Quirky game publisher Panic's first-ever digital games showcase is about to kick off. The event, dubbed the Panic Games Showcase, can be streamed directly on Panic’s YouTube channel starting today at 1PM ET, or you can come back right here to catch all the action.

The showcase will feature a 20-minute video presentation with Panic's games publishing roadmap, including new looks at previously announced games Nour: Play With Your Food and Despelote. During the event, you can also expect to hear about new unannounced titles, along with new game development partnerships. While there are no further details on upcoming games, we do know there will be no mention of the Playdate. It's likely that the games being discussed at this event will be for PC or more popular gaming consoles, like the PS5 and Nintendo Switch.

With this event, Panic is hoping to gain more recognition as a full-fledged game publisher by showing off the games in its pipeline. Despite its smaller size, Panic is known for pushing unconventional but interesting games that really capture players. Untitled Goose Game is one example of that, as is just about everything that’s been released for Panic’s Playdate hardware.

In a press release, co-founder Cabel Sasser expressed his excitement about the Panic Games Showcase. He also hinted at a wide variety of games, saying viewers will come away excited about at least one new game that piqued their interest.

"A lot of people out there know us as makers of Mac software like Transmit and Nova. And some people know us as the creators of the Playdate handheld video game system. And honestly, not very many people know us as the publisher of Firewatch and Untitled Goose Game”, Sasser said. “We thought it’d be fun to put on a little show and let the world know about the wonderful games we’ve been working on publishing, from amazing developers all around the world.”

Nightdive Studios, a company known for remaking and upgrading old video games for modern consoles such as Quake II, has announced remastered versions of Star Wars: Dark Forces and Turok 3 Shadow of Oblivion. In the Dark Force's case, Nightdive worked in collaboration with Lucasfilm Games to breathe new life into the title using its KEX Engine. 

The Dark Forces is a first-person shooter developed by the now defunct LucasArts and first released almost 30 years ago in 1995. This new version supports 4K gameplay at 120FPS and features cut scenes that look like they came straight out of much newer titles. Players can earn trophies and achievements and, of course, it now supports gamepads for modern consoles, because it's "coming soon" to the PS4, PS5, Xbox One, Series X|S, Nintendo Switch and PC via Steam. Nightdive hasn't revealed an exact release date yet, but it has promised another announcement later this year.

Meanwhile, Turok 3: Shadow of Oblivion is a remastered version of the original first-person shooter released in 2000 for the Nintendo 64. Nightdive had also previously updated the first two games in the trilogy, Turok and Turok 2: Seeds of Evil, for young gamers and those who want to play them again on newer devices. Like the Dark Forces, the company remastered Turok 3 using its KEX Engine. The game supports 4K resolution at 120FPS, features improved lighting and rendering, as well as upgraded gameplay and platform-specific features. According to IGN, the remaster contains some new content, including a new area and a new heads-up display (HUD) view. Nightdive doesn't have a release date for Turok 3 either, but those interested can now add it to their wishlist on Steam. 

Razer is releasing an Xbox Edition of its popular Kishi V2 mobile gaming controller. The device is available in two SKUs, for iPhone and Android phones, and brings plenty of Xbox-centric features into the mix. For instance, the controllers boast iconic Xbox branding and a white color-way to tie it all together.

The Xbox integration isn’t just cosmetic. There’s updated companion software to make the most out of brand collaboration, including full integration with Game Pass and new haptics that correlate to AAA Xbox titles. That gives these controllers cross-compatibility with hundreds of games available via the platform and the magic of cloud streaming. Razer says this refresh has been optimized to ensure lag-free gaming and the various inputs have been enhanced for improved control and precision. There’s also a dedicated Xbox button for powering on the controller and for initiating Game Pass.

The exterior has been switched up for improved ergonomics during those lengthy Game Pass sessions. The analog bumper triggers are more pronounced and the whole thing has a soft feel that should make it rest easy in the hands during use.

Of course, you aren’t tied to Xbox games here. This is still a standard Kishi Pro controller that’s powered by the Razer Nexus app, so you can play PC games, smartphone titles and more. To that end, there’s a virtual controller mode that lets you map out buttons to match a specific game.

Razer’s Kishi controllers have been a big hit for the company, starting with an Android model and eventually including an iPhone version. This newest release accompanies a broader launch for the Kishi V2 Pro model, that features a headphone jack and the aforementioned haptics. The Pro controller isn't new, exactly, but it used to be exclusively tied to the Razer Edge gaming handheld device. Now you can buy it standalone in this Xbox format or via plainer options. 

Microsoft is acting on its promise to bring PC Game Pass to NVIDIA's GeForce Now service. The companies have announced that Game Pass and Microsoft Store titles will be available to stream on GeForce Now starting August 24th. Not every title will be playable right away, but this will give Game Pass subscribers access to releases like Deathloop and No Man's Sky through NVIDIA's platform.

The two companies have been forging a partnership for a while. Microsoft struck a deal with NVIDIA in February to bring Xbox games to GeForce Now for 10 years, and the first title (Gears 5) arrived in May. Bethesda's first games, including Doom Eternal and the Wolfenstein reboots, surfaced earlier this month. In that sense, PC Game Pass just expands the selection further.

The pact was announced as part of Microsoft's bid to get regulatory approval for its purchase of Activision Blizzard. In theory, this shows that Microsoft won't have unfair dominance over cloud gaming. The company also plans to sell Activision Blizzard game streaming rights to Ubisoft to address UK officials' concerns, and has been signing smaller cloud deals in recent months.

It may seem odd to access one streaming service's games through another, but there may be advantages. GeForce Now is aimed at enthusiasts who want maximum visual quality and reduced lag, with the Ultimate tier supporting 4K at 120 frames per second. If your PC and internet connection are up to the task, Game Pass might shine on GeForce Now where it would otherwise be limited.

Microsoft is significantly restructuring its Activision Blizzard merger proposal by selling cloud gaming rights for Activision Blizzard games to rival Ubisoft, it wrote in a blog post late yesterday. That would address a key concern of UK regulators, which blocked the deal in part become of Microsoft's potential dominance in cloud gaming — but nothing is likely to be approved until October 18th. 

"As a result of the agreement with Ubisoft, Microsoft believes its proposed acquisition of Activision Blizzard presents a substantially different transaction under UK law than the transaction Microsoft submitted for the CMA’s consideration in 2022," Microsoft President Brad Smith wrote. 

If the merger goes through, Microsoft would transfer "cloud streaming rights for all current and new Activision Blizzard PC and console games released over the next 15 years to Ubisoft Entertainment SA, a leading global game publisher. The rights will be in perpetuity," Smith added. That means Microsoft wouldn't be able to make Activision Blizzard games exclusive for Xbox Cloud Gaming, nor have any say on how they're released on rival services. It will also allow Ubisoft to offer Activision Blizzard cloud gaming services on Apple and other non-Windows systems. 

As for the terms of the transaction, "Ubisoft will compensate Microsoft for the cloud streaming rights to Activision Blizzard’s games through a one-off payment and through a market-based wholesale pricing mechanism, including an option that supports pricing based on usage," Smith said. 

In its own blog post, Ubisoft indicated that Activision Blizzard titles will be available across a range of services if the deal goes through. "With a single subscription to Ubisoft+ Multi Access, players will soon be able to play their favorite Ubisoft and Activision Blizzard games across multiple platforms including PC, Xbox consoles and Amazon Luna, and on the PlayStation platform through Ubisoft+ Classics," wrote Ubisoft's Daniel O'Connor.

The UK's CMA (Competition and Markets Authority) blocked the proposed merger earlier this year citing cloud gaming monopoly concerns as the primary issue. However, after the US Federal Trade Commission (FTC) lost its own appeal to block the merger, the CMA agreed to extend negotiations until August 29th. "Based upon the discussion to date, both sides — Microsoft and the CMA — have confidence that Microsoft notifying a restructured transaction is capable of addressing the concerns that the CMA has identified," the CMA said in July. 

The UK regulator will now examine the restructured deal and deliver a decision by October 18th, it said in an article published today. "This is not a green light. We will carefully and objectively assess the details of the restructured deal and its impact on competition, including in light of third-party comments," said CMS chief executive Sarah Cardell. "Our goal has not changed — any future decision on this new deal will ensure that the growing cloud gaming market continues to benefit from open and effective competition driving innovation and choice."

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.

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.

Final Fantasy VII: Ever Crisis, a mobile game that expands the FFVII story and universe, will be available on iOS and Android on September 7th. Square Enix first announced the mobile game along with the battle royale action title Final Fantasy VII The First Soldier back in 2021. It was supposed to come out in 2022, but delays pushed back its release, and the company didn't start closed beta testing for the game until July this year. 

Ever Crisis was developed by Applibot, though Final Fantasy veterans Kazushige Nojima, Yoshinori Kitase and Tetsuya Nomura were involved as scenario writer, executive producer and creative director, respectively. It features an art style reminiscent of the the original FFVII's chibi characters, but with a twist — as The Verge notes, Cloud has actual hands in this version. 

The game retells the events from the original game, so players can relive some of its most iconic moments, though it also includes the The First Soldier's backstory and stories about the characters from when they were younger. As for its gameplay, it's based on the original's Active Time Battle system that's been optimized for mobile. 

Ever Crisis will be free-to-play, but according to Android Police's review of the closed beta version, players will have to spend money playing "gacha" to get weapons and other items. Fans who want to play the game regardless and as soon as it becomes available can now pre-register for either or both mobile platforms. 

The rumors were true: Bethesda has announced an upgraded version of Quake II. Best of all, you can play it today on PC, Xbox One, Xbox Series X/S, PlayStation 4, PlayStation 5 and Nintendo Switch. The enhanced edition is on Game Pass on PC, console and Xbox Cloud Gaming. Those who own the original game on GOG or Steam are getting a free upgrade.

Nightdive Studios worked with Bethesda to modernize id Software's 1997 first-person shooter. You can relive the single-player campaign or try it for the first time with Sonic Mayhem's original soundtrack and all kinds of other enhancements. The visuals have been upgraded to include widescreen support, 120Hz refresh rates and 4K resolution.

Content that was cut at one point is back in the enhanced edition of Quake II, which includes the Nintendo 64 port as well. You'll be able to dive into the original expansions — Mission Pack: The Reckoning and Mission Pack: Ground Zero — which include more than 30 extra single-player levels and 20-plus deathmatch maps between them.

There's a brand-new expansion titled Call of the Machine as well. Wolfenstein: The New Colossus studio MachineGames (which is working on an Indiana Jones game) built 28 more campaign levels and a completely fresh deathmatch map for this expansion.

On the multiplayer front, there's splitscreen support, including local and online co-op for up to four players. You can battle it out in deathmatch, team deathmatch and capture the flag with up to 16 players.

Full crossplay is a welcome inclusion across all platforms. However, if you're on PC and want to hop into a lobby with your buds who are playing on console or via the cloud, you'll need to use a controller. This is to nullify the aiming advantage that keyboard and mouse players have.

Last but not least, there are some welcome updates to make Quake II more accessible. Players will receive an accessibility options notification after they install the game. Settings include high contrast, voice chat transcription, input remapping options, aim assist and the ability to automatically switch to a new weapon when you pick it up.