the eclectic soundtrack for Remedy Entertainment's latest game, revealing that much of what he comes up with is initially captured on a recording device.

In an interview with TechRadar Gaming, Alanko shared that he records "a lot of stuff on a daily basis" using his iPhone or "my tiny, crappy dictaphone," but if he's carrying a bag, he'll have a small field recorder; whatever he records, he explained, he will later manipulate into harmonies that can be used for his professional work.

"Every now and then I go through what I have found, and I start doing the next phase: turning them into something I could use musically, be that rhythm or harmony or melody," Alanko said. "A lot of Control Resonant’s soundtrack is of that origin. The weirder, the better. There’s no 'too weird' for that."

The composer, who also created the soundtrack for the first Control and Alan Wake 2, said since he's been "decorating Remedy’s game universe for ages" he has "a good perspective on what works and what doesn’t," but explained that the studio doesn't have a certain approach.

"We don’t have an exact 'audio bible' for brand usage; it’s just what one might call 'silent knowledge'," he said. "I’d love to create one for Remedy; by the way, I’ve done that for some clients with whom I’ve gone through so-called sonic identity cases, audio branding, in other words. I try to not use that latter expression, as it cheapens the process.

"With Remedy, it’s about philosophy and the emotional layer, and nothing actually is omitted or put aside; everything might work. Emphasis on the word 'might'. It depends, and often one miss would need another miss or two to become an un-miss - and then it works in conjunction with everything else.

"It’s a very meticulous process, actually, but there’s no 'Remedy Game Music And Music Concept For Dummies 1-2-3', really. If it feels right, it is right. I rely on intuition and let it kick my ass with inspiration."

Alanko said that when coming up with Control's atmospheric music fans are familiar with, "sometimes the key to something cool is just slowing down things," or "by stretching or transposing a recorded sound down, a little like slowing the tape," explaining that the slower the sound flows, the lower the pitch, or the higher the frequency, it can reveal "very interesting things."

"Also, what I’ve noticed in my past: the worse the recording is, the better the outcome," he added. "Sometimes I spend ages with iZotope RX to carve out something usable from an intentionally (or unintentionally) flawed recording, then shove that through anything by Zynaptiq and continue from there. Then I gather together some instrument material groups — percussive, tonal, atonal, etc — and assemble something playable through a synth keyboard from them… which is when the first ideas connect with the pictures and the presentation I had seen.

"It’s a very clear 'Hey, NOW I know how things go from here' moment, in other words."

Control Resonant is now available on PlayStation 5, Xbox Series X, Series S, and PC.

• SteelSeries and KontrolFreek have announced a new Fortnite gaming accessories collection
• Each product is inspired by Fortnite's most iconic mascots, including Peely and Fishstick
• The SteelSeries Arctis Gamebuds | Fortnite Peely Edition, for example, feature a reimagined design in banana peel yellow

SteelSeries and KontrolFreek have teamed up with Epic Games to deliver the ultimate gaming accessory collection for Fortnite fans.

The officially licensed peripheral collection, launching today, is "designed to bring the iconic game to players’ real-world gaming battle stations," and consists of ten accessories and hardware pieces from across a multitude of gaming gear categories.

Inspired by Fortnite's most iconic mascots, like Peely and Gudd, Fishstick, Supply Llama, and Water Sprites, the collection includes headsets, earbuds, mice, mousepads, PBT keycaps, Performance Thumbsticks, Thumb Grips, and more.

Additionally, every SteelSeries item comes with a special in-game code for the likes of emotes, Outfits, and Pickaxes.

The Arctis Gamebuds | Fortnite Peely Edition, priced at $219.99 / £179.99, has received a full redesign with a banana-yellow finish and a unique charging case design; this comes with a code for the in-game Oro Outfit.

Meanwhile, the Aerox 3 Wireless Gen 2 Mouse | Fortnite Storm Edition brings a vivid multi-color splash to any setup, complete with a lightning-embossed scroll wheel and honeycomb pattern inspired by the Storm. Priced at $129.99 / £119.99, fans can also claim a code for the Frozen Bear Pickaxe.

PC players can also customize their keyboard with the PBT Keycaps | Fortnite Fishstick, Guff, Supply Llama Editions, which are priced at $79.99 / £69.99 and designed in collaboration with Epic Games. Players can also claim the in-game Statuesque emote.

You can check out the full SteelSeries and KontrolFreek collection below, alongside their prices.

SteelSeries Fortnite Collection:

• Arctis GameBuds | Fortnite Peely Edition – $219.99 / £179.99 / EMEA €199.99
• Arctis Nova 3 Wireless PC/Xbox | Fortnite Sprite Edition - $129.99 / £119.99 / EMEA €129.99
• Aerox 3 Wireless Gen 2 Mouse| Fortnite Storm Edition - $129.99 / £119.99 / EMEA €129.99
• QcK XXL | Fortnite Battle Bus Edition – $49.99 / £44.99 / EMEA €49.99
• QcK L | Fortnite Fishstick & Guff Editions – $29.99 / £29.99 / EMEA €34.99
• PBT Keycaps | Fortnite Fishstick, Guff, Supply Llama Editions – $79.99 / UK £69.99 / EMEA €79.99
• Artisan Keycap | Fortnite Edition - $79.99 / £79.99 / EMEA €89.99

KontrolFreek Fortnite Collection:

• Fortnite Aim Boost Kit | Durrr Burger Edition with Collector’s Burger Box Case - $34.99 / £34.99 / EMEA €34.99
• Fortnite Performance Fishsticks | Fishstick Edition – $19.99 / UK £19.99 / EMEA €19.99
• Fortnite No-Slip Thumb Grips | Supply Llama Edition – $14.99 / UK £14.99 / EMEA €14.99

• Control Resonant composer Petri Alanko says a musical score is "an emotional vessel"
• He explains that it's his duty "to represent the story in the most beautiful light possible"
• Alanko adds that the music "must be able to exist by itself, without the game and the story"

Control Resonant composer Petri Alanko thinks of a game's musical score as another way to tell the story, and it's his job to do that, even if he sometimes takes some creative liberties.

"In my thoughts, a score is what one might call an emotional vessel - or a tray for the story," Alanko told TechRadar Gaming in an interview about Remedy Entertainment's latest action game. "My duty is to represent the story in the most beautiful light possible, to help drill the ideas and the vision into the heads of those who experience the events."

The composer compared it to his band, where on stage it's his role to help the soloist "be the best version of themselves and showcase their talents in the most elegant way possible," saying that the "Same applies" to a video game.

"What I do is a series of deep bows towards the story; I love the story; it’s an honour for me to make it even more approachable and beautiful," he said. "But… it must be able to exist by itself, without the game and the story. Otherwise, it’d be just a pointless collection of noodling. I carry the responsibility of respecting both the story creator and especially those who enjoy the story."

Alanko went on to liken what he does to a customer service business, but added, "Trust me: I wouldn’t do anything just to please others; I do this to please myself. Simple as that."

"If I don’t like what I do, nobody else will, and, just to be clear and precise, I do really enjoy what I do," he reiterated, "my self-confidence is in very good shape that way (laughs). If something moves me, there’s a good chance it might move someone else, too."

While Alanko believes that it's a composer's job to translate the Remedy's story to the audience with his talent, he admitted: "I sometimes offer the story in a different light, as contradicting the on-screen events can be really delicious."

"It’s a very human feature to make errors, to have a sudden twist of a knife in your side in the middle of the most heroic event, as if someone reminded you of your mortality and how different the outcome would be if this-or-that happened," Alanko added. "A bit like memento mori. It makes you humble; it makes you human."

You can play Control Resonant now on PlayStation 5, Xbox Series X, Series S, and PC.

• The Thrustmaster T-GT III Steering Wheel has been announced for PS4 and PS5
• The new hardware is designed for Gran Turismo 7 and offered in a Direct Axial Drive bundle for the first time
• The T-GT III will cost $749.99 / £649.99 / €699.99

Thrustmaster has unveiled the T-GT III Steering Wheel for PS4 and PS5, the latest addition to its ongoing 16-year-long partnership with Gran Turismo.

The Thrustmaster T-GT III is designed for Gran Turismo 7, the newest entry in Polyphony Digital's long-running racing series, and will launch on December 3 for $749.99 / £649.99 / €699.99.

The package includes the iconic T-GT steering wheel, featuring a leather finish and four rotary encoders mapped for Gran Turismo.

"Engineered without compromise for the most demanding sim racers, the T-GT III represents the ultimate expression of Thrustmaster's expertise and delivers an authentic and immersive Gran Turismo experience in a turnkey bundle," Thrustmaster said.

The T-GT series "enters a new era" with the T-GT III and is "the very first Direct Axial Drive bundle designed for Gran Turismo and "the first to natively integrate a load-cell pedal set."

The steering wheel delivers a constant torque of 5 Nm with an overshoot capacity of up to 10 Nm, preventing saturation and guaranteeing ultra-low latency and instant responsiveness.

Combined with Thrustmaster’s Harmony technology and the high-frequency torque, the steering wheel also offers purpose-built haptic effects for the game with "Gear Jolt," which lets players feel gear shifts, while "Engine Roar" makes the chassis resonate in time with the engine’s RPM.

"We have a long-standing partnership with Thrustmaster, who, over the years, have remained faithful to Gran Turismo by offering solutions that enhance the driving experience," said Kazunori Yamauchi, producer of the Gran Turismo series. "The journey we’ve taken together has allowed us to extend the desired sensations through a steering wheel as technology and the game have evolved. We are delighted to welcome them as partners of Gran Turismo World Series."

Thrustmaster will continue to evolve the T-GT III through software and firmware updates to keep pace with Gran Turismo's Spec updates (Spec IV is the next free update releasing in two parts, with the first arriving this month and the second in December), ensuring long-term support for players.

"Meeting Gran Turismo’s exacting standards is no small feat. In the 16 years we’ve been working together, Yamauchi-san’s motto has remained a commitment to the game in every sense of the word; this has allowed us to take on projects that we believe no one else would have accepted in order to achieve that level of fidelity," said Gilles Raulet, director of development and licensing at Thrustmaster.

"This collaboration continues to inspire our teams year after year because passion remains at the heart of our discussions."

• Nacon has announced its new Revolution 5 Unlimited, an officially licensed controller built for PS5 consoles
• The controller is the world's first officially licensed PS5 controller to have a built-in control screen
• It's available for pre-order today for $229.99 / £179.99 / €199.99

Nacon has announced its new Revolution 5 Unlimited (R5U), a high-end asymmetric controller, officially licensed for PlayStation 5 consoles, featuring "major hardware innovations."

Available to pre-order today at NaconGaming for $229.99 / £179.99 / €199.99, the R5U is the world's first officially licensed PS5 controller to have a built-in control screen, which will allow players to make instant adjustments without leaving their game.

Audio mixing, joystick sensitivity, and shortcut mapping can also be adjusted on the fly, with the controller's TMR (Tunneling Magnetoresistance) magnetic technology making its debut in Nacon's hardware lineup to "significantly improve reliability, while delivering surgical precision and reduced power consumption."

The R5U is built for competitive gaming and offers micro-switch action buttons, Trigger Blockers with "instant trigger" technology that lets players switch from an analog pull to an ultra-short click, and multiple remappable shortcut buttons.

It also boasts advanced software features, such as the "Shooter Pro Mode," which completely removes joystick dead zones to deliver "enhanced responsiveness, precision, and performance."

The controller comes with comprehensive accessories, a storage case and a dedicated charging dock, and is the first Nacon officially licensed PS5 controller, so users can charge and connect it in one convenient place.

It's also versatile, offering triple connectivity with PS5 consoles, PC, and Android Smart TVs, and supported by a dedicated mobile app for fine-tuning advanced settings; a dedicated PC mode for ultra-low 1ms latency and advanced features will also be available on the mobile app.

"With the Revolution 5 Unlimited, Nacon demonstrates its ability to set new standards in the competitive gaming peripherals segment," said Yannick Allaert, director of Nacon's accessories division.

"By combining a built-in control screen and TMR technology on an officially licensed PlayStation asymmetric controller, we are giving competitive and demanding players a state-of-the-art instrument, backed by years of expertise within the Group."

TechRadar Gaming has reviewed Nacon's Revolution 5 Pro controller, with reviewer Rhys Wood calling it a "fantastic controller that falls just short of being essential."

• Quick Spectral Super Resolution (QSSR) is Sony's new machine-based upscaling tech for the PS5
• Analysts at Digital Foundry say it has "remarkable" potential
• QSSR enabled in Marvel's Wolverine has an "exceptional" quality boost, while Ghost of Yotei "saw less dramatic improvements"

Sony has unveiled Quick Spectral Super Resolution (QSSR), its new AI upscaling technology built for the base PS5, and it can offer major image-quality improvements.

QSSR is different from PlayStation Spectral Super Resolution (PSSR), with Sony describing it as a "quick new evolution of PSSR" and "built on two key innovations," including a streamlined neural network architecture and a hand-tuned implementation that maximizes performance on PS5.

"While PSSR remains the gold standard on PS5 Pro, QSSR provides some notable improvements to both image detail and image stability on PS5," Sony said, with the first titles to use the tech being Marvel’s Wolverine and Ghost of Yōtei.

According to tech experts at Digital Foundry(DF), who went hands-on with QSSR and tested both games, they believe "The potential here is remarkable."

"Low resolution and poor upscaling have impacted so many titles in this generation, but QSSR could make a big difference," DF wrote. "In Marvel's Wolverine especially, the quality boost can be exceptional.

"In terms of image quality analysis, suffice it to say that temporal stability is substantially improved, detail level increases, sub-pixel integrity is considerably superior, while artefacts from elements like moving foliage are much reduced."

However, it notes that with Ghost of Yōtei, a game that already boasts gorgeous image quality, it "saw less dramatic improvements."

In its YouTube analysis, DF founder Richard Leadbetter showed off comparisons of QSSR enabled and disabled in both games; the analysts tested a Wolverine cutscene in Performance Mode uncapped, and there's a noticeable visual upgrade when the tech is on.

"The frame rate is lower," Leadbetter noted. "The headline number doesn't look great, right? A hit of about 8 to 10 frames per second [versus on/off]. But the important thing is the frame time cost of QSSR. By my calculation, it's between 1.5 to 1.8 milliseconds, and I'd say that's reasonable for an ML-based [machine-learning based] upscaler producing results like this from a low base resolution on hardware that doesn't have any form of ML acceleration."

Leadbetter deduces that the higher the output/input resolution is, "the bigger the frame rate hit will be."

In 60fps graphics modes where dynamic resolution scaling is being used, he said, "basically now we're getting the best of both worlds," as "Performance is practically identical" with or without QSSR enabled.

"The QSSR 'on' side will be lower in resolution to maintain frame rate," Leadbetter said, "but the quality of the upscaler is so much better that you're getting a better experience overall."

One clip shows a 1fps drop with QSSR on, but it's hardly noticeable, and while Ghost of Yotei running in Performance Mode uncapped VRR at 120 Hz does show frame dips when QSSR is enabled, they are "slight."

"Basically imperceptible for the most part," he said, "which is very different from what we saw with Wolverine, to the point where you know with the captures here, I had to recheck that QSSR was actually on because it just looks too good to be true here. There's no real performance here."

Like PSSR, QSSR is expected to be patched into more games and utilized in future PS5 titles; it's unclear right now whether Rockstar Games plans to take advantage of the tech in Grand Theft Auto 6.

Fuse Games' Star Wars: Galactic Racer isn't what I anticipated. A fun Star Wars racing game that lets you take part in a series of high-octane relays across the galaxy? Sounds great; you had me at "Star Wars." But a heart-pounding roguelike sweat-fest that had me squeezing my DualSense wireless controller in a death grip and yelling at my monitor as Kestar Bool once again beat me in the final race by the skin of my teeth? Not what I was expecting!

Galactic Racer takes place after the fall of the Empire and during the New Republic Era, where the lawless and ex-pilots of the Outer Rim take part in the unsanctioned, high-stakes Galactic League. You play as Shade, a faceless human cargo pilot recruited to the league and who has a major grudge against the oppressive Bool family, particularly Kestar Bool, the guy who also happens to be the reigning champion of the Galactic League. Shade, for reasons you'll discover as you progress the campaign, has a long history with Kestar and is dead set on beating him, and you feel that rivalry grow after every attempt at completing the tour.

This particular Star Wars tale is contained without the bigger stakes we often see in the movies or TV shows, and while it's not a sweeping cinematic experience like Star Wars Zero Company or Star Wars Jedi: Survivor, with not much exploration in the way of character depth for Shade as the playable character, it's simple yet effective; Galactic Racer is first and foremost a racing game with an emphasis on replayability, buildcraft customization, and a tailored progression system.

A race across the stars

The freedom to choose how to proceed through the campaign is a core feature I greatly enjoyed, and players must first complete the qualifiers, then the main Galactic Tour. There's no randomized track selection; instead, a clever system of branching paths lets you choose a route and compete in races that fit your preferences, minimizing the risk of losing your League Tokens, which let you race in the first place.

There are standard races that present a variety of gripping courses, and you can come in first or 12th place; Field Tests, which I did find a bit repetitive and not as challenging after completing them numerous times; Mystery Encounters; and Eliminator races, an event where the driver in last place is disqualified until only the top three pilots remain, plus you'll lose a League Token, which makes it the riskiest race in the bunch.

Roguelikes can be hit or miss for me, but Galactic Racer's run-based structure offers an exhilarating and chaotic gameplay loop that excels at providing a highly engaging, heart-pounding experience despite the rinse-and-repeat system.

Even after beating my fellow racers and making it all the way to the finals, only to fail miserably, the notion of having to replay the entire process after losing should've been off-putting. Instead, I found myself not only eager to improve, but excited to get back on the track with the knowledge and skills I'd gained from previous runs, a feeling that not many roguelikes can achieve.

The game has a learning and difficulty curve due to its roguelike framework, and it may not be for everyone, but it's purposefully designed to make you become the best racer in the galaxy, since you likely won't be a winner straight away.

More often than not, you'll smash headfirst into an obstacle or fly off a cliff because you didn't drift in time, so it's incredibly satisfying how the game makes you feel like you're gradually improving after every run.

At the beginning of each tour, you choose a loadout, including your vehicle, Favours that provide a competitive edge, and a Racer Style, an additional preset that dictates your speeder's behaviour and active perks and feels more personalized to your playstyle.

Galactic Racer offers three vehicle types — landspeeders, speeder bikes, and skim speeders, as well as podracers during select missions — but in the end, I personally favored the speeder bike; its compact agility, vectored thrust, and kinetic burst felt incredible as I sped across dunes and whizzed around tight corners on slippery glaciers.

If at first you don't succeed...

When I started, I absolutely sucked. I frequently collided headfirst into walls and mismanaged my abilities, but the roguelike structure works so well that my muscle memory began kicking in the more I played; by the end of the game, I was hardly crashing and knew the tracks like the back of my hand.

It's no smooth ride; every choice shapes your prospects, and the challenge of not only trying to win while overcoming planetary effects like lava or acid, and outplaying your fellow pilots, takes the stakes even higher — it's a testament to how well the roguelike framework works and how brilliantly designed the courses are.

The game puts a huge emphasis on customization — the build possibilities are endless — and the system stands out against the competition as you gradually update your vehicles by applying upgrades, installing parts (and making sure they're not damaged), and unlocking new power-up abilities; there's an abundance of them, and they make a world of difference in close-call encounters and improve your odds of a podium position.

Not to beat the dead tauntaun, but seriously… this is podracing! Playing on the base PS5, Galactic Racer is a visual and audio feast, offering a gorgeously smooth experience at 60fps, while sweeping you up in the frenetic action.

The speeds you can reach are ridiculous when you have the right upgrades, and there's nothing more gratifying than going to the maximum with your Ramjet and executing perfect landings and sharp corners without crashing your speeder into a million pieces.

The best of the best

Racing is at the soul of the campaign, and it's a damn good time, but the game also allows you to interact with other pilots; they aren't just random racers, but fully written NPCs with unique personalities and playstyles, and I loved how Fuse represents these characters on and off the track.

You'll build rivalries, learn their backstories, and discover random encounters with multiple dialogue options, which also come with rewards and consequences, making the lawless world you're competing in all the more real.

With Kestar Bool, for instance, I chose to insult him after he tried to swindle me out of some credits, and since he basically runs the show, my speeder was sabotaged; it exploded at the start of the next race, and I lost two speeder upgrades in the process, putting me at a huge disadvantage for the rest of the tour. This is such a unique feature and a significant factor in the game's progression system that drives home the competitiveness among your opponents.

Jakku and Crait are probably my favorite out of the six available planets, which are all stunningly authentic to the Star Wars universe and a joy to experience from a brand-new perspective as a fan; the scale of their set pieces, whether it be the underbelly of a Star Destroyer skeleton or kicking up red salt in crystalline caverns, creates a sense of awe alongside the game's competitive atmosphere as you maneuver through various routes.

Fuse has designed a riveting racing game with creatively constructed tracks that compel you to keep playing even after a major fumble. At first, it's all about mastering the track — which corner to take to put you ahead, when to speed up or slow down — and the game does a great job of making each one distinctly different. Soon enough, however, these races get pretty aggressive, to the point where they'll turn into outright battles as your opponents try to ram you off the course (screw you, Griff Halloran).

Alongside the campaign, players can unlock Sebulba's storyline, a side activity where you play podraces from his past; it's a neat addition to the main story that offers up some amazing tracks while also providing additional backstory on the guy who had it out for little Anakin Skywalker. Surprisingly, Sebulba became a standout in the storyline, and I appreciate that Fuse didn't simply throw him in for the sake of nostalgia.

The game also offers other side activities like Scenarios that let you play as each racer, an Arcade feature, both worthwhile additions for after you complete the campaign, and a proper multiplayer mode. During the review period, I had access to several multiplayer sessions, a standard online PvP experience featuring quick race modes and Tours with 12 players and crossplay enabled.

From what I was able to play, I enjoyed the multiplayer as much as the campaign, and it has a lot of potential if Fuse plans on updating the game post-launch; it feels just as entertaining and competitive as the story, with extra unlockables and missions that incentivize you to keep playing after the campaign. While I didn't get to play too much due to time constraints, I already know I'll be sinking more hours into it, and I'm particularly excited about trying out the Podracing Tour mode at launch — it was locked during the review period — because I couldn't get enough of it in the campaign.

Should you play Star Wars: Galactic Racer?

Play it if...

Don't play it if...

Accessibility Features

Star Wars: Galactic Racer offers a ton of accessibility features in the form of your typical settings across visuals, audio, and subtitles. There are also some great controller remapping options, which can be adjusted to your preferences (these make a huge difference on the track), toggleable controls, and more.

How I reviewed Star Wars: Galactic Racer

I spent almost 30 hours playing Star Wars: Galactic Racer on the base PlayStation 5 with my Gigabyte M32U gaming monitor and my Sony WH-CH520 wireless headphones for audio.

First reviewed October 2026.

• Control Resonant composer Petri Alanko says he typically finds his inspiration by looking at Remedy's "gorgeous" concept art
• He reveals that he has synesthesia, which allows him to "hear" music by looking at these pictures
• Alanko says there's a "transparency culture" at Remedy, which helps prepare the team for a new project

Control Resonant composer Petri Alanko has revealed that he has synesthesia, which allows him to find much of his inspiration by looking at Remedy's concept art.

In an interview with TechRadar Gaming, Alanko, who also composed music for the first Control game and other Remedy titles, shared his process for creating the music fans hear in Remedy's sequel.

"You wouldn’t believe, but quite often everything starts a little like that old Simpson yelling at a cloud meme, but in my case it’s more staring at the clouds instead," Alanko joked, adding that it's really about thinking and trying to find an interesting approach.

The composer went on to talk about the "transparency culture" at Remedy, revealing that every time the studio births a new game concept, it "has a habit of telling the whole company about it" in the form of a well-rehearsed presentation, and Control Resonant's was no different.

"That, by the way, separates Remedy from many others; the amount of detail and level of depth is unparalleled," Alanko said. "Very unique. One would think they already have everything ready, albeit we’re only taking the first steps."

When discussing what helps his composer mind come up with ideas, he explained that he typically leans toward Remedy's concept art, because they "tell a story, and they usually are really, really beautiful."

Alanko shared that he has synesthesia, a neurological phenomenon that causes sensory crossovers, such as tasting colors or feeling sounds, and in his case enables him to hear sounds when looking at pictures.

"Those pictures have a 'sound' in my head, and following those intuitional sources often bring me a few melodies, harmonies… a feeling, actually," the composer explained. "To be able to hear music requires the background concept story as well as a presentation, and the pictures. I rely heavily on that. Plus, as a composer, I’ve always been an outsider and felt like I’m just watching everything from a distance, an observer, if you like.

"That feeling combined with the ability to 'hear' pictures - synesthesia, to be exact - are my go-to tools at the ground zero point."

Control Resonant is now available on PlayStation 5, Xbox Series X, Series S, and PC.

New details about Grand Theft Auto 6 have emerged ahead of the game's launch, courtesy of an exclusive cover story by Game Informer, confirming even more gameplay features and immersive systems that will bring Leonida and Vice City to life.

There's a lot to unpack, from an expansive open world to an array of side activities to engage with, and the ability to post on social media and doomscroll, but I've put together the top five things that stood out.

1. A map bigger and better than ever before

GTA 6's world, which consists of six primary regions including Vice City, the Leonida Keys, Grassrivers, Port Gellhorn, Ambrosia, and Mount Kalaha National Park, all culminates in a massive open world that Rockstar Games has ever created "by some degree," according to Rockstar North co-studio head Aaron Garbut.

Essentially, it's twice as big as GTA 5's world, and is more dense, populated, and interactive.

"This new world is different," Garbut said. "We obsessed about every part – the rooftops, the alleys, the internals and everything in between to the point we hit a critical mass with the numbers of our interiors, and you start to feel the buildings are more real inside and out. This world is a cohesive whole with the density of content and a hand-crafted quality to every bit."

2. An improved weather system

GTA 6 will bring realism to the next level and offer a brand new "re-engineered" dynamic and localized weather system, and players will experience everything from hot, sunny weather to rain showers, lightning storms, and more. Puddles will also remain on the ground after the rain passes, realistic rainbows will appear in the sky, and lighting will change depending on the situation.

"We have re-engineered our weather system to make everything much more localized and persistent, and really wanted the world to feel dynamically solid and achieve a sense of scale we haven't felt before," said Rockstar's VP of art for lighting and rendering, Owen Shepherd.

"The world features new fully dynamic cloudscapes that roll across the map; these give us a broad spectrum of weather from the clear blue skies of a Miami winter to the vertiginous cumulonimbus clouds with sporadic lighting that you see most afternoons in the Floridian summer and autumn."

3. Sooo many animals

Similar to Red Dead Redemption 2, GTA 6 will feature a wide variety of animals, including dogs you can pet, with Rockstar confirming 170 animal species in total.

Many of these are Leonida-native species that have never appeared in a Rockstar Games title, including over 60 bird types, more than 30 land mammals, various fish, reptiles, and more.

Rockstar vice president of dynamic art Michael Kane revealed that the game will feature creatures like flamingos, pelicans, and alligators; these are just a few of what players will encounter.

"Florida has a diverse animal ecosystem that we wanted to faithfully include across the different biomes in Leonida – urban and rural environs, aquatic life both inland and ocean, and the wetland habitats like the swamps and Everglades," Kane said. "The animal art and population teams are incredibly passionate about delivering animals that are accurately researched and look visually correct in every respect, alongside the supporting movement and animation to bring them to life."

4. More authentic NPCs and a passion for fashion

As we've seen from the trailers and gameplay presentation, GTA 6 will have a ridiculous number of handcrafted non-player characters (NPCs)— with over 600,000 animations combined—and will bring a new sense of realism to Vice City.

Rockstar has previously confirmed that the studio established a new Los Angeles-based team of writers, directors, and producers to focus solely on realizing non-player characters; according to Kane in Game Informer's interview, it was a "huge artist-driven effort" to make them "authentic and representative in service to both the story requirements and so that the entire Leonida map feels visually diverse and believable."

NPCs will now have different heights, skin and body types, individual features, with Kane adding that Rockstar "paid a crazy amount of attention" to making culturally correct tattoo styles that fit Leonida's diverse communities and regions, with hair and fashion also being heavily considered.

"We’ve been able to really go hard on that with creating the biggest range of garments and accessories we’ve ever made – supported with rich, realistic materials," Kane said.

"That surfacing includes color, patterns and branding that are both area-appropriate, but also tied to context (states of dirt/weathering and fitment) for the characters themselves and their social situation and how they inhabit Leonida. Shoes, sneakers, and colorways that we know carry cultural weight as items – likewise watches, sunglasses, or hats."

5. Robberies and the wanted system

As we've seen in the gameplay footage, players can take control of either Lucia or Jason. This applies across the game, including for heists and robberies.

However, alongside a six-star Wanted system, Rockstar has introduced a new "Heat" system that means cops can gather information on the co-protagonist's appearance, including their clothes, hairstyle, and the vehicle they're driving.

Changing Lucia and Jason's appearance and ditching their vehicle can help players lose cops, but separating the pair can give them a better advantage by splitting the cops' attention.

However, getting arrested will result in a "Busted" screen even if the other protagonist gets away, so players need to think carefully about their escape plans.

• 007 First Light update 1.3.0 and the game's first free Extended Operations downloadable content (DLC) is now live
• The DLC adds New Game Plus, Photo Mode, a new mission, a difficulty level, and the long-awaited Valhalla Protocol
• A host of other gameplay improvements and bug fixes also arrive with the patch

007 First Light's first major free downloadable content (DLC) has officially rolled out, delivering all-new playable content and huge improvements across the board.

With Update 1.3.0, IO Interactive has launched the Extended Operations DLC, which includes some of the most highly requested features fans have asked for since the game's release earlier this year, including New Game Plus, Photo Mode, and a brand-new "00" difficulty level "for those ready to show they’ve truly earned the number."

The new Jungle Heist mission is another new addition to the game, where players return to The Pearl villa in Vietnam to recover special documents, as well as the long-awaited Valhalla Protocol, where players drive the Aston Martin Valhalla once more in an action-packed side activity.

"Take the wheel of Bond's most heavily armed ride and cut loose on the open road, with machine guns and missile launchers at your command," IOI said in the patch notes. "In TacSim you will now find the new Activity, which brings you to the scenic landscape of Slovakia, where you can show off your best driving skills and aim for the highest score."

More TacSim weapons, like the Storm 12 Gauge and Squire Marksman Rifle, have also been added, and three new Bond outfits are now available, alongside a new IOI Account reward, The Grey Standard outfit, which players can claim until November 1, and a separate Twitch Drop outfit available from today until October 16.

To celebrate seven million game wishlists, players can also meet the newest member of the MI6 HQ personnel, Jack the Bulldog, "a distinguished and charming resident offering support in the form of his presence," and yes, you can pet him.

Extended Operations also "brings over 700 fixes and improvements to the game," which covers everything from crashes and progression blockers to "refined weapon handling animations across the arsenal," and more.

• CD Projekt Red originally wanted to add Geralt's silver chain to The Witcher 3: Wild Hunt, but there were technological constraints
• Songs of the Past game director Jakub Rokosz says modern tech allowed the team to finally add it in the upcoming expansion
• Rokosz says the 11-year time difference between the base game and Songs of the Past has made a huge difference

CD Projekt Red couldn't implement Geralt's silver chain in The Witcher 3: Wild Hunt due to technological constraints, but modern technology finally allowed it to add the weapon in the upcoming Songs of the Past expansion.

In an interview with TechRadar Gaming at Gamescom, Jakub Rokosz, Fool's Theory CEO, Songs of the Past game director, and former Witcher 3 senior quest designer, explained that the chain, which first appeared in the first Witcher game, was something CDPR originally "always wanted to bring" to the third installment.

"There were numerous conversations that we [had where we] would want to do the chain even during the base game, but it was impossible from a technological standpoint to do it properly," Rokosz said. "Back then, the way the combat, the targeting, the camera, the enemies were implemented, it would require too much of an overhaul just for one feature."

CDPR didn't have the tools to overhaul these features for one weapon; however, working on the remaster and Songs of the Past with today's updated tech allowed the team to bring the chain to life.

"When we started working on Songs of the Past and the remaster at the same time, we knew that we were going to be touching up on various things, and all of a sudden the chain became a reality," the developer said.

"Also, one other thing is that the physics and animation technology had to go a little bit forward in time. And trust me, 11 years is a lot of difference. So now we were actually able to make the animations of the chain feel very natural, very fluid, and simulated very easily. Whereas 11 years ago, we would probably have to animate it by hand, with all the animations."

Senior quest designer Despoina Anetaki added that, "from a practical standpoint," it's challenging to work with so many animations for a huge game like The Witcher 3.

"When it comes to the remaster, it's a lot of things already, so you can focus on new things, right? And this was a good opportunity for the chain," Anetaki said. "I think it's a really cool weapon."

Geralt's crossbow can be switched out for the silver chain, and players can use it on flying enemies, enemies in water, and for crowd control, with Anetaki saying she thinks fans will love it.

"It's a very versatile weapon, and I think it's gonna fulfill that butcher fantasy for a lot of people, especially those who have read the books and are imagining a badass Geralt with a chain. I think it's gonna be very good for them," she said.

Rokosz added that it was important to make sure the chain wasn't "a gimmick item" you get in Songs of the Past and wanted it to be "a very important piece" of a witcher's arsenal that can be used in the base game and previous expansions, with Anetaki saying that it is something that is "woven into the narrative."

Songs of the Past doesn't have a release date yet, but it's slated to launch in 2027.

• The Witcher 3: Wild Hunt lead writer Marcin Blacha has explained what it takes to create a worthwhile Witcher remake
• He says CD Projekt Red needs to "stay true to the spirit" of the original game
• However, the remake has to appeal to a new audience using modern technology

CD Projekt Red VP of narration and story director Marcin Blacha has revealed the secret to making a worthwhile Witcher remake, and it's about balancing what made the original game good with appealing to a new audience.

During a panel at Logitech Play 2026 attended by TechRadar Gaming, Blacha, who was a lead writer on The Witcher 3: Wild Hunt, explained that the studio needs to "stay true" to the 2007 original, but also design a fresh experience for gamers who didn't play it.

"The secret is to identify what was good in the original game, and find a way to retell it to the audience that, for some reason, cannot participate in this experience," Blacha said. "Those are two different things, and each of them is difficult on its own, because it's not that easy sometimes to recreate this experience."

The writer went on to discuss what the studio calls "Act Four" of The Witcher 1, which takes place in a rural lakeside region "that is very folklorish" and "full of beautiful landscapes," but said it's difficult to recreate that feeling again because it's a different experience for every player and can be "a little bit vague."

"To create a good remake, you need to identify what was good and find a way to recreate it using newer technology, [while] staying true to the spirit of the original game," Blacha added.

The Witcher remake is in development at Fool's Theory and will utilize Unreal Engine 5, as CD Projekt Red is currently all hands on deck making The Witcher 4, the first game in a new trilogy of Witcher games that it wants to release within a six-year time frame.

CDPR has also just launched The Witcher 3: Wild Hunt – Remastered, which offers a massive collection of improvements that promise an entirely new experience for the decade-old role-playing game (RPG).

• We can exclusively reveal 'Sibling Theme' from Control Resonant's official soundtrack
• The track represents Jesse and Dylan's bond and is a "subset of the origin theme"
• Composer Petri Alanko says the track "carries the emotions, as if it soothes and comforts the siblings’ dented childhood memories"

Remedy Entertainment's Control Resonant has launched on PC and consoles, and to mark the release, we've got a track from its official soundtrack to debut exclusively for fans.

The 'Sibling Theme' represents the bond between Control and Control Resonant protagonists Jesse and Dylan, with composer Petri Alanko describing it as a "subset of the origin theme," which you can now listen to on YouTube.

"If you listen to the instruments and the harmonies, there’s more than a vague resemblance in it," Alanko told TechRadar Gaming in an exclusive interview.

"At its core, 'Sibling Theme' was originally a much more vibrant version, an instrumental version of 'The One I Once Knew', but it just felt overwhelming under intimate childhood memory-driven sections, and I toned it down, but nothing quite clicked there, until I tested the harmonies and the melody line with just an electric piano."

Alanko, who also created the music for the first game, added that "a delicate moment needed a delicate solution," and he's pleased with how 'Sibling Theme' "carries the emotions, as if it soothes and comforts the siblings’ dented childhood memories."

"The acting of the protagonists is also really one-of-a-kind when the track plays; a lot of emotions are being surfaced," he said.

In addition to our exclusive reveal of 'Sibling Theme', fans can also listen to the official soundtrack on all available music apps and YouTube, featuring 13 tracks.

"Creating a soundtrack is always a labour of love: it’s a transition into a world where dream-like events pass you by and leave their mark, maybe forever," Alanko said in a press release. "The scope of Control Resonant was well beyond everything I have been involved with, so were the emotions under the surface.

"It was incredibly intense trying to hold back tears when the twists and turns were thrown at you, and emotionally Control Resonant went deeper under my skin than I expected. Under the action, it is a story about devotion, dedication, and determination."

Control Resonant is now available on PlayStation 5, Xbox Series X, Series S, and PC.

Nihon Falcom is on a real hot streak right now, and it’s showing no signs of slowing down with Trails in the Sky 2nd Chapter. The remake of 2006’s acclaimed Japanese role-playing game (JRPG), The Legend of Heroes: Trails in the Sky SC, is packed full of excellent quality-of-life updates that are sure to delight veteran players and newcomers alike, with full English voice acting, a visual overhaul, and modernized combat.

But just how good is Trails in the Sky 2nd Chapter? Should you play it? Here are my thoughts after countless hours of gameplay.

I absolutely loved this game’s predecessor, which launched last year and was among the best RPGs released in 2025. Yes, Trails in the Sky 1st Chapter was a phenomenon, supplying a beautiful blend of action and turn-based combat, silky smooth performance, and a brilliantly revamped UI. I sunk so many hours into that game, and so I was delighted to find that everything I loved about 1st Chapter transferred across to this follow-up.

A first-rate follow-up

I’ll start by talking about gameplay, which feels just as tight and refined as it did in 1st Chapter. You can rush around the world and attack enemies with Arts and basic attacks in Quick Battle. This is great if you want to mow through enemies — especially weaker ones — without having to spend too long strategizing, and it feels incredibly rapid and responsive. Being able to hack, slash, and whack your foes in a flash means that the game feels well-paced, and longer dungeons don’t seem too daunting.

However, you also have the choice to partake in turn-based Combat Battles to vanquish your opponents, and this is where a lot of the depth comes in. You have to carefully manage your Craft Points (CP) and Energy Points (EP), which enable you to use brutal physical and magical attacks and support options, while also carefully positioning your units to manage health.

It's also crucial to keep an eye on turn order to avoid getting KO’d before you unleash your attacks, choosing when to steal bonuses from your foes to heal or deal critical damage, and when to launch a deadly all-out team attack.

As you can gather, there are a lot of mechanics to consider, and there’s plenty of depth to be found in command battles. But perhaps the most important thing is to manage your Orbments properly.

Orbments string a number of gems together, known as Quartz, which determine the Arts that you can use in battle. Carefully curating your Orbments for each character is crucial, and I had an absolute blast tinkering around to build the ideal build for every boss.

By travelling the world and taking on optional battles and quests, you can unlock some seriously powerful Quartz too, which makes exploration feel truly rewarding.

This may seem like a lot to take in at once — especially for newer players. But don’t worry — there are plenty of difficulty options to choose from to fit your desired level of challenge. There’s everything from Very Easy to Nightmare (one for the true sadists). I selected Advanced this time out, which is somewhere between Normal and Hard, and while the road got tough at times, the Orbment system gave me all the tools I needed to shield my allies from devastating attacks.

Hey bro, wya?

The follow-up from the 1st Chapter is seamless gameplay-wise, and also in terms of narrative.

You can watch a recap of the first game if you want a refresher (or if you missed it entirely), and you’re reminded that Joshua (the protagonist Estelle’s adopted brother…lover? Both?) has fled. I won’t delve into the reasons why in this review, but essentially, Estelle decides to attend a specialist training camp to bolster her skills and track him down herself. It sounds pretty basic, but the story is pretty engrossing, actually. Like the first game, there are deeper political elements to explore, and you get to learn more about the mysterious secret society, Ouroboros.

The narrative remains gripping throughout, and there is no shortage of characters who join Estelle on her journey, be they returning faces like the travelling musician and romantic Olivier or the alcohol-loving Senior Bracer, Scherazard.

Voice acting is strong across the board, and breathes so much life into this colorful and charismatic cast. Some of the more low-key parts of the story and side content are only voiced partially, though, meaning you can get one character narrating their thoughts aloud while others sit in silence with text boxes. This was also in Trails in the Sky 1st Chapter, and can create a slightly awkward atmosphere in moments, though I understand this is more of a nitpick.

It’s also worth noting that this is a true anime-inspired JRPG with all of the melodrama and theatrics that you’d expect from the genre dialled up to 11. While this produces some stronger emotive moments and a good amount of comic relief, it may feel overbearing for some players. A few characters, like Anelace, go on pretty long monologues about the importance of wearing pretty bows while facing your foes. The wandering priest, Kevin, likes to let Estelle know how pretty she is about 10 times in the space of five seconds during the game’s opening section, too.

While this is by no means something that ruins the experience, I did find some of the characters a little unlikeable. So yes, some dialogue can feel superfluous at times, and it can also stretch on for quite a while. But there is a speed-up mode, and there’s nothing stopping you from skipping over the less crucial dialogue segments.

Robustly revamped for the modern era

On top of what I’ve already mentioned, Trails in the Sky 2nd Chapter is filled with a slew of masterful modernizations that really make the game click.

Like last time out, the UI has been considerably revamped and feels incredibly intuitive to sift through, while also looking great. Managing items and skills is seamless and easy, and you can access your quest list, recipe book, and the map in an instant. The speed-up option is also very welcome if you want to fly through your quick battles or travel over a long distance when fast-travel isn’t available.

The visuals are also great once again. Shimmering water, rich forest environments, and character models all look spectacular, at least on the PS5 version I played. By default, the game runs at silky 60fps with next-to-none hiccups whatsoever, but you can also play in performance mode, which targets 120fps at the expense of some graphical fidelity. This is perfect for fast-flowing action combat and exploring vast open areas. Loading screens are also incredibly brief, and I continue to be blown away by how well these games play on modern platforms.

One more thing I absolutely love about this remake is its stellar soundtrack. There’s an eclectic mix of delicate acoustic tracks, funk-infused high-energy tunes, and grandiose, hard-hitting battle themes that totally immerse you in the land of Liberl. Again, you have the option to pick between standard, arranged, or original background music – something that long-time fans no doubt appreciate.

All in all, Trails in the Sky 2nd Chapter is another exceptional remake that effortlessly maintains the strong momentum its predecessor picked up. Gameplay is varied, depth-filled, and addictive; the narrative is engaging, and the quality-of-life upgrades make it feel almost like a brand new game — all while carrying over the beloved aspects of the source material. Sure, the game’s melodramatic nature might not be to everyone’s taste, but if you’re a fan of the JRPG genre and want an epic adventure to sink your teeth into, then look no further.

Should you play Trails in the Sky 2nd Chapter?

Play it if...

Don't play it if...

Accessibility features

You can adjust the subtitle language to English, German, French, or Spanish, and select either English or Japanese voice acting. There are a number of ways to customize the camera’s behavior, too, such as normal or inverted configurations, camera movement speed, and camera distance.

On top of this, there are difficulty options, including a Very Easy mode if you just want to focus on the game’s story. Unfortunately, there is no colorblind mode.

How I reviewed Trails in the Sky 2nd Chapter

I spent two weeks playing through Trails in the Sky 2nd Chapter, during which time I played through the main story, took on a bunch of side quests, and sunk hours into exploring the land of Liberl.

For the most part, I played the game on my PS5 while connected to the Sky Glass Gen 2 TV and my Marshall Heston 120 soundbar. However, from time to time I dipped into the title on my PlayStation Portal remote player, and had the Sonos Ace Ultra headphones connected to listen to in-game audio.

More generally, I’ve spent years reviewing gaming software and hardware at TechRadar, where I serve as a Senior Reviews Writer. I reviewed the previous game in this series, Trails in the Sky 1st Chapter, and have covered a wider range of JRPGs here, including Fire Emblem: Fortune’s Weave, Dragon Quest I & II HD-2D Remake, and The Adventures of Elliot: The Millennium Tales.

First reviewed September 2026

• Rainbow Six Tactics game director Martial Potron says it was "crucial" that the development team designed a unique roster of Operators
• Each of the 15 Operators has unique gadgets, playstyles, and progression to avoid "overlap"
• He says it would have been "impossible" not to feature fan favorites like Ash and Sledge

Rainbow Six Tactics game director Martial Potron has said that it was important for Ubisoft to design the game's Operators with unique loadouts and progression to avoid overlap.

"My team really wanted the operators to feel unique and to serve unique places," Potron told TechRadar Gaming at Gamescom. "It was part of the creative process to make sure that every Operator would serve one turf course in the experience, so we really made sure that all Operators were unique: unique gadgets, unique playstyles, unique progression. It was crucial for us, in fact, that we didn't have too much overlap with other Operators."

The upcoming turn-based tactics spin-off will offer 15 Operators in total, with Ash, Sledge, Glaz, Montagne, Doc, and Nokk confirmed so far, and you won't be able to play them repeatedly due to the game's new gameplay systems. While that's far from the entire roster fans are familiar with in the core series, Potron explained that it was also important to include "community favorites."

"We really did the operators that were impossible not to have, [like] Sledge and Ash," the game director said, adding that there are a few that he's personally disappointed aren't included.

"I love Tachanka. We don't have Tachanka; we don't have Lion." Potron said. "We had to make [tough] choices. It's part of my job to make [tough] choices."

As for the possibility of adding more Operators in the future, Potron said there are no current plans to do so, saying, "For the launch, it's not something we are digging into. We are very close to releasing a fantastic single-player experience, and so [we're] focused on the release date; shipping something amazing, and we'll see [about] the future."

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

• The Witcher 3: Wild Hunt – Remastered's patch notes have been released
• The update will offer all-new animations and an improved skill system
• A new accessibility preset called Bard's Ballad also offers a more tailored gameplay experience

The Witcher 3: Wild Hunt – Remastered is officially here, and CD Projekt Red has released the long list of improvements that promise an entirely new experience for the decade-old role-playing game (RPG).

The patch notes detail a ton of upgrades, from better visuals, transmogrification, an expanded photo mode, updated textures, PS5 Pro support, and more. Some pretty impressive animation improvements that are sure to make my new playthrough feel even more immersive have also been added. Geralt's animations during combat, idling, and riding Roach have all been refined; new finishers have also been added, and ladder climbing, jumping, and vaulting are now "more responsive" and "fluid."

The skill system has also been completely rebalanced, and " Skills are now organized into a skill tree, and each skill has three ranks," while others have been renamed to better reflect their effects, and I can't wait to try out new builds.

One of the most notable additions to the remaster, included in the accessibility features, is the Bard's Ballad preset, which can be enabled when starting a new game on "Just the Story" difficulty or mid-game.

"It is designed to reduce cognitive load for players who experience mental fatigue or have difficulty concentrating," CDPR explained. "It streamlines gameplay by simplifying certain mechanics and disabling select features for a smoother, more focused adventure."

On top of that, players can customize the preset by enabling or disabling some options that I've always wanted and would normally need mods for. Those options include Vitality Regeneration Boost, Infinite Breath, Unlimited Item Durability, Unlimited Boat Durability, Faster Boats, Toggle Witcher Sense, and probably my favorite out of the bunch, Ignore Item Weight.

I typically play on normal or higher difficulties in The Witcher 3, but for my latest playthrough I'm quite eager to try out the Bard's Ballad preset for the added customization that comes with it.

There are plenty more quality-of-life, modding, UI/UX, gameplay, and visual improvements to discover in The Witcher 3: Wild Hunt - Remastered, which is now available and is free for current owners of the game. Players who also own only the base game can claim the two included expansions, Hearts of Stone and Blood and Wine, at no extra cost.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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