Stop me if you've heard this one before: Dead Island 2 will arrive later than expected. The zombie-smashing game re-emerged in August with a trailer, gameplay video and a firm release date of February 3rd. As it turns out, that release date was actually malleable. Publisher Deep Silver and developer Dambuster Studios have pushed Dead Island 2 back to April 28th.

"The irony of delaying Dead Island 2 is not lost on us and we are as disappointed as you undoubtedly are," a note on the game's Twitter account reads. "The delay is just 12 short weeks and development is on the final straight now. We're going to take the time we need to make sure we can launch a game we're proud to launch."

Dead Island 2 was announced all the way back in 2014. The project has twice moved to a different studio, with Dambuster taking over in 2019, and it's finally coming to fruition.

The sequel to 2011's Dead Island will be available on PS4, PS5, Xbox One, Xbox Series X/S and the Epic Games Store, and it will be the first game to use an Alexa-powered voice command feature. You'll be able to find out some more details about the game during a showcase on December 6th. The livestream will be available on YouTube, Twitch and the Dead Island website.

Blizzard Entertainment will be suspending key games like Overwatch 2 and World of Warcraft in China because it failed to reach an agreement with partner NetEase, it announced. Those titles along with Hearthstone, Starcraft, Heroes of the Storm, Diablo III and Warcraft III: Reforged will be unavailable in China starting on January 23, 2023. Diablo Immortal, which arrived earlier this year, won't be affected as it's covered by a separate agreement, according to NetEase. 

"The two parties have not reached a deal to renew the agreements that is consistent with Blizzard’s operating principles and commitments to players and employees, and the agreements are set to expire in January 2023," Blizzard said in the press release. "We will suspend new sales in the coming days and Chinese players will be receiving details of how this will work soon. Upcoming releases for World of Warcraft: Dragonflight, Hearthstone: March of the Lich King, and season 2 of Overwatch 2 will proceed later this year."

NetEase is China's second largest gaming company and has partnered with Blizzard since 2008. It's a key player for Blizzard in the nation, helping guarantee that its games meet China's strict content requirements. The deal wasn't just about money, but also who owned the the intellectual property and player data, according to Bloomberg. 

The longstanding agreement didn't appear to end amicably. "One day, when what has happened behind the scene could be told, developers and gamers will have a whole new level understanding of how much damage a jerk can make," said NetEase's president of global investment and partnership, Simon Zhu, in a LinkedIn post spotted by TechCrunch. Blizzard, meanwhile, said "we are looking for alternatives to bring our games back to players in the future."

Microsoft has added a new app called Games for Work to Teams, which will allow users to dive into some casual multiplayer titles together. As many as 250 people can play Microsoft Solitaire, Microsoft Minesweeper, Microsoft IceBreakers and Microsoft Wordament with each other.

Solitaire and Minesweeper are, of course, classic Windows games. Players will go head-to-head in Solitaire in a race to finish first. In Minesweeper, they'll team up to clear the board and each person will have a few lives in case they click on a mine.

Unsurprisingly, Wordament is a word game. There's a leaderboard where you can see how you fare compared with your coworkers. IceBreakers does what it says on the tin — you'll answer questions about certain topics and perhaps find out a little more about your colleagues.

The Teams crew worked with Microsoft Casual Games, an Xbox Game Studios division, on Games for Work. The idea, according to Microsoft, is to help coworkers "pause and re-energize" in a virtual office setting. It cites data indicating that teams who play games together for 45 minutes are 20 percent more productive than those who opt for other types of team-building activities. "Research shows that gaming promotes cognitive benefits, helps foster empathy and encourages inclusion, team building and learning," the company added.

Perhaps we'll see a day when Microsoft bakes Xbox Cloud Gaming into Teams. In the meantime, you'll be able to clear rudimentary virtual minefields with colleagues and battle it out with them in Solitaire. As for folks working at companies using Google Meet, there's no reason to feel left out: you can play games like Uno Mobile with colleagues too.

Back in September, CD Projekt Redc (CDPR) announced that it's going to release an expansion for Cyberpunk 2077 entitled Phantom Liberty that would add characters and a new location to the game. Now, the developer has confirmed that you'll have to pay for the DLC when it drops and if you want to see what's new in Night City. CDPR's global PR director Radek Grabowski told GamesRadar+: "As for the expansion's pricing — we have not revealed exact details yet, but it will be a paid one." Grabowski also told the publication that the developer's expansions are "traditionally cheaper than full-price games." To note, Cyberpunk 2077 cost $60 when it launched. 

Phantom Liberty will be a spy thriller and will involve espionage work for the New United States of America. It will star the game's main protagonist V and Johnny Silverhand, the popular Cyberpunk 2077 character played by Keanu Reeves. When it first announced the DLC, CDPR said that it was only going to be released for the Xbox Series X and S, PlayStation 5 and PC. It will skip the PS4 and the Xbox One altogether, which perhaps isn't surprising, considering the issues the developer faced upon the main game's release. 

If you'll recall, the game's launch was marred by bugs and glitches — some even prevented players from completing quests and moving forward. Its performance was especially poor on older-generation consoles, prompting the developer to issue a statement that promised to roll out fixes that would make the game playable. The issues were so bad, Sony Interactive Entertainment pulled the game from the PlayStation Store and offered refunds to anybody who asked for one. That said, Cyberpunk 2077 was able to get past its buggy launch, thanks to CDPR rolling out a stream of patches, as well as to the release of a Netflix anime. In October, the developer announced that it's going to work on a sequel to the game codenamed "Orion," which will "further develop the potential" of the sci-fi franchise.

Remedy has yet to show its co-op Control spinoff, but that isn't stopping the developer from unveiling a true follow-up. The company and its publisher 505 Games have announced joint development of Control 2 for PlayStation 5, Xbox Series X/S and PC. This isn't exactly a shock when the two teased a "bigger-budget" title (now known to be the sequel) last year, but it's good news for anyone who misses exploring the Oldest House.

The creators haven't shared any details of the plot, game mechanics or release date. Even the teaser image shares little besides what's likely a Control Point. Control 2 will still use Remedy's Northlight engine, however, and that budget is a sizeable $51.5 million. Work is still in the "concept stage," Remedy says.

The commitment to a sequel makes sense given the performance of the original, and despite the lack of news about the spinoff. Control has sold 3 million copies since its 2019 debut, and 1 million of those reached gamers' hands since June of last year. The third-person action game has also received critical praise that includes 20 "game of the year" awards. Simply speaking, the franchise already has enduring success — Remedy and 505 are just capitalizing on that sizeable fan base.

Sony has revealed another selection of games that will be available to PlayStation Plus subscribers on the Extra and Premium tiers. The headliner for many folks is one of the most beloved games of all time, The Elder Scrolls V: Skyrim (a game from Microsoft-owned Bethesda Softworks, fact fans). The special edition of the classic 2011 RPG includes updated visuals and other features.

Subscribers will soon be able to play three of Ubisoft’s Tom Clancy-branded games at no extra cost: Rainbow Six Siege (both the PS4 and PS5 versions), The Division 2 and Ghost Recon Breakpoint. Several Kingdom Hearts games are on the way as well. You'll get access to Kingdom Hearts HD 1.5 + 2.5 ReMIX (a remastered collection of four games), Kingdom Hearts HD 2.8 Final Chapter Prologue,Kingdom Hearts: Melody of Memory and the most recent mainline entry in the series, Kingdom Hearts III.

On top of that, you'll be able to check out Oddworld: Soulstorm – Enhanced Edition (which features a new game mode) and space shooter Chorus. PS4 and PS5 versions of both games will be available. Also on the docket are classic indie walking sim What Remains of Edith Finch, puzzle title The Gardens Between, Earth Defense Force: World Brothers, Earth Defense Force: Iron Rain and Onee Chanbara Origin.

There are some worthy PS3 titles coming to the Premium lineup this month, in the form of five more Ratchet & Clank games. You'll get access to Ratchet & Clank, Ratchet & Clank 2: Going Commando, Ratchet & Clank: Up Your Arsenal, Ratchet & Clank: Deadlocked and Ratchet & Clank Future: Tools of Destruction. 

These games will be available on November 15th. It's a pretty solid batch of additions to PS Plus Extra and Premium. Perhaps these titles will help Sony gain back some of the PS Plus subscribers Sony has lost in recent months.

It’s a great day to be a Switch fan. If you missed Nintendo’s latest Indie World Showcase, the company announced on Wednesday that Rogue Legacy 2 and A Little to the Left would be available to download later today. Both indies came out earlier this year to critical acclaim and are well worth your time if you enjoy smaller experiences. The former is the sequel to 2013’s Rogue Legacy and improves on its predecessor in nearly every way, with a new art style and tighter gameplay. Meanwhile, A Little to the Left is a cozy and relaxing game for those who enjoy tidying up.

Looking to the weeks and months ahead, there are a handful of other notable indie games heading to the platform. At the start of next month, roguelike deck builder Incscryption arrives. It was one of the most critically acclaimed games of 2021. If a card game that’s infused with horror elements sounds appealing to you, I would try to go into Incscryption knowing as little as possible. December will also see the release of Sports Story. The follow-up to the Golf Story was first announced in 2020 and was supposed to arrive on Nintendo Switch that same year. To say fans of the original have been patiently waiting ever since would be an understatement.

In 2023, Switch owners can also look forward to Desta: The Memories Between, the next game from Monument Valley creator Ustwo arriving. Nintendo shared a new look at the turn-based dodgeball game. Between those games and a handful of others, Nintendo Switch fans have a lot to look forward to in the near future.

For a project that was divisive among critics and players alike, Death Stranding has done pretty well for itself. With the game celebrating its third anniversary today, Kojima Productions revealed that more than 10 million people have played the studio’s first game. The milestone takes into account all the platforms where Death Stranding is available, including PC Game Pass. “It makes me happy to think that there are over 10 million “Sam one” players around the world, all loosely connected,” creator Hideo Kojima said on Twitter.

It might seem obvious that a game from the creator of Metal Gear Solid would find commercial success, but it didn’t always look that way. By some accounts, Death Stranding was a flop when it first came out. According to one ResetEra post from 2020, Sony was reportedly unhappy with the game’s sales, with the author of the post claiming 3 million copies of Death Stranding were sitting in warehouses as of March of that year. But then the critical reevaluation of the game began, helped first by the pandemic and then its arrival on PC. In Death Stranding, a lot of people found an experience that helped them make sense of a world that had changed overnight and by July 2021, the game had sold 5 million copies.

As for Death Stranding’s future, actor Norman Reedus recently said in an interview that Kojima Productions is working on a sequel. In the past weeks, the studio has also begun teasing a game that will star actors Elle Fanning and Shioli Kutsuna.

The impact of Japanese RPGs on pop and gaming culture cannot be overstated. From Final Fantasy and Phantasy Star to Chrono Trigger, NieR, and Fire Emblem — JRPGs have spanned console generations, bridged the Japanese and North American markets, spawned entire universes of IP and delivered critical commercial hits for nearly four decades. Modern gaming simply wouldn't exist as it does today if not for the influence of JRPGs. 

In his newest book, Fight, Magic, Items: The History of Final Fantasy, Dragon Quest, and the Rise of Japanese RPGs, Aidan Moher takes a wondrous in-depth look at the history of Japanese role playing games, their initial rise in the East, the long road to acceptance in the West and ultimate cultural impact the world over. In the excerpt below, Moher explores how Pokemon grew from Gameboy screens to become a multi-billion dollar entertainment juggernaut.

Running Press

Excerpted from Fight, Magic, Items: The History of Final Fantasy, Dragon Quest, and the Rise of Japanese RPGs by Aidan Moher. Published by Running Press. Copyright © 2022 by Aidan Moher. All rights reserved.

Pokémon, Go

Though it takes many cues from Japanese games like The Legend of Zelda: Breath of the Wild, Genshin Impact was developed and published by Chinese developer/ publisher miHoYo. Thanks to gorgeous visuals, free-to-play accessibility, multi-platform release, and easy-to-pick-up-impossible-to-put-down gacha-based gameplay, it took the gaming world by storm after its 2020 release.

Game Boy not only provided greater access to video games thanks to its low price, but it subsequently changed the way we play games. About the size of a mass-market paperback novel, and just barely pocketable, the Game Boy leaned heavily on Nintendo franchises, including Mario and Donkey Kong, and—equally important for a device marketed for children—a ton of tie-in games for popular television shows and movies like Teenage Mutant Ninja Turtles, Jurassic Park, and Star Trek.

The appeal for kids? Gaming where mom and dad couldn’t see the action — a private world of adventure. The appeal for adults? Appealing puzzle games, fewer back spasms from sitting cross-legged on the floor two feet from the TV, and a smaller, quieter way to keep the kids distracted before dinner.

“Game Boy had the advantage of being the first on the market before other major competitors,” explained Smithsonian Magazine. Though Sega and Atari soon followed with their own consoles, complete with color screens, they faced an uphill battle against Nintendo’s aggressive strategy of leaning into tech that was older, but also more efficient, affordable, and reliable. Like many ’90s kids, my first game console was the Game Boy. I was a computer game fiend, and we’d rent a NES with a couple of games now and then, but those were ephemeral promises of living room gaming that wouldn’t become reality for a few more years.

After its debut, the Game Boy was rife with puzzle games and character platformers, but by 1993, it had blossomed into a full-fledged adventuring machine thanks to familiar franchises like Final Fantasy, Dragon Quest, and even Wizardry. The game that really sold the system’s capabilities, however, was a new entry in Nintendo’s ambitious The Legend of Zelda series. And, like many others, I was already a big Zelda fan by the time Link’s Awakening released in August 1993 thanks to its Super NES predecessor The Legend of Zelda: A Link to the Past.

What living room game consoles offered in scope, visual pop, and impressive technology, portables matched with their flexibility, bite-sized content, and on-the-go possibilities. Every morning, my friend and I would meet under a blanket of dew at our elementary school. Sitting side by side for warmth, Game Boys clutched in chilled fingers, we’d explore Koholint Island on individual journeys to waken the Wind Fish. The intimacy of this youthful bonding cemented Link’s Awakening as a core gaming experience in my life, all made possible by the Game Boy.

Though A Link to the Past and the entire Legend of Zelda series no doubt influenced a lot of JRPGs, especially puzzle-based games like Wild Arms or Lufia II: Rise of the Sinistrals, its categorization as a JRPG is debatable. Personally, I don’t quite consider it a JRPG due to its lack of customizability, but there’s definitely enough overlap in mechanics, pacing, story construction, and so on to create an overlapping Venn diagram of fans.

Imagine the giddy power rush of being a kid with a whole universe in your pocket, out of sight of parents and siblings, with no lobbying for TV screen time required. At first blush, the handheld’s small screen might be considered a flaw, but the paradoxical reality was that the smallness leant to the understanding that it was a personal-sized portal to another world. Only room for one. Plus, you could pop in the cheap Nintendo-provided headphones and the world outside disappeared entirely.

Link’s Awakening was a revelation, a journey into the unknown that belonged only to me.

Wake up.

A dream.

Wake up.

It was euphoric.

Wake up.

And then . . . there was Pokémon.

In a video review of Final Fantasy Mystic Quest (discussed in Chapter 6), YouTube channel Austin Eruption examined Square’s failed attempts at catalyzing the Western JRPG market during the early ’90s. “The concept of the entry RPG would be more successful . . . not with Square, but with Nintendo’s wildly popular Pokémon,” they said. “It turns out kids are super down to play RPGs, they just gotta have cute and cool monsters to collect.”

In 1996, Japanese schoolyards were buzzing thanks to the new Game Boy game published by Nintendo called Pocket Monsters. Kids traded tips, creatures, and blows across Game Boys connected by a link cable. These newly trained Pokémon trainers, as they’re called in the game, couldn’t get enough of the 151 unique, cute, and catchable creatures.

Before it was about catching monsters, however, Pocket Monsters was conceptualized by its insect-obsessed creator, Satoshi Tajiri, as a bug-catching simulator. Known to his classmates as “Mr. Bug,” Tajiri spent his childhood dreaming of becoming an entomologist and studying bugs for a living . . . that is until he discovered arcade games like Space Invaders. Though his professional ambitions shifted focus to bits, bytes, and programming scripts, his love for bug collecting remained, and at just twenty-four years old he came up with the idea for what would eventually become Pocket Monsters.

Before his buggy dreams became a reality, Tajiri founded Game Freak in 1989 with Masuda and artist Ken Sugimori, and released his first game, Mendel Palace, the same year. A grid-based puzzler, this game was completely unlike Pocket Monsters, but its success encouraged Tajiri and helped solidify Game Freak. The following year, Tajiri saw two Game Boys tethered by a link cable, and his concept for a bug-catching simulator sprang to life. He saw opportunity not only for players to be able to share and collect bugs, but to competitively face off against one another on their linked Game Boys.

It took over two years after its Japanese release for Pocket Monsters to reach western shores, finally releasing in September 1998 as Pokémon. With its release on the ten-year-old handheld and with the more powerful Game Boy Advance on the horizon, Nintendo released Pokémon on a whim, expecting the series to arrive as a chunky, but relatively unnoticed, oddity before the Game Boy Advance took over. Then, to everyone’s surprise, the weird little Japanese phenomenon appealed to kids in the West just as much as it had to children in its home country. Playgrounds across the United States and Canada were suddenly crawling with kids obsessing over Pikachus, Charmanders, and Mewtwos.

“Although it was made in Japan,” wrote culture writer Matt Alt for the BBC, “for a moment at the turn of the 21st Century, no corner of the world was immune from what came to be called ‘Pokémania.’” Scrambling in the wake of this unexpected success, Nintendo quickly localized the anime spinoff for an American audience to further capitalize on the video game’s hype. A short year later, the follow-up movie adaptation was so popular that phone boards were overwhelmed as tens of thousands of parents and fans sought tickets.

Pokémon’s defining feature was its dual-cartridge release: PokémonRed Version and PokémonBlue Version. The catch was that while each version had most of the same Pokémon available to catch, there were a few dozen available only in one version or the other. To “catch ’em all,” as the game’s tagline implored young Pokémon trainers, you had to find another player who owned the other cartridge. I chose PokémonBlue, and with a set of fully charged AA batteries powering my Game Boy, I started a new game and settled on Bulbasaur as my starting companion. What followed was an experience that made Link’s Awakening feel like The Hobbit—and now I was playing Lord of the Rings. I soon caught more Pokémon for my party: a cute bird called Pidgey, a caterpillar that ensnared foes in silk webbing, and a bucktooth rodent known as Rattata. By the end of my first play session, these little critters became so much more than characters in a game; they tapped into that Tamagotchiesque sense of ownership and quickly became as beloved as my childhood pets.

This wasn’t a party of adventurers; it was a family.

Pokémon put players in the role of a newly minted trainer named Red. (Or anything else they chose to name him within the seven-character limit. My first name fit with room to spare.) Alongside rival Blue, Red arrives at Professor Oak’s Pokémon lab to choose one of the three starter Pokémon: the aforementioned Bulbasaur and Charmander, and the terrapin-like Squirtle. New Pokémon in tow, you leave your hometown on an adventure through Kanto region—a fictional game universe based loosely on Japan’s own Kanto region. With the goal of becoming the region’s greatest Pokémon trainer, you visit Kanto’s eight gyms, wherein you challenge their leaders, powerful Pokémon trainers who focus on particular types of Pokémon, like water-type or electric-type, to earn badges. Conquering the gym leaders then gives you the right to challenge the Elite Four. Defeat them, and the title of Pokémon Champion awaits.

Pokémon combined the sprawling adventure of the JRPG with a narrative focused on personal conflict and growth—not the end of the world. If anything, Kanto felt idyllic, a Star Trek–esque utopia where humans had moved beyond such pettiness as war or raising vengeful gods to destroy their enemies. With nothing else to do, Kanto’s inhabitants could spend their days training the critters crawling through tall grass, prowling in dark caves, and lurking beneath the waves.

Link’s Awakening felt like a limitless adventure at the time, but in reality, there was one critical path to victory, and each player solved the game by following the same steps in roughly the same order. Pokémon was different. Placing the player in a vast world populated by 151 collectable Pokémon, it created an experience that was as unique and individualized as each of its players. Love cute Pokémon and want to fill your team with Pikachus and Eevees? It’s possible. Want to overpower your starter Pokémon, grind your way through the game, and defeat the Elite Four through brute force? Go for it. Obsessed with Psyduck? Um, sure. I guess.

Pokémon offered so much variety and customization for how the player approached building and training their team that each kid could play it in their own way, opening the door to a new style of accessibility lacking in similar games. Kids cared for their Pokémon, and being able to show off a rare or powerful catch on the playground was a badge of honor. And because of its portable nature, Pokémon was able to experience the same social dynamics that drove other popular schoolyard phenomena. It was like Tamagotchi—without the midnight wake-up calls. While other JRPGs gave the player some customization options for their party characters, it was nowhere near the endless possibility of Pokémon’s gotta-catch-’em-all depth.

For many people, the list of their most hotly anticipated video games will include "whatever Hideo Kojima is working on." If you're one of those folks, you may be interested to learn that a video showing the Death Stranding auteur's next title seems to have leaked ahead of a formal reveal from his studio, Kojima Productions.

The video, which has been removed from Streamable for violating the platform's terms of service, shows a character who looks like Mama from Death Stranding. That character was played by Maid and Once Upon a Time in Hollywood actor Margaret Qualley. The character shown here navigates dark corridors with the help of a flashlight while an ominous figure follows them. Eventually, someone or something catches up to them. A game over screen is then shown, along with text reading "A Hideo Kojima Game" and "Overdose."

Reporter Tom Henderson noted that the footage was the same as the leaked video he described in June at Try Hard Guides. Kojima Productions seemingly asked him to take down the initial report — a request that Try Hard declined.

The presentation of the video is bizarre. The gameplay footage has a picture-in-picture view of a person seemingly playing the game, as though they are a Twitch streamer. Text reading "camera player 1" appears at the top of the screen, suggesting that this is from a playtest. The footage appears on a YouTube-style interface, indicating that it may have been stored on Google Drive. It gets stranger, because someone has filmed that footage offscreen. That version of the video is then played on a tablet, which, according to a pretty prominent reflection on that screen, is being filmed offscreen a second time by a shirtless person.

It's all very unusual. As Polygon notes, there's at least a small chance that the footage is fake, even though creating it would require a lot of effort from some prankster. Qualley's character model looks just like the one used in Death Stranding —which may indicate that Overdose is a direct follow-up to Kojima's last game. It's also odd to see the name of a game's creator pop up during a game over screen, though this is likely work-in-progress footage (though it's not impossible to imagine Kojima actually putting his name on a game over screen). 

In any case, we may not have to wait too much longer to gain more clarity as to what's going on here. Kojima has been teasing his next project, and he's a regular presence at The Game Awards, the next edition of which takes place in a month. Kojima is developing a game in partnership with Microsoft, but a Death Stranding sequel is reportedly in the works too.

If the reports and rumors hold up, Overdose will be the first full horror game from Kojima. The only horror project that the Metal Gear creator has released to date is P.T., an infamous playable teaser that's no longer available. It was designed as a proof of concept for Silent Hills, a project that was canceled amid Kojima's acrimonious departure from Konami (which, coincidentally, just revived the Silent Hill franchise).

Meanwhile, Kojima claimed this week that he'd received some “ridiculously high” offers for Kojima Productions. However, he has no plans to sell the company as he wants to retain creative independence.