Even if an 11th-hour leak may have ruined the surprise, Atlus had big news to share during Microsoft's Xbox and Starfield showcase on Saturday. The publisher is remaking 2006's Persona 3 for modern platforms. Persona 3 Reload will reimagine the PlayStation 2 classic with modern graphics built inside of Epic's Unreal Engine and integrate gameplay enhancements introduced with 2016's Persona 5. Judging from the trailer Atlus shared, it's unclear if the remake will incorporate elements from the original's 2008 expanded rerelease, Persona 3 FES, and 2010 PlayStation Portable port, Persona 3 Portable. The latter introduced an entirely new female protagonist that has since become a fan favorite.      

Alongside Persona 3 Reload, Atlus announced Persona 5 Tactica. As the name implies, it's a strategy RPG starring the cast of Persona 5. Persona 5 Tactica will arrive on Xbox One, Xbox Series X/S and PC on November 17th, with day one availability on Game Pass. 

Catch up on all of the news from Summer Game Fest right here!

In 2016, Japanese publisher Atlus formed Studio Zero, a development team made up of many of the people who have steered the Persona series since its breakout release in 2006. Now, nearly eight years after that announcement, the company has shared a first look at Metaphor: ReFantazio, the studio's first project. 

Many of the leading creatives who worked on Persona 5, including game director Katsura Hashino and composer Shoji Meguro, were involved in the creation of the game. Structurally, Metaphor: ReFantazio looks like it borrows more than a few elements from the Persona series. There's an overworld for players to explore, and the turn-based combat looks reminiscent of systems employed in past Shin Megami Tensei games, though everything takes place in a fantasy setting instead of a modern-day school. Persona fans will have to wait until next year to see what Hashino and company have been working on all these years. Metaphor: ReFantazio will be available on Xbox Series X/S and PC. 

Catch up on all of the news from Summer Game Fest right here!

Yakuza fans have a busy 2023 and 2024 ahead of them. In addition to Like a Dragon Gaiden: The Man Who Erased His Name, Sega announced today it would release the next mainline entry in the series, Like a Dragon: Infinite Wealth, in early 2024. The sequel picks up after the events of 2020's Yakuza: Like a Dragon. The trailer Sega shared on Saturday features protagonist Ichiban Kasuga, who finds himself naked on a Hawaiian beach with no recollection of how he got there. The usual hijinks ensue before Ichiban realizes what's going on and tries to shield himself. Sega previously announced it plans to release Like a Dragon:Infinite Wealth on PS4, PS5, Xbox One, Xbox Series X/S and PC via Steam.   

Catch up on all of the news from Summer Game Fest right here!

Ubisoft's long-awaited open world Star Wars game will arrive in 2024. The publisher announced Star Wars Outlaws on Sunday during Microsoft's Xbox and Starfield Direct showcase with a cinematic trailer that introduces fans to the game's Han Solo-like protagonist, Key Vess. Ubisoft is billing Outlaws as the first-ever open world Star Wars game — though it's worth noting many past games in the franchise, including the recently released Jedi: Survivor, feature open world elements. Ubisoft first teased Outlaws in 2021, noting at the time that Massive Entertainment, the studio behind The Division 2, was creating the game inside of its in-house Snowdrop engine. The publisher promised to share gameplay footage from Outlaws during its Ubisoft Forward showcase on June 12th. Ubisoft will release Star Wars: Outlaws on Xbox Series X/S, PlayStation 5 and PC.   

Catch up on all of the news from Summer Game Fest right here!

More platform instability could be in Twitter’s near future. In 2018, Twitter signed a $1 billion contract with Google to host some of its services on the company’s Google Cloud servers. Platformer reports Twitter recently refused to pay the search giant ahead of the contract’s June 30th renewal date. Twitter is reportedly rushing to move as many services off of Google’s infrastructure before the contract expires, but the effort is “running behind schedule,” putting some tools, including Smyte, a platform the company acquired in 2018 to bolster its moderation capabilities, in danger of going offline.

If Twitter can’t migrate the system to its own servers before the end of the month, Platformer suggests a shutdown would greatly impact the company’s ability to combat spam and child sexual abuse material (CSAM). Before Saturday, Smyte had been already showing signs of strain, following Elon Musk’s deep cuts to Twitter’s workforce. In December, Musk reportedly asked Twitter’s trust and safety team why the automated system hadn’t caught a Twitter Blue user who had been impersonating him to pump a crypto scam. The team told Musk the system had been unstable for a week, crashing “at least once a day.”

Platform instability has been a hallmark of Twitter 2.0. In February, many of the platform’s core features went down on more than one occasion. More recently, Florida Governor Ron DeSantis had trouble announcing his bid for the Republican presidential nomination after Twitter Spaces could not handle the influx of people who wanted to listen to the broadcast. If Twitter is in fact planning to stiff Google, it wouldn’t be the first time the company has ghosted on a contract. At the end of last year, California Property Trust, the owner of the building that houses Twitter headquarters, sued the company for failing to pay rent.

After arriving on PC in the fall of 2021, Unpacking is finally heading to mobile devices. Developer Witch Beam Games revealed today during the Wholesome Direct showcase that it plans to release its breakout game on phones and tablets later this year. The studio didn’t say exactly when the title would arrive on mobile devices, nor if it plans to release Unpacking on both iOS and Android, but judging from the trailer it shared, Apple devices are a lock.

Notably, the announcement comes after Unpacking Master, a nearly identical copy of Unpacking that featured ads and in-app microtransactions, briefly topped the App Store charts at the start of last year before it was pulled by Apple. The incident highlighted the difficulty small studios have in preventing copycat developers from stealing their work. If you’re the impatient type, Unpacking is currently available to play on Steam, Nintendo Switch, Xbox and PlayStation.

Canon has long been synonymous with traditional photography, but the company could be preparing to take a more definitive step into the world of virtual reality. At the Photo Next 2023 show in Japan, the company showed off a prototype convertible camera. The unnamed device features a nifty folding mechanism that allows it to capture both 360-degree video and 180-degree 3D content. As a handful of websites, including PetaPixel and DIY Photography, have noted, the prototype bears more than a passing resemblance to the Insta360 EVO, which also makes use of a folding mechanism to offer 180-degree 3D capture. According to Pronews, Canon did not share any details on specs, pricing or availability.

Canon has previously only dabbled with virtual reality. In 2021, for instance, the company released a dual fisheye lens for its RF mirrorless camera system. The camera Canon teased at Photo Next features the company’s V branding, which it typically reserves for consumer-facing products. That would suggest Canon could be ready to take VR more seriously. While the company has sometimes been slow to embrace new technologies, Canon’s usual slow pace could work in its favor this time around. Consumer VR has been slow to take off, but with Apple’s recent entry into the space, the camera manufacturer could be ideally positioned to take advantage of growing interest in the format once the market is more mature.

The Pixel 8 and 8 Pro could feature some notable camera upgrades. Writing for Android Authority, leaker Kamila Wojciechowska, who has a solid record when it comes to Pixel leaks, says Google's next pair of high-end phones will feature Samsung ISOCELL GN2 sensors. That's the same sensor found on the Galaxy S22 and S23. More notably, it's a significant upgrade over the ISOCELL GN1 Google has used since the Pixel 6. The GN2 is physically larger and capable of capturing 35 percent more light than its predecessor, making it a better low-light performer. It also supports more modern features, including 8K/30 fps video capture and Staggered HDR. Google could use the latter to reduce ghosting in HDR images.

According to Wojciechowska, both the Pixel 8 and 8 Pro will come with the GN2. However, Google's flagship will also reportedly pack a few exclusive upgrades. The Pixel 8 Pro will feature a new time-of-flight sensor that should improve autofocus performance and, more significantly, a more modern sensor for its ultra-wide camera. Google reportedly plans to use the 64-megapixel Sony IMX787, the same sensor that powers the Pixel 7a's primary camera, to replace the Pixel 7 Pro's aging 12-megapixel IMX386. The former is almost twice the size of its predecessor and should produce much better images. Wojciechowska notes the version of the Pixel 8 Pro Google is currently testing doesn't come with a macro mode, though they suggest that doesn't mean the final version won't ship with that feature. The Pixel 8 will continue to use the IMX386 but may offer a lens with a wider field of view for those who want to capture more of a scene at once. Wojciechowska says the selfie and telephoto cameras on the Pixel 8 and 8 Pro are unchanged from those on the Pixel 7 and 7 Pro. Lastly, they note the Pixel 8 Pro's rumored thermometer sensor won't be used for photography.

Naturally, Google also has software upgrades planned. The company will reportedly update its camera app to allow Pixel users to decide how strong the bokeh effect is when using the "Cinematic" video mode. Additionally, a new "Adaptive torch" feature may dynamically adjust the output of a phone's flash module to prevent it from overexposing images.

Considering Google has had a history of sticking with the same camera sensor for multiple Pixel generations, it's encouraging to learn the Pixel 8 and 8 Pro could feature new, more capable camera hardware. Google has done a lot with its computational software, but there are only so many visual enhancements you can squeeze out of a camera sensor without going for a bigger one.

In an interview with The Guardian more than a decade ago, Warren Spector, the director and producer of Deus Ex, said his dream game would take place in one city block. “There are people who are trying to simulate massive worlds at a level of an inch per mile,” Spector told journalist Keith Stuart. “I don’t get it. I really want deep worlds that you can interact with.”

I’ve spent a lot of time thinking about those comments while playing Diablo IV. Blizzard’s latest is easily one of the best games the studio has released in about a decade, but I can’t help imagining what Diablo IV could have been if it were a smaller, more focused experience.

The story of Diablo IV opens decades after the end of Diablo III: Reaper of Souls, with the world of Sanctuary still reeling from the events of that game. Structurally, the narrative that unfolds is similar to Diablo II. Following a visit to a remote village, your character sets off after the demon Lilith – who is the daughter of Mephisto, one of the Prime Evils you defeated in Diablo II. More often than not, your character finds they’re one step behind Lilith, leading to predictably dire results.

I won’t say much more about Diablo IV’s story other than to note Blizzard smartly grounded it in the tragedy of its human characters. When the narrative calls on elements from past games, it does so in ways that feel natural and earned. Lilith is also a great antagonist. Every time she appeared on-screen, I felt a sense of unease waiting to see what kind of calculated cruelty she’d inflict on those unlucky enough to cross her path. If you only end up playing Diablo IV for its story, I think you will enjoy the experience, but if you decide to veer off its critical path, be prepared to play through a lot of uninspired content.

If you tried Diablo IV during one of the open betas Blizzard held in recent months, you’ve seen most of what the game’s open world has to offer as you’re leveling your character. Did you encounter a world event in the Fractured Peaks that tasked you with protecting a group of villagers hiding under their carts? Guess what – you’ll find another group just like that one again in Scosglen, the game’s second zone, and in other areas, too. I bet you played through a few optional dungeons. Well, there are more than 100 in the full game, and most feature a limited combination of layouts and objectives. World bosses and camps are more fun to complete, but there are far fewer of them than all the other content present in the game. The post-campaign adds more things to do like helltides and nightmare dungeons, but those increase the difficulty of the content, rather than introducing something substantially new.

Sometimes you’ll discover some interesting lore, a nifty bit of environmental storytelling or a named enemy that will drop an item with unique flavor text, but those moments are few and far between. I kept waiting for Diablo IV’s world to surprise me, to do something unexpected. The closest the game came to scratching that itch was when it sent the Butcher, a boss that shows up in nearly every Diablo game, to murder my character in an optional dungeon I was exploring. Even though my barbarian didn’t survive the encounter, I wanted more moments like that. Instead, the game seemed dead set on offering me an endless checklist of samey content if I ever decided to strike off on my own.

Blizzard Entertainment

That frustration is palpable while playing Diablo IV because so much of the game is immediately compelling. Nearly every inch of its open world is striking, with some of the most detailed and creative assets Blizzard has ever produced. Add to that a soundtrack that is haunting and evocative, and you have an experience that’s begging for players to inhabit it.

Maybe it’s my fault for expecting a live service game to offer something more substantive, but everywhere in Diablo IV, you see evidence that the people who spent years of their lives working on this project wanted the same thing. Just look at character creation. Clearly, the intention here was to allow players to make their druid, barbarian, sorcerer, rogue or necromancer look exactly like they’ve always appeared in their imaginations. Diablo IV offers a dizzying amount of visual customization for each class. In addition to all of the items, you can give your character different hairstyles and tattoos, and modify their skin tone, eye color and other attributes. Add in the transmog system, which allows you to transform the appearance of items to make them look like ones you’ve found in the past, and I can guarantee no two characters will look alike.

Blizzard obviously also put a lot of thought into player agency, allowing each class to be played in a variety of ways. The Aspects system is one of Diablo IV’s most compelling features: By completing dungeons and finding legendary items, you will collect item affixes that modify how skills work, and they’re transferable among your inventory. Some of these can completely change how your build functions. After some initial frustration, I found a build that allowed my barbarian to make short work of both hordes of monsters and Diablo IV’s spongy bosses, and I had a lot of fun with the game. I just wish there was more to do in Diablo IV’s world other than kill countless monster hordes. After all, role-playing has always been part of the ARPG genre.

Blizzard Entertainment

One last thing I want to note is that I played a version of Diablo IV that did not include any of the microtransactions the final build will feature. If you haven’t followed that aspect of the game’s development, I wrote about Blizzard’s monetization plans for Diablo IV last year. In short, Diablo IV is a full-priced game that also happens to feature an in-game shop and seasonal passes. Blizzard has promised that none of the cosmetic items you can buy in the shop or earn by completing the paid track of a season pass will grant “direct or indirect” gameplay advantages. The studio was also quick to note the shop and season pass will offer “more diversity of choices, not systematically better choices” for customizing your character. After Diablo Immortal, I’m fine with this setup, but I know some people will be put off by the presence of a season pass.

I don’t want to give you the wrong impression of my time with Diablo IV; I enjoyed nearly every moment of it. In a lot of ways, it’s the Diablo game I’ve been dreaming of ever since I first set foot in the world of Sanctuary back in 1997. But it is also a reminder of all the ways Blizzard has changed since I first encountered its games. There’s no way the company that released Diablo II in 2000 and even Diablo III in 2012 could have created a game of Diablo IV’s scale, but sheer size is not what makes Diablo IV enjoyable. So often, that scale works against the game, resulting in a world that is, as Warren Spector might say, simulated at a level of an inch per mile.

Diablo IV will be available on PC, PlayStation and Xbox on June 6th.

Japan and JAXA, the country’s space administration, have spent decades trying to make it possible to beam solar energy from space. In 2015, the nation made a breakthrough when JAXA scientists successfully beamed 1.8 kilowatts of power, enough energy to power an electric kettle, more than 50 meters to a wireless receiver. Now, Japan is poised to bring the technology one step closer to reality.

Nikkei reports a Japanese public-private partnership will attempt to beam solar energy from space as early as 2025. The project, led by Naoki Shinohara, a Kyoto University professor who has been working on space-based solar energy since 2009, will attempt to deploy a series of small satellites in orbit. Those will then try to beam the solar energy the arrays collect to ground-based receiving stations hundreds of miles away.

Using orbital solar panels and microwaves to send energy to Earth was first proposed in 1968. Since then, a few countries, including China and the US, have spent time and money pursuing the idea. The technology is appealing because orbital solar arrays represent a potentially unlimited renewable energy supply. In space, solar panels can collect energy no matter the time of day, and by using microwaves to beam the power they produce, clouds aren’t a concern either. However, even if Japan successfully deploys a set of orbital solar arrays, the tech would still be closer to science fiction than fact. That’s because producing an array that can generate 1 gigawatt of power – or about the output of one nuclear reactor – would cost about $7 billion with currently available technologies.