There are secrets buried in the first video from Eyes Out. It’s just two minutes long and filled with overlapping shots of drums, mics, guitars and snakelike cables packed into a lonely desert hideaway, all while an unsettling, ambient score gathers layers of sound. Over time, the scenes are flooded with red and the film is overcome by a horrendous groaning scream. Thin white text flashes across the screen, telling a disjointed story about burying bones and walking with the bloom of a burgeoning universe.

Among this vibrating chaos, there are hints about the kind of studio Eyes Out will be and even what the team’s first game might look like. Or, more aptly, what it might sound like.

Eyes Out is the new video game studio founded by Nine Inch Nails guitarist Robin Finck and veteran AAA director Cory Davis, and the team is already hard at work on its first title, a mysterious horror game with an emphasis on experimental audio.

“We want to create mind-bending experiences that cause you to question reality,” Davis said. “That's what we're really excited about. We’re all fans of horror, but specifically this kind of — it's a new and emerging space that doesn't just sit within the extremely violent and dark and terrifying, but also reaches into the vibrant and even surprises you with moments of bliss or self-reflection. Horror really has a lot of room to grow.”

Finck added on to that thought, saying, “We're playing in this field that provides an emotional and psychological response, which really, I feel, is heightened as a singular experience. And we're really fortunate to be attracting developers who are so genuinely passionate about these types of conversations.”

Davis has built a successful career as a video game designer, directing and crafting high-profile titles including Spec Ops: The Line and Here They Lie, but he’s also a composer. In fact, the first word of his Twitter bio reads, “musician.” Meanwhile, Finck’s Twitter bio has just two tags, both of which speak for themselves: @eyesoutofficial and @nineinchnails.

Note which one comes first.

Eyes Out

Finck got involved in the video game industry about six years ago, after striking up a friendship with Devolver Digital co-founder Mike Wilson at Burning Man. Finck ended up handling the soundtrack for Noct, a top-down horror game published by Devolver in 2015, and his interest in development was piqued. He dove further into the video game industry, attending conventions and connecting with creators.

“I was just really inspired by people and their enthusiasm, the forward tech of it all, and the collision of art and music, design, agency, narrative, and also the experience of really becoming immersed in all of this,” Finck said. “It really feels like the most focused and the most highly attuned experience to imbibe this sort of storytelling. And that continues to turn me on. And this led me, fortunately enough for me, to meet Cory as he and his team were completing Here They Lie.”

Eventually, Finck found himself at Sony Santa Monica, playing an early version of Davis’ VR horror title, Here They Lie. He was floored by it. Finck and Davis got to talking, and they haven’t stopped since.

“We immediately were talking about sound and music and the weight of that and the experience,” Finck said. “And we kept on in the coming days and weeks and months. And then eventually were working together on music for projects that Cory was heralding. We have a simpatico workflow and creatively sync in a lot of ways.”

Davis remembered feeling a spark at that first meeting, too.

“We started to go down the rabbit hole of distortion pedals and different synthesizers and stuff like that,” he said. “But that led us to this other type of discussion where I really felt this connection in terms of an understanding of the power of games as a medium and the impact and the possibility of what the medium holds for the future.”

Davis and Finck were both interested in building a single-player experience around music and tone, rather than starting with a narrative or visual style and applying sound later on in the process.

“From the first conversation with Robin, I could feel that he's this other type of creator that wants to be driven by his passion and his soul, rather than maybe what's trendy or what's even necessarily gratifying,” Davis said. “I just felt this kind of depth of possibility of what we could do together. I had other prototypes going on at the time at my old studio, but every time I got back together with Robin, our conversations would go deeper. And they'd go beyond the music and they'd go to places where I'd been hoping to go my whole journey as a game developer.”

Eyes Out is the result of this creative magnetism between Davis and Finck. They’ve attracted other developers, too, and have hired 15 collaborators from the industries of visual art, film and games to work on their first project.

“That's really what I've been looking for since way back in the Spec Ops: The Line days, was to build a team that has a diverse enough approach to both things like the difficulties in game development, as well as their acceptance and embrace of people that are from different parts of the world, from different backgrounds, that are of any kind of personality, and especially people that have been downtrodden and haven't had opportunities in the past,” Davis said. “We see those opportunities allowing us to have so much more depth in the types of stories that we're able to tell.”

There’s no name or release window for the studio’s first game, but Davis and Finck are dropping hints about how it’ll play and what they want players to feel. It’s not a VR game, it’s designed with complete immersion in mind, and it features creatures that behave strangely in response to generative audio cues. The team is playing around with rhythm mechanics and figuring out how to build creeping tension through sound.

“The type of horror that we're building has a lot to do with the horrors of the universe and the horrors that you kind of go to sleep with at night, the ones that are just around the corner and outside of our purview, but exist,” Davis said. “And the technology for building those types of soundscapes, the localized audio and reverb and the realism behind that, coming from VR before, I had a lot of opportunity to work with that stuff.”

The debut game from Eyes Out will be a focused, single-player horror experience built around sound — and silence.

“I'm really excited about the nuance and the subtlety of coming from silence, like a really impactful silence, and beginning to emerge from that silence towards an impactful embellishment of some sort, however great or greater,” Finck said. “And that play between the diegetic soundscape of the world within the tangible, physical space inside the game, and where it blurs with the score, the music of the game, can be really challenging and inspiring.”

Eyes Out's first project is poised to be otherworldly, introspective and experimental, just like the studio itself.

Following a meeting with President Joe Biden today, Google and Microsoft promised to invest a total of $30 billion in cybersecurity advancements over the next five years. Google pledged $10 billion, while Microsoft pledged $20 billion. 

Microsoft CEO Satya Nadella said on Twitter that $150 million of that money will be used to expand Microsoft's training network and help US government agencies upgrade their digital security systems. The White House described that particular investment as follows: "Microsoft ... will immediately make available $150 million in technical services to help federal, state, and local governments with upgrading security protection, and will expand partnerships with community colleges and non-profits for cybersecurity training."

Google, meanwhile, will focus on extending the zero-trust security model, securing the software supply chain, building out open-source security, and offering more training opportunities to Americans. Specifically, Google said it will help 100,000 Americans over the next three years earn Google Career Certificates in cybersecurity fields.

Today, President Biden met with technology companies and cybersecurity thought leaders to discuss threats like the recent SolarWinds attack and how the US can better defend its digital systems. In addition to Google and Microsoft's financial infusion, Apple will establish new, widespread supply-chain protocols in the name of tighter security, and Amazon will offer its internal cybersecurity training to the public at no charge. Other organizations, including IBM, Girls Who Code and Code.org, made plans to expand cybersecurity defenses across government, society and industry.

It was unclear what would actually shake out of today's White House cybersecurity meeting, and $30 billion (and then some) certainly isn't a bad place to start.

Jurassic World Evolution 2, the next installment in everyone's favorite dinosaur-based park-management franchise, is heading to Xbox Series X and S, PlayStation 4, PS5 and PC on November 9th. Pre-orders are open now, and buying the game early will net players three vehicle skins inspired by the 1997 film, The Lost World: Jurassic Park.

Jurassic World Evolution 2 allows players to build, manage and mess around in a world of Spielberg-inspired dinosaurs. There are four modes: campaign, chaos theory, challenge and sandbox. Campaign mode takes players through a narrative arc set after the events of Jurassic World: Fallen Kingdom, the 2018 movie. Chaos theory presents classic moments from the film franchise, but with a twist, playing out "what if" scenarios. Challenge is the mode for folks who want to test their dino-rearing skills, while sandbox is the creative way to play.

Jurassic Wold Evolution 2 is made by Frontier Developments, the studio that handled the 2018 game Jurassic World Evolution.

OK, we'll be honest: The 2021 Xbox Gamescom show was fluffy. It was a 90-minute live YouTube event populated by drawn-out developer interviews, a mini-documentary on the trebuchet and slightly exciting updates to mid-tier titles, but there were also a few bright spots. Xbox cloud gaming is heading to Xbox Series X, Series S and Xbox One this holiday season; Psychonauts 2 got a shiny new launch trailer, and we got a closer look at Microsoft Flight Simulator and Forza Horizon 5. Competitive multiplayer is heading to Microsoft Flight Simulator this fall, while Forza Horizon 5's cover cars look truly spectacular. 

See it all for yourself in our 11-minute cutdown.

The sticky tentacles of capitalism have slithered into a fresh space: TikTok. Shopify and TikTok are rolling out TikTok Shopping, a new tab that business users can add to their profiles, syncing their product catalogues and linking out to their online stores for payment. 

The new tab will be available to Shopify sellers with a TikTok For Business account, and the program is live now as a pilot in the United States and United Kingdom. The beta will open up to some users in Canada over the coming weeks, with additional regions planned in the following months.

In addition to the new tab, Shopify and TikTok are launching product links in the app as well, allowing Shopify merchants to tag items in normal TikTok posts. The tag will send the user directly to the merchant's online store.

For everyday TikTok users, this means you can expect to see more links and opportunities to throw your hard-earned money at social media stars on the app. Truly, this was only a matter of time.

After playing a few hours of Back 4 Blood, the new co-op survival shooter from Left 4 Dead studio Turtle Rock, I was left with two questions: How is this legal? And, when can I play again? Turns out, right now.

The Back 4 Blood open beta runs from August 5th to 9th, and again from August 12th to 16th, on PC, Xbox and PlayStation consoles. I got a sneak peek at what the beta has to offer on PC, with an emphasis on PvE content, since there were some technical issues with PvP modes during my playtime. Those have been resolved and I’m told PvP is ready to rock for the open beta.

Not that you should expect it to be perfect. Turtle Rock Studios is using the open beta to fine-tune Back 4 Blood ahead of its release on October 12th, and developers are serious about gathering as much feedback as possible. There’s plenty to track: The game uses a Left 4 Dead-style AI director that adjusts the difficulty level in real-time as you plow through hordes of Ridden in your own special way. There’s also a card system that allows players to build decks of class-specific perks, plus corruption cards that apply randomized effects to every level, changing up the gameplay each time. And it’s a true cross-platform game, running across console generations and PC. All of this is on top of a new PvP mode and the core PvE gameplay, which has to feel like butter if it’s going to satisfy Turtle Rock’s Left 4 Dead fans.

I’m one of those fans, and I have to say, I’m enjoying the hell out of Back 4 Blood. Left 4 Dead is a pivotal game of my past, and Back 4 Blood taps into those good feelings in a delicious way.

Turtle Rock Studios

I’m most interested in PvE, since that’s the core of my nostalgia in this case, and I ended up playing about two hours of the main co-op mode with some new friends. The open beta features two PvE maps for co-op runs and two maps for the Swarm PvP mode, where teams of four take turns fighting each other as the Cleaners (the main characters) and the Ridden (the infected former humans). A new character, Mom, joins the roster of playable Cleaners for the first time, too.

One thing that stands out in Back 4 Blood is its sense of replayability. While the levels feel familiar, they’re filled with secrets and they naturally encourage dynamic play, offering various ways to approach any single encounter. The card system adds a lovely layer of customization to the game, while the corruption cards make each new round just a little different, just a little more exciting. There’s a variety of weapons and items to gather as well, and a healthy allotment of ammo drops throughout the maps, especially if you go exploring. 

Shooting the Ridden is immensely satisfying with any gun, while getting snatched up or knocked down by a Special Ridden is shocking basically every time. Meanwhile, the dialogue among the Cleaners is cute, with references to “the new normal,” lizard people in the government and the lamestream media, to name a few joke opportunities. The protagonists of Back 4 Blood aren’t shocked and running for their lives; they’re on a mission to eradicate the Ridden and create safe zones for human life to resume. It’s a refreshing perspective twist.

I ran into a few issues during my time with Back 4 Blood’s open beta content, but nothing that felt insurmountable at this stage of development. Essentially, I trust Turtle Rock to take the feedback from the open beta and apply it to the game in the smartest, most gory way possible for its launch in October.

I actually chatted with Turtle Rock executive producer Matt O’Driscoll about the beta and what developers hope to get out of it.

"These next two weeks are so vital to us," he said. "We're gonna get so much data for how people play this. Is easy too easy? Is it too hard? Is nightmare mode impossible? Like, all these kind of little things. Or, how do people build decks? Someone's gonna build a deck that I'm sure is gonna kind of break something in the game."

You heard him, Cleaners — get to breaking.

Back 4 Blood is definitely a lot like Left 4 Dead, but updated for modern systems and sensibilities. The question for most players in the open beta will be whether it’s too much like Left 4 Dead — but personally, I say bring it on, Turtle Rock. After all, it’s not like Valve is gonna give us Left 4 Dead 3. Or any 3, for that matter.

When California’s fair employment agency sued Activision Blizzard, one of the largest video game studios in the world, on July 20th, it wasn't surprising to hear the allegations of systemic gender discrimination and sexual harassment at the company. It wasn't a shock to read about male executives groping their female colleagues, or loudly joking about rape in the office, or completely ignoring women for promotions. What was surprising was that California wanted to investigate Activision Blizzard at all, considering these issues have seemingly been present since its founding in 1979.

Activision Blizzard is a multibillion-dollar publisher with 9,500 employees and a roster of legendary franchises, including Call of Duty, Overwatch, Diablo and World of Warcraft. On July 20th, California’s Department of Fair Employment and Housing filed a lawsuit against Activision Blizzard, alleging executives had fostered an environment of misogyny and frat-boy rule for years, violating equal pay laws and labor codes along the way. This is about more than dirty jokes in the break room — the lawsuit highlights clear disparities in hiring, compensation and professional growth between men and women at Activision Blizzard, and it paints a picture of pervasive sexism and outright abuse in the workplace.

Here’s a rundown of some of the allegations:

• Just 20 percent of all Activision Blizzard employees are women.

• Top leadership roles are filled solely by white men.

• Across the company, women are paid less, promoted slower and fired faster than men.

• HR and executives fail to take complaints of harassment seriously.

• Women of color in particular are micromanaged and overlooked for promotions.

• A pervasive frat-boy culture encourages behavior like “cube crawls,” where male employees grope and sexually harass female co-workers at their desks.

It’s been a few weeks since the lawsuit was filed, and employees, executives and players have all had a chance to respond. Meanwhile, additional reports of longstanding harassment and sexism at Activision Blizzard have continued to roll out, including photos and stories of the “Cosby Suite,” which was specifically named in the filing. According to the lawsuit, this was a hotel room where male employees would gather to harass women at company events, named after the rapist Bill Cosby. 

Days after the filing, Kotaku published photos of the supposed Cosby Suite, showing male Activision Blizzard developers posing on a bed with a framed photo of Bill Cosby at BlizzCon 2013. Screenshots of conversations among the developers discussed gathering “hot chixx for the Coz” and other insulting, immature things (especially when you remember these are middle-aged men, not middle-schoolers).

One of the only executives actually named in the suit was Blizzard head J. Allen Brack, and it alleges he routinely ignored systemic harassment and failed to punish abusers. Brack called the allegations “extremely troubling,” but this line was thrown back in his face on Twitter when independent developer Nels Anderson compared it to a video out of BlizzCon 2010, featuring Brack on the far left. 

In the video, a young woman asks the panel of World of Warcraft developers, all six of whom are white men, whether they'll ever create a female character that doesn't look like she just stepped out of a Victoria's Secret catalog. The panelists laugh and one responds, "Which catalog would you like them to step out of?" They proceed to essentially dismiss her question. At the end of the exchange, Brack piles on and makes a joke about one of the new characters coming from a sexy cow catalog.

On August 3rd, just two weeks after California filed its lawsuit, Brack stepped down from his role as the president of Blizzard. In his place will be GM Mike Ybarra and executive development VP Jen Oneal. Oneal will be the first woman in a president role since Activision’s founding in 1979; the lawsuit notes that there has never been a non-white president or CEO of Activision Blizzard.

Activision Blizzard’s initial response to the lawsuit was tragic, with one leader calling the allegations meritless and distorted. Activision Blizzard CEO Bobby Kotick, who regularly gets into fights with shareholders over the ridiculous fortune he’s amassed, published his own response to the lawsuit, where he essentially promised to listen better. Unsurprisingly, this didn’t alleviate many employees’ concerns. A petition in support of the lawsuit ended up gathering more than 2,000 employee signatures, and workers organized a walk-out just eight days after the filing, calling for systemic change at the studio.

Shareholders weren't bolstered by Kotick's response, either. Investors filed an additional class-action lawsuit against Activision Blizzard on August 3rd, alleging the company failed to raise potential regulatory issues stemming from its discriminatory culture. Blizzard's head of HR, Jesse Meschuk, also left the company in the weeks following the initial lawsuit.

Meanwhile, other major game developers have rallied behind the suit, and former Activision Blizzard leaders have shared their support for employees, apologizing for their parts in sustaining a toxic company culture.

None of this is new. As evidenced by the photos, videos, stats and personal stories flowing out of Activision Blizzard, the company has operated on a bro-first basis for decades, and honestly, it’s been sustained by an industry that largely functions the same way.

In 2019, a wave of accusations against prominent male developers crashed over the industry, and AAA studios like Ubisoft and Riot Games made headlines for fostering toxic workplace environments. California is currently suing Riot over allegations of sexual harassment and gender discrimination in hiring and pay practices.

But even that’s not new. Women, non-binary people and marginalized folks in the video game industry have been speaking up about systemic harassment and discrimination for literal decades. Sexism is apparent in the hiring and pay habits of many major studios, and it’s also clear in the games themselves, which feature an overabundance of straight, white, male protagonists.

What is surprising, this time around, is that the lawsuit against Activision Blizzard kind of came out of nowhere. It took a blockbuster media report to make California sue Riot in 2020, but the lawsuit against Activision Blizzard appeared on its own, after years of quiet investigation by the Department of Fair Employment and Housing. If sexism is systemic in the video game industry, it feels like the system is finally fighting back.

Diablo Immortal may be a game for tiny screens, but that doesn't mean it's a small feat of development. For precisely this reason, Activision Blizzard has delayed the release of Diablo Immortal to early 2022. 

The action RPG was originally supposed to hit iOS and Android devices this year, but developers need more time to fine-tune PvP content, improve PvE experiences and implement additional accessibility options, according to Blizzard. Here's how developers put it in their blog post:

Following feedback provided by test participants of the Closed Alpha, our team has been tuning core and endgame features. For example, we’re iterating on PvP content like the Cycle of Strife to make it more accessible, alongside late-game PvE content like the Helliquary to make it more engaging. We’re also working to provide controller support for those who want to play our game in a different way. However, these changes and additional opportunities to improve our gameplay experience will not be realized in the 2021 timeframe we had previously communicated. So, the game is now planned for release in the first half of 2022, which will allow us to add substantial improvements to the whole game.

Blizzard goes on to describe specific features it'll focus on, such as adding PvE Raids, adjusting Bounties and making Challenge Rifts more exciting. In terms of PvP adjustments, Blizzard will work on improving matchmaking, earning rankings, class balance, time to kill and other elements of the Battleground system, plus it'll spit-shine the Cycle of Strife endgame content. All of this joins a raft of changes to progression and XP caps.

It seems developers are still in the early stages when it comes to getting Diablo Immortal to play nice with gamepads.

"We're still working through the challenges of adapting the touch screen controls to a controller seamlessly," the blog reads. "Making our game more accessible is top of mind, and we’ll share more progress on this front as we approach the beta in the future."

Blizzard has other things on its plate right now, too. Activision Blizzard is facing a sexual harassment and gender discrimination lawsuit from the state of California, and Blizzard president J. Allen Brack left the company today amid allegations that he overlooked abuse in the workplace for years. Blizzard's head of HR, Jesse Meschuk, also left the studio this week. A second lawsuit was filed by shareholders today, claiming Activision Blizzard failed to disclose potential regulatory issues related to the company's discriminatory, frat-house-style culture.

Brendon Chung knows what people expect out of a first-person shooter. Guns? Check. Strafing? Yep. Ammo drops in strategic yet predictable locations? You betcha.

A sneezing system? Uh, sure. Noxious green clouds that follow you when you're smelly, giving away your location? Um. Actually, yes.

Skin Deep is the latest project out of Chung's studio, Blendo Games, and it's his first-ever FPS title. He's known for developing clever first-person action and puzzle games including Gravity Bone, Thirty Flights of Loving and Quadrilateral Cowboy, and visually, Skin Deep fits perfectly into his repertoire. The only difference is the gun.

"I'd never done one where you just have a gun and you straight-up shoot people," Chung said. "I thought, you know what? This is something that I love. This is a game genre that has been so important to me for a long time... This is kind of my attempt at making a bunch of little things that I like in first-person shooter games, and putting them into a game that I think will be funny."

Annapurna Interactive

Chung started coding back in elementary school, when he would spend hours between classes customizing levels in FPS classics Doom and Quake, and he continued modding as titles like Half-Life, Quake 2 and Doom 3 hit the scene. He got a job at a mainstream studio in Los Angeles, but continued working on his own projects and eventually went fully independent, picking up a handful of accolades in the process.

Despite a deep personal connection to the FPS genre, Chung hasn't released a shooter of his own — but that's going to change when Skin Deep hits Steam. The actual release date is still up in the air, a fact that may be concerning for anyone who remembers waiting for Quadrilateral Cowboy, a game that was "six months away" for well over three years. (On the Skin Deep FAQ page, one of the Qs reads, "Is Skin Deep going to take 4+ years of development time like your previous game Quadrilateral Cowboy?" and the accompanying answer is, "I hope not.")

Regardless of a release date, today publisher Annapurna Interactive showed off a new trailer for Skin Deep. A new, extra-smelly trailer.

Skin Deep is a non-linear espionage shooter set on a spaceship and played from the perspective of an armed, cryogenically frozen insurance agent whose job is to protect the vessel from invading space pirates. The game looks lighthearted yet sophisticated, in classic Blendo fashion; it involves shooting, sneaking and solving puzzles, and all of it is animated in Chung's signature cubist style. This ties back to FPS history, too — Skin Deep and most of Blendo Games' titles are built on a modified port of the Doom 3 engine, idTech4.

"I've played like a bazillion FPS games because I just really enjoy them, but I feel like there's so much that can be explored and that I wish these games would explore," Chung said.

One of the many odd mechanics in Skin Deep is a sneezing function that appears in particularly dusty or peppery environments.

"If you're crawling through a dusty vent your little sneezy air level will increase, then you'll do a big sneeze noise," Chung said. "And there's a bag of pepper that we have. If you shoot it, a big cloud of pepper flies out. You can pick up a pepper bag and throw it at someone and they'll start sneezing."

And then there's the odor system, which leaves literal clouds of stink behind the player, alerting the space pirates and generally causing problems. There's logic to this system: The player becomes smelly only once they're expelled from the space ship's trash chute, fish bones and all, and then they climb back aboard. The smell clouds disappear once the player figures out how to wash up. All of this falls under a mission titled, Protocol 832: Being Smelly And What To Do About It.

Annapurna Interactive

"I love it when games just do things that you don't expect," Chung said. "Like for me, one of the big games that was important for me back in the day was Far Cry 2, back in 2008. That game did so much cool stuff for the first-person genre that was not technologically advanced, but they just made design choices that were just interesting and funny. Like you had this map that you had to pull out but it didn't pause, and you had to look at a map while getting shot at with guns. And so I thought, there's so much space to do stuff like that. Why not make people smelly?"

All of Chung's games are part of the same cinematic universe, so to speak, and Skin Deep is closely tied to Flotilla, a space-based battleship game he published in 2010.

"They all kind of talk to each other, they all kind of share characters," Chung said. "We're still figuring out details, but right now the character that we're playing as in this game is the character from a game I made before called Flotilla. It's fun to make these little connections between the different games and have them all kind of share things between them."

There's no word on which of Chung's future projects will receive the smell clouds from Skin Deep.

As a kid, Alx Preston spent a significant amount of time as a member of the audience, watching his brother sing in choir and opera groups. One night, he found himself sitting in a pew at the heart of a large, elegant church, letting the sounds of yet another performance wash over him. He was tired. He also happened to be playing a lot of The Legend of Zelda: Ocarina of Time at home.

“I kind of fell into a dream state,” Preston said. “I was playing a lot of Ocarina of Time at the time, and so the vocals of that mixed with this kind of fantastical vision of going through a forest. I think for me that Ocarina of Time was one of those formative games that really allowed me to see what was possible within the medium.”

Preston was the creative energy behind Hyper Light Drifter, a pixelated 2D title that helped define a generation of neon-coated indie hits in the mid-2010s, and he’s the founder of LA-based studio Heart Machine. He and a growing team of developers have been working on their sophomore release, Solar Ash, since late 2016. It’s a third-person, 3D game set in a dreamlike sci-fi space called the Ultravoid.

Annapurna Interactive

To put it in terms of Zelda titles, Hyper Light Drifter is A Link to the Past, and Solar Ash is Ocarina of Time.

“[Ocarina of Time] was really the game that felt so much bigger and limitless in its scope and scale and adventures,” Preston said. “It built a believable world that I could live in and it was 3D, and so of course I always had some idea I might jump into 3D.”

Today, publisher Annapurna Interactive announced Solar Ash will hit PC and PlayStation platforms on October 26th, five years after Heart Machine began working on it.

“Hyper Light was a way for me to get started, it was a way for me to be more grounded and put together a crew and understand, can I do this? Can I actually make games?” Preston said. “And so having answered that question, then the natural next step for me was something in 3D. Can I put something out there that really opens up the world and makes you feel like you can truly escape into something, a creation that is otherworldly, that you otherwise wouldn't have the experience of? A lot of my childhood was spent escaping into those bigger experiences.”

Hyper Light Drifter was a deliciously difficult 2D action RPG, and at first glance, Solar Ash looks like the third-person, 3D interpretation of that same game world. It’s bright and ethereal, with an emphasis on massive enemies and rapid-fire mechanics. The protagonist, Rei, is a slender assassin on a journey to save her home from the Ultravoid, a supermassive black hole hungry for whole planets.

Even though it’s 3D, Solar Ash looks so similar to Hyper Light Drifter that Preston has had to clarify whether it’s a sequel a few times over. To be clear, it’s not. But to be fair, Preston has personally contributed to the confusion.

Annapurna Interactive

“I did ambiguously say it's in the same universe,” Preston said. “Not like Marvel Cinematic Universe, but literally in a universe. So a million galaxies away, technically sure. It's still in a universe. So it's kind of a goof way of saying it. I would say that there are connected threads between the games, because I am who I am as a creator, as an artist... but it's its own game, it's its own identity in many ways. It's not trying to say ‘I'm a sequel’ or anything like that to Drifter.”

Solar Ash is an action platformer with Heart Machine’s DNA baked into its code. It doesn’t attempt to do too much, and the team instead has focused on implementing a handful of core mechanics and making them feel as perfect as possible. Solar Ash is filled with radioactive environments and grotesque enemies, and it's all about fluidity and agility, surfing through the ruins of lost civilizations at the center of a black hole.

There are about 25 people on the Solar Ash team, including Hyper Light Drifter and It Follows composer Rich Vreeland, otherwise known as Disasterpeace. That’s a bigger dev team than the original Hyper Light Drifter crew, but then again, Solar Ash is a bigger game.

“For Drifter and for Solar Ash, there are similar threads of really focusing on the core elements that are impactful and getting as much mileage out of those as we possibly can,” Preston said. “Because we have a small team making a big-ass project, and the team has been excellent in carrying through on everything that we could. Everyone's done incredible heavy lifting and worn a lot of different hats, as you have to do on this scale of team, for this scale of project.”

As Heart Machine’s second game, there’s a lot riding on Solar Ash. Preston has established his brand as an innovative, thoughtful developer, and Solar Ash is his chance to defend it — not only in the court of public opinion, but in his own mind.

“Audience expectation absolutely factors into it, but for me I'm my own worst critic,” Preston said. “Like any artist, like any creative person, you hate your own work until you don't and then you let it go. I mostly focused on, how do we feel we're succeeding internally? Rather than, what is the audience going to expect out of that? Or, what kind of score will you get on Metacritic?”

Of course, if Solar Ash ends up feeling like a trippy sci-fi extrapolation of Ocarina of Time, it should be a success on all fronts.