The Game Awards has grown enormously and has become a much-awaited annual year-end celebration for video game fans around the world since it first took place in 2014. If you're looking forward to watching it this year, you can now fire up your calendars and add a reminder: The 10th annual show is scheduled to stream live from the Peacock Theater in Los Angeles on December 7th, 2023. Just like in the previous years, the event will stream for free across various platforms, including Twitch, YouTube, Facebook, TikTok Live, Steam and X, the website formerly known as Twitter. 

Last year's show was the biggest one yet, with an estimated 103 million viewers tuning in, which was almost 20 million more than 2021's numbers. It also introduced the Best Adaptation category, reserved for projects that translate video games into popular media, like movies, TV shows and books. Plus, Pedro Pascal and Bella Ramsey, stars of The Last of Us, which fans were still looking forward to and had yet to premiere back then, attended the event to present an award. The organizers haven't revealed just yet whether they'll have big stars guesting again this year, but they did say that the event will feature musical performances by The Game Awards Orchestra and other artists. Of course, you can expect to see new game trailers and announcements for launch dates and expansions, among other things. 

Geoff Keighley, creator and executive producer of The Game Awards, said: "Each year, we look forward to hosting a show that honors the stand-out games of the year, while also announcing and previewing some of the world’s biggest and most anticipated video games. With so many beloved video game franchises exploring new mediums and developers creating new experiences across platforms, whether in games, television, movies, and beyond, the industry continues to expand in many surprising ways, and we can’t wait to honor the year’s best games and to show viewers around the world what’s next."

Last year, NVIDIA unveiled DLSS 3 with frame interpolation, which used its AI-driven rendering accelerator to add extra frames to games. Now at Gamescom it's introducing DLSS 3.5, which adds Ray Reconstruction, a new feature that will use the company's neural network to improve the quality of ray traced images. It'll be available for all RTX GPUs—unlike DLSS 3's frame interpolation, which only works with RTX 40-series cards.

NVIDIA says Ray Reconstruction will replace "hand-tuned denoisers with an NVIDIA supercomputer-trained AI network that generates higher-quality pixels in between sampled rays." That's similar to NVIDIA's original pitch for DLSS — making low-res textures look better thanks to AI — and it could potentially lead to better ray tracing performance as well. In images shown to media, Ray Reconstruction appears to deliver sharper reflections and textures in supported titles. (See comparisons below.)

According to the company, Cyberpunk 2077 in Overdrive Mode (its most powerful ray tracing offering) hit 108 fps with DLSS 3.5 and Ray Reconstruction, while the same system reached 100fps with DLSS 3 alone, 63fps with DLSS 2 (which lacks Frame Generation) and 20fps without any DLSS help.

Just like previous DLSS releases, developers will have to manually implement support for Ray Reconstruction. Cyberpunk 2077 (and its expansion Phantom Liberty) will be the first DLSS 3.5 title in September, followed by Portal RTX and Alan Wake 2. NVIDIA will be showing off Ray Reconstruction at Gamescom this week, and hopefully we'll get a look ourselves sometime soon.

Meta will soon offer Stories and Reels in chronological order, among other changes, to comply with the European's Digital Services Act (DSA), the company announced. The changes were expected after the European Commission announced that it had reached an agreement in April to create new rules that would require platforms like Facebook to offer alternative systems "not based on profiling" as a key requirement. 

Meta said it has mobilized over 1,000 people to "develop solutions to the DSA's requirements." Some of the changes will increase transparency about how its systems work and provide users more options to tailor their experiences on Facebook and Instagram. At the same time, it's establishing an "independent compliance function" to ensure it meets ongoing regulatory obligations. 

Starting later this month, Meta will offer Reels, Stories, Search and other parts of Facebook and Instagram that are unranked by Meta using its AI recommendation process. "For example, on Facebook and Instagram, users will have the option to view Stories and Reels only from people they follow, ranked in chronological order, newest to oldest," wrote Meta President of Global Affairs Nick Clegg. 

It's not clear how Meta will implement the change. The main Feed on Instagram already allows users to sort by Following instead of using the algorithm-based approach. However, the "Following" feature is effectively a secondary page on Instagram, and the app always defaults to the algorithmic "For You" option when first opened. Facebook is even more of a hassle, forcing you to select a menu, go into Feeds and tap "Friends" rather than "All." 

Users will also be able to view Search results based only on the words they enter, rather than results personalized specifically to them based on their previous activity and personal interests. The company is also providing more information about how its AI systems rank content via 22 system cards for Facebook and Instagram, adding to its "Why Am I Seeing This" feature. 

"These cards provide information about how our AI systems rank content for Feed, Reels, Stories, and other surfaces; some of the predictions each system makes to determine what content might be most relevant to people; and the options available to help customize an experience on Facebook and Instagram," Meta said.

Meta is also expanding its Ad library to display and archive all ads (for one year) that target EU users, including date run, parameters used for targeting (age, gender, location), who received the ad and more. It's also rolling out two new tools for researchers that include publicly available content from Pages, Posts, Groups and Events. 

The company said that it "welcomes the principles of transparency, accountability and user empowerment at the heart of the DSA," adding it has "long advocated for a harmonized regulatory regime." However, Meta previously expressed extreme displeasure when Apple introduced changes that allowed users to easily opt out of targeted advertising starting with iOS 14. To that end, observers will no doubt be keenly interested in how the changes are implemented and whether they follow the letter, if not the spirit, of the new law.

Those who follow publications like Engadget on X, the social network formerly known as Twitter, will know that the articles they share on the platform appear with a text snippet, an image and a sometimes-truncated version of their headline. That may not be the case in the near future. According to Fortune, the company is planning to implement major changes to the way shared articles appear on a tweet (or a post, as it's now called) by removing their text elements and leaving just their lead images with an overlay of the URL. In a post about the update, Elon Musk has confirmed that X is working on the new format and that the idea came from him directly.

That corroborates Fortune's report, which says Musk is pushing for the new format. It also says that the change going to happen even though X ran it by advertisers who didn't like it. The company's main reason for removing the text in shared tweets is apparently to make posts look less compact and to fit more of them in the portion of the timeline that appears on screen. Musk also thinks it could help lessen instances of clickbait shared on the website. As the publication explains, X's current format typically cuts part of the headline in shared articles, which works to the advantage of websites that write clickbait headlines and posts. 

It's also very much possible that X is implementing this change to encourage not just news publications, but also individuals, to write meatier posts on the website itself. After all, they will have to add context to the URL they share in order to get readers to click through the lead image. Musk has been encouraging users to post long-form pieces directly on the platform and allows Blue subscribers to write as many as 25,000 characters in a single post. More recently, Musk tweeted that journalists who want "more freedom to write and a higher income" should publish directly on X. As 9to5Mac notes, though, X recently had some issues paying creators part of its ad revenue-sharing program, because the number of interested users far exceeded its expectations. 

Two of the standout indie hits of the past few years are Cult of the Lamb and Don’t Starve Together. Now, the pair of critically-acclaimed darlings are teaming up for a new game mode, unique in-game items and even some character cameos. This crossover impacts both games, though each receives different perks.

The biggest draw here is a brand-new game mode for Cult of the Lamb that’s directly inspired by Don’t Starve Together. The appropriately-named Penitence Mode ups the stress factor by giving your lamb protagonist the same mortal needs as your cute and poop-obsessed followers. In other words, you have to eat and shelter yourself, in addition to providing for your cult. You are given the same options as the criticality-acclaimed traditional game, so you can eat meat and veggies, or go at it Yellowjackets style (cannibalism.)

The games also now share some items to create a unique look, so you’ll be able to unlock decorations in Cult of the Lamb from Don’t Starve, like pig heads on sticks, and vice-versa. Look for new chest skins, tabernacle decorations and more.

Finally, there’s some characters making their way through a “crossover portal.” Webber, from Don’t Starve’s Reign of Giants DLC, is now an unlockable cult member, complete with a new “never hungry” trait so you can save that grassy gruel for someone that actually needs it. Additionally, Don’t Starve’s lamb-like ewelet critter/pets are getting even, uh, lamb-ier, thanks to clothing and design options inspired by the other game.

The update is available now for PlayStation and Xbox consoles. The developers also note that a major content update is coming soon to Cult of the Lamb and that Don’t Starve Together will continue to receive more content in its ongoing From Beyond story arc.

YouTube is quickly becoming a home for AI-generated music, and the service is trying to strike a balance between the technology's fans and the labels eager to protect their copyrights. The company and partners like Universal Music Group (UMG) have unveiled a set of principles for AI music. In theory, the approach encourages adoption while keeping artists paid.

To start, YouTube maintains that "AI is here" and that it must have a "responsible" strategy. Accordingly, it's forming a Music AI Incubator that will influence the company's strategy. UMG and artists it represents (including Rosanne Cash, Yo Gotti and Frank Sinatra's estate) will help gather insights from YouTube's AI experiments.

YouTube also says AI music must include "appropriate protections" against copyright violations, and must also provide "opportunities" for partners who want to get involved. While the video giant hasn't detailed what this will entail, it suggests it will build on the Content ID system that helps rights holders flag their material. On top of this, YouTube claims it will scale its content policies and safety structure to adapt to AI. The firm already has systems in place to catch copyright abuse, misinformation and other violations, but intends to pour more resources into those methods.

The principles are currently vague and don't do much to change YouTube's stance. More details are due in the months ahead, however, including policies, particular technologies and monetization for creators.

Generative AI is increasingly popular for unauthorized collaborations and mashups (including for UMG artists like Drake and Frank Sinatra), but it's also finding legitimate uses. The surviving members of The Beatles are using AI to create a 'final' song from a John Lennon recording, while electronic artist Holly Herndon covered Dolly Parton using an AI voice. UMG itself is exploring AI-made soundscapes. YouTube's principles could help it profit from legal productions while dodging lawsuits from artists and labels worried about ripoffs.

As if October wasn't already going to be busy enough for new games. Publisher 505 Games has revealed that Ghostrunner 2, the sequel to a terrific cyberpunk platformer from 2020, will arrive on October 26th. It will be available on PC (Steam, Epic Games Store and GOG), PlayStation 5 and Xbox Series X/S. Pre-orders are open and those who snap up the Brutal Edition will get access 48 hours early.

The latest entry in the series takes place one year after the events of Ghostrunner. You'll once again play as Jack, a cyberninja who has to slice and dice his way up through an imposing tower. Ghostrunner is a fast-paced, often-tough game in which you parkour around treacherous environments. Jack dies often, but instant respawns, frequent checkpoints and accessibility options are helpful.

The sequel from One More Level seems to build on that foundation with new features such as a motorbike and dialogue choices. This is one of my most anticipated games of the year, so it's a real shame that it might get buried under the onslaught of blockbusters that are arriving in October.

Ghostrunner 2 will be going right up against Alan Wake 2 (October 27th) — Epic Games and Remedy last week delayed their game by 10 days to get out of the way of major titles like Super Mario Bros. Wonder and Marvel's Spider-Man 2. Also coming in October are games including Assassin's Creed Mirage (which also moved release dates to stake out its own spot on the calendar), Detective Pikachu Returns, Forza Motorsport, Lords of the Fallen and Cities Skylines II.

On top of those, many people will still be knees deep in the likes of Starfield,Armored Core VI and perhaps Immortals of Aveum by the time Ghostrunner 2 arrives. Given the abundance of games coming out in the next couple months, perhaps waiting an extra few weeks wouldn’t be a bad idea.

Steven Spielberg's wholesome sci-fi classic, E.T. the Extra-Terrestrial, became a cultural touchstone following its release in 1982. The film's hastily-developed (as in, "you have five weeks to get this to market") Atari 2600 tie-in game became a cultural touchstone for entirely different reasons.

In his new book, The Stuff Games Are Made Of, experimental game maker and assistant professor in design and computation arts at Concordia University in Montreal, Pippin Barr deconstructs the game design process using an octet of his own previous projects to shed light on specific aspects of how games could better be put together. In the excerpt below, Dr. Barr muses in what makes good cinema versus games and why the storytelling goals of those two mediums may not necessarily align.

MIT Press

Excerpted from The Stuff Games Are Made Of by Pippin Barr. Reprinted with permission from The MIT Press. Copyright 2023.

In the Atari 2600 video game version of the film E.T. the Extra-Terrestrial (Spielberg 1982), also called E. T. the Extra-Terrestrial (Atari 1982), the defining experience is falling into a pit. It’s cruelly fitting, then, that hundreds of thousands of the game’s physical cartridges were buried in a landfill in 1983. Why? It was one of the most spectacular failures in video game history. Why? It’s often put front and center as the worst game of all time. Why? Well, when you play it, you keep falling into a pit, among other things ...

But was the video game E.T. so terrible? In many ways it was a victim of the video game industry’s voracious hunger for “sure fire” blockbusters. One strategy was to adapt already-popular movies like Raiders of the Lost Ark or, yes, E.T. the Extra-Terrestrial. Rushed to market with a development time of only five weeks, the game inevitably lacked the careful crafting of action-oriented gameplay backed by audience testing that other Atari titles had. I would argue, though, that its creator, Howard Scott Warshaw, found his way into a more truthful portrayal of the essence of the film than you might expect.

Yes, in the game E.T. is constantly falling into pits as he flees scientists and government agents. Yes, the game is disorienting in terms of understanding what to do, with arcane symbols and unclear objectives. But on the other hand, doesn’t all that make for a more poignant portrayal of E.T.’s experience, stranded on an alien planet, trying to get home? What if E.T. the Extra-Terrestrial is a good adaptation of the film, and just an unpopular video game?

The world of video games has admired the world of film from the beginning. This has led to a long-running conversation between game design and the audiovisual language of cinema, from cutscenes to narration to fades and more. In this sense, films are one of the key materials games are made of. However, even video games’ contemporary dominance of the revenue competition has not been quite enough to soothe a nagging sense that games just don’t measure up. Roger Ebert famously (and rather overbearingly) claimed that video games could “never be art,” and although we can mostly laugh about it now that we have games like Kentucky Route Zero and Disco Elysium, it still hurts. What if Ebert was right in the sense that video games aren’t as good at being art as cinema is?

Art has seldom been on game studios’ minds in making film adaptations. From Adventures of Tron for the Atari 2600 to Toy Story Drop! on today’s mobile devices, the video game industry has continually tried for instant brand recognition and easy sales via film. Sadly, the resulting games tend just to lay movie visuals and stories over tried-and-true game genres such as racing, fighting, or match 3. And the search for films that are inherently “video game-y” hasn’t helped much either. In Marvel’s Spider-Man: Miles Morales, Spider-Man ends up largely as a vessel for swinging and punching, and you certainly can’t participate in Miles’s inner life. So what happened to the “Citizen Kane of video games”?

A significant barrier has been game makers’ obsession with the audiovisual properties of cinema, the specific techniques, rather than some of the deeply structural or even philosophical opportunities. Film is exciting because of the ways it unpacks emotion, represents space, deploys metaphor, and more. To leverage the stuff of cinema, we need to take a close look at these other elements of films and explore how they might become the stuff of video games too. One way to do that in an organized way is to focus on adaptation, which is itself a kind of conversation between media that inevitably reveals much about both. And if you’re going to explore film adaptation to find the secret recipe, why not go with the obvious? Why not literally make Citizen Kane (Welles 1941) into a video game? Sure, Citizen Kane is not necessarily the greatest film of all time, but it certainly has epic symbolic value. Then again, Citizen Kane is an enormous, complex film with no car chases and no automatic weapons. Maybe it’s a terrible idea.

As video games have ascended to a position of cultural and economic dominance in the media landscape, there has been a temptation to see film as a toppled Caesar, with video games in the role of a Mark Antony who has “come to bury cinema, not to praise it.” But as game makers, we haven’t yet mined the depths offered by cinema’s rich history and its exciting contemporary voices. Borrowing cinema’s visual language of cameras, points of view, scenes, and so on was a crucial step in figuring out how video games might be structured, but the stuff of cinema has more to say than that. Citizen Kane encourages us to embrace tragedy and a quiet ending. The Conversation shows us that listening can be more powerful than action. Beau Travail points toward the beauty of self-expression in terrible times. Au Hasard Balthazar brings the complex weight of our own responsibilities to the fore.

There’s nothing wrong with an action movie or an action video game, but I suggest there’s huge value in looking beyond the low-hanging fruit of punch-ups and car chases to find genuinely new cinematic forms for the games we play. I’ll never play a round of Combat in the same way, thanks to the specter of Travis Bickle psyching himself up for his fight against the world at large. It’s time to return to cinema in order to think about what video games have been and what they can be. Early attempts to adapt films into games were perhaps “notoriously bad” (Fassone 2020), but that approach remains the most direct way for game designers to have a conversation with the cinematic medium and to come to terms with its potential. Even if we accept the idea that E.T. was terrible, which I don’t, it was also different and new.

This is bigger than cinema, though, because we’re really talking about adaptation as a form of video game design. While cinema (and television) is particularly well matched, all other media from theater to literature to music are teeming with ideas still untried in the youthful domain of video games. One way to fast-track experimentation is of course to adapt plays, poems, and songs. To have those conversations. There can be an air of disdain for adaptations compared to originals, but I’m with Linda Hutcheon (2012, 9) who asserts in A Theory of Adaptation that “an adaptation is a derivation that is not derivative — a work that is second without being secondary.” As Jay Bolter and Richard Grusin (2003, 15) put it, “what is new about new media comes from the particular ways in which they refashion older media.” This is all the more so when the question is how to adapt a specific work in another medium, where, as Hutcheon claims, “the act of adaptation always involves both (re-)interpretation and then (re-)creation." That is, adaptation is inherently thoughtful and generative; it forces us to come to terms with the source materials in such a direct way that it can lay our design thinking bare—the conversation is loud and clear. As we’ve seen, choosing films outside the formulas of Hollywood blockbusters is one way to take that process of interpretation and creation a step further by exposing game design to more diverse cinematic influences.

Video games are an incredible way to explore not just the spaces we see on-screen, but also “the space of the mind." When a game asks us to act as a character in a cinematic world, it can also ask us to think as that character, to weigh our choices with the same pressures and history they are subject to. Hutcheon critiques games’ adaptive possibilities on the grounds that their programming has “an even more goal- directed logic than film, with fewer of the gaps that film spectators, like readers, fill in to make meaning." To me, this seems less like a criticism and more like an invitation to make that space. Quiet moments in games, as in films, may not be as exhilarating as a shoot-out, but they can demand engagement in a way that a shoot-out can’t. Video games are ready for this.

The resulting games may be strange children of their film parents, but they’ll be interesting children too, worth following as they grow up. Video game film adaptations will never be films, nor should they be—they introduce possibilities that not only recreate but also reimagine cinematic moments. The conversations we have with cinema through adaptation are ways to find brand new ideas for how to make games. Even the next blockbuster.

Yeah, cinema, I’m talkin’ to you.

You may have watched the original run of Twin Peaks so many times that you exclaim “damn fine coffee” each and every time you grab a cup, but have you ever played the story through the eyes of FBI Special Agent Dale Cooper? You’ll soon be able to do just that via the magic of video games. A small French developer called Blue Rose Team has been prepping Twin Peaks: Into the Night for a while now, and it just dropped a demo of the fan-made game.

The graphics are retro and decidedly PS1-flavored, which makes sense given how the show premiered in 1990. The gameplay looks to be full of exploration, complete with conversations with the town’s many oddball residents, though there’s a survival horror element reminiscent of the original Resident Evil titles. This is also an appropriate design choice, as the show pits Agent Cooper against foes both physical and supernatural. You should expect appearances from the infamous one-armed man, the chaos agent Bob, nefarious former FBI agent Windom Earle and, of course, plenty of owls.

Beyond gameplay, there looks to be an array of video cutscenes culled from the show itself. The demo, released Tuesday, chronicles events from season one, in which Cooper arrives in Twin Peaks and begins unraveling the murder case of local teen Laura Palmer. The demo is filled with the kind of idiosyncratic quirks and metaphysical horror elements that made the OG show such a hit back in the day.

The creators have announced that the game will be free when it launches, so that should clear up any potential legal hurdles moving forward. David Lynch is busy doing his daily weather reports on YouTube or whatever, so he won’t complain, but ABC and Warner Bros. aren’t quite as chill as the filmmaker/painter/meditation enthusiast.

There’s no official release date, but the demo should keep you busy for a while. Oddly, this will be the very first Twin Peaks video game adaptation, though there’s a short VR experience. Despite never being officially adapted, the show has inspired plenty of games, from the Alan Wake series to a little-known title called The Legend of Zelda: Link’s Awakening. It also goes without saying that Twin Peaks: Into the Night doesn’t delve into the events of Showtime’s Twin Peaks: The Return, so don’t expect to control Jim Belushi.

Activision has spilled the beans about Call of Duty: Modern Warfare III, revealing much more about what players can expect from the next entry in the rebooted series. For one thing, it seems like fans of Call of Duty's Zombies mode are in for a treat. Activision is promising the mode's biggest map to date. You'll be able to team up with other squads for the first time and try to survive "massive hordes" of zombies.

Although Sledgehammer Games is leading development on Modern Warfare III, a bunch of other Activision studios are lending a hand. Treyarch, one of the core Call of Duty developers, handled this year's Zombies mode, which tells a "Dark Aether" story. Along with secrets to unearth and a variety of missions to check out, Zombies includes "an open-world PvE extraction survival experience" and some of the biggest enemies in the franchise's history, Activision said.

Zombies is not the only major multiplayer mode, of course, and MWIII will pay tribute to one of the series' high points. Every one of the original 16 multiplayer maps from the 2009 version of Modern Warfare 2 will be available at the outset. Sledgehammer has modernized classic maps like Terminal and Highrise with new modes and gameplay features. More than 12 new six vs. six maps will arrive in future seasons.

From the jump, there will be three new Battle Maps on which you'll duke it out in the Ground War and Invasion modes, along with a War map. The latter marks the return of the War Mode that made its series bow in 2017's Call of Duty: WWll.

Sledgehammer Games/Actvision

You can expect fresh movement mechanics, such as a Tac-Stance for tactical close-quarters combat. Activision says Sledgehammer has refined the reload cancel and slide cancel mechanics, while you should find it faster to aim down sights out of slide. Meanwhile, all perks will be available at the beginning of a multiplayer match, including a new silent movement one called Covert Sneakers.

Many players will be pleased to learn that the classic red-dot minimap is back after Infinity Ward omitted it from last year's Modern Warfare II. There will be a map voting system, while Sledgehammer has given players a health boost, which will increase the time-to-kill — I'm sure players will have no opinions whatsoever about that change.

You won't necessarily have to start over your collection of multiplayer gear from scratch. Last week, Activision confirmed that, for the first time, players will be able to carry forward nearly all of their unlocked items (including weapons and operators) from Modern Warfare II to Modern Warfare III.

Sledgehammer Games/Actvision

On top of all of the multiplayer features, there's the small matter of the campaign. This is a direct sequel to last year's game and it continues the Modern Warfare story with Task Force 141 looking to take down ultranationalist villain Vladmir Makarov. This time around, there's a new type of mission called Open Combat. This offers players the chance to choose their own path through a level and they'll have multiple ways to complete objectives. These levels were built to work around players' preferred play styles, so if you prefer a stealthy approach to an all-guns-blazing one, you might appreciate their flexibility. 

Activision has also released a new gameplay trailer, which backs up speculation that there will be a fresh take on the controversial No Russian mission from the original Modern Warfare 2. The phrase "No Russian" appears in a text message before the recipient points a gun while walking through a plane.

Call of Duty: Modern Warfare III will hit PS4, PS5, Xbox One, Xbox Series X/S and PC (via Steam and Battle.net) on November 10th. There will be a free open beta beforehand, with those who pre-order getting early access. Those folks will also be able to play the campaign up to a week before the game's official release date.