Elon Musk is accusing Twitter of fraud for hiding the real number of bots on its platform, according to The New York Times. In the latest installment of the Twitter-vs-Musk saga, the Tesla chief's team claimed in a legal filing that 10 percent of the social network's daily active users who see ads are inauthentic accounts. If you'll recall, Twitter has long maintained that bots represent less than five percent of its userbase, and Musk put his planned acquisition of the social network on hold in mid-July to confirm if that's accurate.
The Tesla and SpaceX chief, who's also a prolific Twitter user, launched an aggressive takeover of the social network in April after it became the company's largest shareholder. While Twitter quickly accepted his offer, they butted heads over the number of fake accounts on the platform shortly after that — he also accused the company of not giving him access to enough information to verify the number of bots on the website. Twitter gave him full access to its internal data in response, but in the end, Musk told the Securities and Exchange Commission that he wanted to terminate the acquisition over "false and misleading representations" made by the social network.
Twitter sued its largest shareholder for trying to back out of its $44 billion buyout deal, telling the court that Musk is wrongfully breaking their agreement by doing so. The website accused him of backing out because Tesla's and Twitter's shares went down due to the economic downturn and the "deal he signed no longer serves his personal interests."
In this new filing, Musk's camp said its analysts found a much higher number of inauthentic accounts than Twitter claimed using Botometer. That's a machine learning algorithm designed by Indiana University that "checks the activity of Twitter accounts and gives them a score based on how likely they are to be bots." Musk's lawyers said the social network concealed its bot problem to get Musk to agree to buy the company "at an inflated price." They also said:
"Twitter was miscounting the number of false and spam accounts on its platform, as part of its scheme to mislead investors about the company’s prospects. Twitter’s disclosures have slowly unraveled, with Twitter frantically closing the gates on information in a desperate bid to prevent the Musk parties from uncovering its fraud."
Twitter fired back with its own legal filing, calling his claims "factually inaccurate, legally insufficient and commercially irrelevant." The company said the Botometer is unreliable and had once given Musk's own Twitter account a score indicating that it's "highly likely to be a bot." Twitter's lawsuit against Musk is heading to court in October.
HBO Max as we know it will soon be no more. At its first earnings call since the two media properties merged earlier this year, Warner Bros. Discovery announced it is planning on combining HBOMax and Discovery+ into a single streaming service — set to debut in the summer of 2023. It's unclear whether the new streamer will reference HBO at all — the company’s head of global streaming JB Perrette said the company is still doing research on how consumers perceive the brand name.
The news arrives on the heels of the newly-merged company’s $3.42 billion net loss during the second quarter. “At the end of the day, putting all the content together was the only way we saw to make this a viable business,” Perrette told analysts.
Warner Bros. leadership is planning a significant shakeup of its streaming offerings and also needs to cut $3 billion in costs, which spawned rumors that a gutting of HBO Max is underway. Executives didn’t reveal the name of the new platform or any pricing details, but did disclose that it will include an ad-free and less costly ad-supported plan. It may also add a free, ad-supported tier to further expand its audience.
No mention was made of layoffs at HBO Max at today’s earnings call — which The Wrap reported were imminent as the two streaming platforms are restructured. Engadget has reached out to HBO Max for comment, and will update if we hear back.
It’s unclear exactly how the merger will impact future content offerings at the newly unified streamer. The company abruptly announced this week that it was canceling two movies in development for HBO Max — Batgirl and Scoob!. Around the same time, the streamer announced it was canceling the show The Gordita Chronicles and putting an end to live-action kids and family programming altogether. A number of shows and movies have disappeared from HBO Max in recent weeks, including Moonshot, The Witches and An American Pickle, and more are reportedly to follow.
One thing is certain: We’ll see far fewer blockbuster films premiere on the new streamer, as was customary during the pandemic. Warner Bros. Discovery CEO David Zaslav said releasing films in movie theaters simply generated higher profits. “That’s why most people got in this business — to be on the big screen when the lights went out,” Mr. Zaslav said. “That is the magic, and the economic model is much stronger.”
Hulu has ordered a limited series adaptation of Devil in the White City, which will star Keanu Reeves and be executive produced by Martin Scorsese and Leonardo DiCaprio. The streamer announced the news today at the Television Critics Association’s summer tour. Based on the book of the same name by Erik Larson about the 1893 World’s Fair in Chicago, the series will be the first time the work is adapted for the screen after more than a decade’s worth of deals and bidding by numerous studios. Todd Field (In the Bedroom,Little Children) is set to direct the series. Deadlinereported that the eight-episode series is aiming for a 2024 release.
As The Hollywood Reporternotes, DiCaprio first optioned the rights to the book in 2010, and was set to star in a feature film adaptation that would be directed by Scorcese. Now, both men will executive produce the limited series, which will be a co-production of Paramount Television Studios and Disney’s ABC Signature.
Disney signed a deal with Comcast where it will buy its 33 percent stake in Hulu in 2024 — granting it full operational control of the streamer. But as CNBC notes, the deal was signed before the launch of Disney+, and there’s current confusion over what role another streaming service will play in the vast Disney empire. Hulu also houses a number of critically-acclaimed series, including Dopesick, The Dropout and The Handmaid’s Tale. With Devil in the White City, it seems Disney is attempting to position Hulu within the crowded streaming landscape as an adult-oriented platform for prestige TV.
You might think a network-specific streaming services like Paramount+ doesn't stand a chance in a grim market when even Netflix is floundering, but it's apparently thriving. The company has revealed that Paramount+ added 3.7 million subscribers in the second quarter, with more than 43 million total users. And that's after withdrawing from Russia — if it weren't for that, the service would have added 4.9 million viewers.
ViacomCBS partly credited the surge to expansions to more countries, including the UK, Ireland and South Korea. However, it also pointed to success with content that included its Halo series, Star Trek: Strange New Worlds, movies like Sonic the Hedgehog 2 and live Champions League matches. Paramount+ is still leaning on its sci-fi audience, then, but not as much as it has in the past.
The overall Paramount+ subscriber count is still tiny compared to Netflix (220.7 million) and Amazon Prime Video (over 200 million). Its growth is a sharp contrast to Netflix's nearly 1 million lost subscribers, though. The firm is also keen to note that it had the most sign-ups and net additions of any US-based premium subscription streaming service in the quarter, according to Antenna data. In other words, Paramount+ was outperforming all its main rivals, including Apple TV+, Hulu and Peacock.
Whether or not that trend continues is uncertain. Paramount+ is still expanding to more countries, and should be available in 60 markets by the end of the year. It can count on those newcomers to boost its numbers for a while. Eventually, though, the streamer will be more reliant on the quality of its catalog to grow its audience. And while there have clearly been some hits, heavyweights like Amazon and Netflix still have plenty of money and momentum in their favor.
Arclight Rumble wasn't going to be the only upcoming Warcraft mobile game, according to a report. Bloombergsources claim Blizzard and NetEase have canceled a World of Warcraft spinoff mobile title that had been in development for three years. Nicknamed Neptune, it would have been a massively multiplayer game set in a different era of the fantasy universe. It wouldn't simply have been a WoW phone port, to put it another way.
While the exact reasons for the cancelation weren't mentioned, one of the insiders said Blizzard and NetEase "disagreed over terms" and ultimately decided to scrap the unannounced game. NetEase supposedly had over 100 developers attached to the project. The two were rumored to have previously canceled another Warcraft mobile release, a Pokémon Go-style augmented reality game, after four years of effort.
Spokespeople from both companies declined to comment. If the rumor is accurate, it suggests Blizzard is struggling to adapt to the rise of mobile gaming. While Diablo Immortal appears to be a success and is joining the well-established Hearthstone, the developers will still have sunk massive resources into other games that never reached players.
There are strong incentives to take these risks, however. Mobile games can be highly lucrative, particularly in countries like China — Genshin Impact has pulled in $3 billion since release, according to Sensor Tower estimates. A hit could easily boost Blizzard's bottom line, not to mention spur demand for its existing computer- and console-bound games.
Just five years ago, Nintendo was at a crossroads. The Wii U was languishing well in third place in the console wars and, after considerable pressure, the company was making its first tentative steps into mobile gaming with Miitomo and Super Mario Run. Fast-forward to today: The Switch is likely on the way to becoming the company’s best-selling “home console” ever, and seven Switch games have outsold the Wii U console. Everything’s coming up Nintendo, then, thanks to the Switch’s unique hybrid format and an ever-growing game library with uncharacteristically strong third-party support.
However, the Switch's online store isn't the easiest to navigate, so this guide aims to help the uninitiated start their journey on the right foot. These are the games you should own — for now. We regularly revise and add to the list as appropriate. Oh, and if you've got a Switch Lite, don't worry: Every game on the list is fully supported by the portable-only console.
Animal Crossing: New Horizons
Nintendo
Animal Crossing: New Horizons is the best game in the series yet. It streamlines many of the clunky aspects from earlier games and gives players plenty of motivation to keep shaping their island community. As you'd expect, it also looks better than any previous entry, giving you even more motivation to fill up your virtual home and closet. The sound design reaches ASMR levels of brain-tingling comfort. And yes, it certainly helps that New Horizons is an incredibly soothing escape from reality when we're all stuck at home in the midst of a global pandemic.
I was on the fence about Astral Chain from the day the first trailer came out until a good few hours into my playthrough. It all felt a little too generic, almost a paint-by-numbers rendition of an action game. I needn't have been so worried, as it's one of the more original titles to come from PlatinumGames, the developer behind the Bayonetta series, in recent years.
In a future where the world is under constant attack from creatures that exist on another plane of existence, you play as an officer in a special force that deals with this threat. The game's gimmick is that you can tame these creatures to become Legions that you use in combat. Encounters play out with you controlling both your character and the Legion simultaneously to deal with waves of mobs and larger, more challenging enemies. As well as for combat, you'll use your Legion(s) to solve crimes and traverse environments.
Astral Chain sticks closely to a loop of detective work, platforming puzzles and combat — a little too closely, if I'm being critical — with the game split into cases that serve as chapters. The story starts off well enough but quickly devolves into a mashup of various anime tropes, including twists and arcs ripped straight from some very famous shows and films. However, the minute-to-minute gameplay is enough to keep you engaged through the 20-hour or so main campaign and into the fairly significant end-game content.
Does Astral Chain reach the heights of Nier: Automata? No, not at all, but its combat and environments can often surpass that game, which all-told is probably my favorite of this generation. Often available for under $50 these days, it's well worth your time.
Celeste is a lot of things. It's a great platformer, but it's also a puzzle game. It's extremely punishing, but it's also very accessible. It puts gameplay above everything, but it has a great story. It's a beautiful, moving and memorable contradiction of a game, created by MattMakesGames, the indie studio behind the excellent Towerfall. So, Celeste is worth picking up no matter what platform you own, but its room-based levels and clear 2D artwork make it a fantastic game to play on the Switch when on the go.
Dragon Quest XI is an unashamedly traditional Japanese role-playing game. Most of the characters are established RPG tropes: mute protagonist-who’s-actually-a-legendary-hero, sister mages, mysterious rogue and the rest. Then there’s the battle system, which has rarely changed in the decades of the series. (There’s a reason that this special edition features a 16-bit styled version of the game: The mechanics and story work just as well in more... graphically constrained surroundings.) While the story hits a lot of familiar RPG beats, everything takes an interesting turn later on. And through it, the game demands completion. RPGs require compelling stories, and this has one. It just doesn’t quite kick in until later.
This eleventh iteration of the series also serves as a celebration of all things Dragon Quest. Without getting too deep into the story, the game heavily references the first game, taking place in the same narrative universe, just hundreds of years later.
The Switch edition doesn’t offer the most polished take on the game — it’s available on rival consoles — but the characters, designed by Akira Toriyama of Dragon Ball fame, move around fluidly, in plenty of detail despite the limits of the hybrid console. And while it’s hard to explain, There’s also something just plain right about playing a traditional JRPG on a Nintendo console.
Fire Emblem: Three Houses is one hell of a game. Developer Intelligent Systems made a lot of tweaks to its formula for the series' first outing on the Nintendo Switch, and the result of those changes is a game that marries Fire Emblem's dual personalities in a meaningful and satisfying way. You'll spend half your time as a master tactician, commanding troops around varied and enjoyable battlefields. The other half? You'll be teaching students and building relationships as a professor at the finest school in the land.
Hades was the first early access title to ever make our best PC game list, and the final game is a perfect fit for Nintendo’s Switch. It's an action-RPG developed by the team behind Bastion, Transistor and Pyre. You play Zagreus, son of Hades, who's having a little spat with his dad, and wants to escape from the underworld. To do so, Zagreus has to fight his way through the various levels of the underworld and up to the surface. Along the way, you’ll pick up “boons” from a wide range of ancient deities like Zeus, Ares and Aphrodite, which stack additional effects on your various attacks. Each level is divided into rooms full of demons, items and the occasional miniboss.
As Hades is a “roguelike” game, you start at the same place every time, with the levels rearranged. With that said, the items you collect can be used to access and upgrade new weapons and abilities that stick between sessions. Hades initially caught our attention just for its gameplay: You can jump in for 30 minutes and have a blast, or find yourself playing for hours. As the game neared its final release, the storytelling, world-building and its general character really started to take shape — there’s so much to do, so many people to meet and even some romance stuffed in there. You could play for hundreds of hours and still have fun.
This was a real sleeper hit, and one of very few Kickstarter games to not only live up to but exceed expectations. Hollow Knightis a 2D action-adventure game in the Metroidvania style, but it's also just a mood. Set in a vast, decrepit land, which you'll explore gradually as you unlock new movement and attack skills for your character, a Burtonesque bug-like creature. Short on both dialogue and narrative, the developers instead convey a story through environment and atmosphere, and it absolutely nails it.
You'll start out feeling fairly powerless, but Hollow Knight has a perfect difficulty curve, always allowing you to progress but never making it easy. For example, it borrows the Dark Souls mechanic where you'll need to travel back to your corpse upon death to retrieve your "Geo" (the game's stand-in for Souls), which is always a tense time. Throughout it all, though, the enemies and NPCs will never fail to delight. For a moody game, it has a nice sense of humor and levity imbued mostly through the beautifully animated and voiced folks you meet. Given its low cost and extremely high quality, there's really no reason not to get this game. Trust us, it'll win you over.
When is a turn-based strategy game not a turn-based strategy game? Into the Breach, an indie roguelike game where you control mechs to stem an alien attack, defies conventions, and is all the better for it. While its core mechanics are very much in the XCOM (or Fire Emblem, for that matter) mold, it's what it does with those mechanics that's so interesting. A traditional turn-based strategy game plays out like a game of chess — you plan a move, while predicting what your opponent will do in return, and thinking ahead to what you'll do next, and so on, with the eventual goal of forcing them into a corner and winning. At the start of every Into the Breach turn, the game politely tells you exactly what each enemy character is going to do, down the exact square they'll end on and how much damage they'll inflict. There are no hit percentages, no random events, no luck; each turn is a puzzle, with definitive answers to how exactly you're going to come out on top.
Into the Breach battles are short, and being a roguelike, designed to be very replayable. Once you've mastered the basics and reached the end, there are numerous different mechs with new attack and defense mechanics to learn and master as you mix-and-match to build your favorite team. If you're a fan of either puzzle or turn-based strategy games, this is a must-have.
The Legend of Zelda: Breath Of The Wild signals the biggest shift in the series since the Nintendo 64's Ocarina of Time, and it might well be one of the best games of the past decade. It pulls the long-running series into modern gaming, with a perfectly pitched difficulty curve and an incredible open world to play with. There's crafting, weapons that degrade, almost too much to collect and do and a gentle story hidden away for players to discover for themselves. Even without the entertaining DLC add-ons, there's simply so much to do here and challenges for every level of gamer.
Disco Elysium is a special game. The first release from Estonian studio ZA/UM, it's a sprawling science-fiction RPG that takes more inspiration from D&D and Baldur's Gate than modern combat-focused games. In fact, there is no combat to speak of, instead, you'll be creating your character, choosing what their strengths and weaknesses are, and then passing D&D-style skill checks to make your way through the story. You'll, of course, be leveling up your abilities and boosting stats with items, but really the game's systems fall away in place of a truly engaging story, featuring some of the finest writing to ever grace a video game.
With the Final Cut, released 18 months after the original, this extremely dialogue-heavy game now has full voice acting, which brings the unique world more to life than ever before. After debuting on PC, PS5 and Stadia, Final Cut is now available for all extant home consoles – including Nintendo’s Switch. Loading times are a little slower than on other systems, so it might not be the absolute best platform to play it on, but Disco Elysium is an experience unlike the rest of the Switch library, which is why it makes it on this list.
Mario Kart 8 Deluxe's vibrancy and attention to detail prove it's a valid upgrade to the Wii U original. Characters are animated and endearing as they race around, and Nintendo's made bigger, wider tracks to accommodate up to 12 racers. This edition of Mario Kart included gravity-defying hover tires and automatic gliders for when you soar off ramps, making races even more visually thrilling, but at its core, it's Mario Kart — simple, pure gaming fun. It's also a great showcase for the multitude of playing modes that the Switch is capable of: Two-player split-screen anywhere is possible, as are online races or Switch-on-Switch chaos. For now, this is the definitive edition.
OlliOlli and its sequel, OlliOlli 2: Welcome to Olliwood, were notoriously difficult to master. They were infuriating, but also extremely satisfying when you pulled off just the right combo of tricks and grinds needed for a big score.
I was worried that OlliOlli World’s colorful and welcoming new direction for the series was going to dispense with that level of challenge, but I shouldn’t have been concerned. Developer Roll7 made a game that’s significantly more approachable than the original titles — but one that keeps the twitch-response gameplay and score-chasing highs intact for those who crave them.
It’s hard to sum up exactly what makes OlliOlli World so compelling, but the game mixes serious challenges with moments that let you really get into that elusive flow state, where you’re just pulling off tricks, riding rails and generally tearing through a course without thinking too much about what you’re doing. The music, sound effects, art style, level design and variety of moves you can pull off all contribute to this vibe — and even though the game looks entirely different from its predecessors, the end result is the same: skateboarding bliss.
Super Mario 3D Worldwas unfairly slept on when it originally launched in 2013, mostly due to the fact very few people had a Wii U. It's a superb translation of old-school Mario mechanics into 3D (Mario 64 is a masterpiece, yes, but unless you're a speed-runner it doesn't quite have the pace of the NES and SNES games). It's also a great multiplayer game, as you can play simultaneously with three other players and race through levels — the winner of each level gets to wear a crown in the next.
With the move to the Switch, and Nintendo finally starting to figure out online gaming, you can now do that remotely, which is a huge plus. The bigger addition is Bowser's Fury, an all-new game of sorts that plays more like a blend of Super Mario Odyssey and 3D World. There are some really creative challenges that feel right out of Odyssey, blended with the lightness and speed of the Wii U game. (It should be noted that Bowser's Fury is also only good for one or two players, unlike the main game.) We'd recommend 3D World just on its own, but as a package with Bowser's Fury, it becomes a much better deal.
Super Mario Odyssey might not represent the major change that Breath of the Wild was for the Zelda series, but it’s a great Mario game that's been refined across the last two decades. Yes, we got some important modern improvements, like maps and fast travel, and the power-stealing Cappy is a truly fun addition to Mario's usual tricks. But that core joy of Mario, figuring out the puzzles, racing to collect items and exploring landmarks, is here in abundance.
This is the ultimate distillation of Nintendo's multiplayer fighting game. The series' debut on Switch brings even more characters from beyond Nintendo's stable. If you're sick of Mario, Pikachu and Metroid's Samus, perhaps Final Fantasy VII's Cloud, Solid Snake or Bayonetta will be your new go-to character. There are about 80 characters to test out here (although 10 of them are locked behind DLC).
Super Smash Bros. Ultimate features a divisive new single-player mode where you augment characters with stickers, battling through special conditions to unlock more characters and, yes, more stickers. At its core, Smash Bros. games combine fast-paced, chaotic fights with an incredibly beginner-friendly learning curve. Yes, some items are confusing or overpowered, but your special moves are only a two-button combination away. Turning the tables is built into the DNA of Super Smash Bros. Ultimate, ensuring thrilling battles (once you've sorted handicaps) for everyone involved.
Facebook Live Shopping events appear to be another casualty of Meta’s shift to short-form video. According to an announcement on the company’s website, live shopping events on Facebook will retire on October 1st. The little-known feature let Facebook Business owners showcase their products in live videos to their followers — sort of like a personal Home Shopping Network. Merchants could notify their Page followers of upcoming live shopping sessions and take payments through Messenger.
In lieu of such sessions, Meta is asking merchants to consider showcasing products via Reels, Reels ads and product tagging on Instagram Reels. “As consumers’ viewing behaviors are shifting to short-form video, we are shifting our focus to Reels on Facebook and Instagram, Meta’s short-form video product,” wrote Meta in its post.
It’s no surprise that Meta is pushing more merchants towards Reels and Reels ads, especially given the fact that the latter reached a $1 billion annual revenue run rate in the second quarter of this year. Much to the chagrin of users that miss seeing their friends, Instagram and increasingly Facebook has continued to emphasize in-feed ads and suggested posts on user feeds. But thanks to a recent user-led backlash, Instagram has agreed to scale back the testing of its recommendation and video-centric features — but only temporarily.
Over the past two years, TikTok’s status as the reigning app of Gen Z has led other social media platforms to make some strategic changes to cater to a younger audience. In light of Meta’s first quarterly revenue loss since going public, CEO Mark Zuckerberg pointed to Reels on Facebook and Instagram as a crucial part of the company’s recovery plan. Instagram users now spend nearly 20 percent of their time on the app watching Reels, though it’s likely a significant amount of this time was spent watching reposted TikToks — leading to the platform making some algorithmic tweaks to downrank videos from its competitor.
Meanwhile, Meta is continuing to make a push for users to create more original content on Reels. In a recent video, Instagram head Adam Mosseri said more of the platform would emphasize video “over time” — despite criticism from followers who miss Instagram’s earlier focus on photos. Last month Instagram began testing automatically turning videos shared on public Instagram accounts into Reels and adding a number of templates and tools to make it easier to create Reels.
TikTok has teamed up with Ticketmaster to help users discover events and buy tickets directly through the app. Creators such as music artists, comedians, sports teams and venues can search for relevant Ticketmaster events and link to them on their videos. The feature is only open to select creators at the outset, though more will gain access over time.
Demi Lovato, OneRepublic, Usher, the Backstreet Boys and WWE are among those who can use the feature at the jump. Event links will appear on the bottom left of the screen. Users can tap or click through to an in-app browser to buy a ticket.
Ticketmaster says the partnership with TikTok will help event organizers and creators reach more fans and potential ticket buyers. Along similar lines, Snapchat added a Ticketmaster Mini app in February to help users find events.
Earlier this week, it emerged that TikTok may be working on its own music streaming service. According to a trademark filing, the mooted TikTok Music service would allow folks to "purchase, play, share, download music, songs, albums, lyrics... live stream audio and video... edit and upload photographs as the cover of playlists... [and] comment on music, songs and albums."
The streaming service Paramount+ is coming to the The Roku Channel as a premium option later this month, the maker of set-top boxes announced today. For those who are unfamiliar with The Roku Channel, the free entertainment channel is available on most streaming devices (with the exception of Apple TV) and offers a menu of premium add-on services such as Showtime, Starz, AMC+ and more.
Adding Paramount+ to the mix will give Roku Channel users access to live sports via CBS Sports, including live NFL games and most regular and postseason games in their local market. International soccer fans will be able to view live UEFA club competition matches, Europa League and World Cup qualifying matches and other live matches. And of course, users will have access to a mountain of other content, including popular CBS shows like Evil and The Good Wife, as well as a number of original Star Trek series.
In the completely saturated streaming universe, Paramount+ is still a relatively new player (the service rebranded from CBS All-Access back in March.) But the company formerly known as ViacomGlobal has packed a lot of content onto the newbie streamer. It also attempted to grow its audience by offering free trials for T-Mobile and Xbox Game Pass users. Such efforts seem to have paid off: Paramount+ reached 40 million subscribers this May, putting it in the same league as Hulu and HBO Max’s US subscriber base.
As far as content offerings go, there’s no difference between signing up for Paramount+ via the Roku Channel or downloading the streamer’s standalone app on your streaming device. The price tiers for Paramount+ are also identical on the Roku Channel, which is $4.99 per month for the ad-supported version, and $9.99 per month for the ad-free version. However, there is a free seven-day trial for Paramount+ on the Roku Channel, which will give users who haven’t tried the service a chance to sample its offerings.
Back at the 2020 edition of The Game Awards, we learned about We Are OFK, a new project from Hyper Light Drifter co-designer Teddy Dief and their collaborators at Team OFK. It was supposed to debut in spring 2021 but, as has been the way of things for the last few years, it was delayed. Now, We Are OFK finally has a release date. Or, more accurately, release dates, since it's an episodic series. The first two episodes will hit Nintendo Switch, PlayStation 4, PS5, Steam and Epic Games Store on August 18th. The remaining three episodes will arrive on a weekly basis.
We Are OFK follows a virtual four-piece indie band called, strangely enough, OFK. It's billed as an interactive musical biopic that OFK is making about its own origins. As Dief wrote on the PlayStation Blog, "What would it look like to create virtual musicians who watch performances of [pop stars] on their laptops in bed, and know they’re probably never going to play a stadium concert? We wanted to tell that story — how hard it is to make music, to write even one song, to record another video to post online and hope someone leaves a nice comment."
The game costs $20. Along with each episode, OFK and Sony Music Masterworks will release a new single. A vinyl package of the singles will be available from iam8bit for $32. A limited-edition physical version of We Are OFK is available to pre-order for PS5 and Switch too. You can also pre-save the group's first EP.
