Electronic Arts is determined to keep cheaters at bay. The company has developed a kernel-level anti-cheat system for PC that it will deploy alongside FIFA 23 when the game arrives on September 30th. According to the publisher, the move was necessary to "ensure fair play" by taking on PC cheat developers who are increasingly building kernel-level exploits that OS-level anti-cheat tools are unable to detect.
In a blog post, EA's senior director of game security and anti-cheat Elise Murphy wrote that the company created EA AntiCheat (EAAC) because "third-party anti-cheat solutions are often opaque to our teams, and prevent us from implementing additional privacy controls or customizations that provide greater accuracy and granularity for EA-specific game modes." It should also be able to address security issues head on.
EAAC won't be used in all EA games, though the publisher says it's necessary for competitive titles with an online focus, such as FIFA 23. This year's edition includes cross-play support and, in theory, EAAC should prevent console players from having to deal with PC cheaters. The company may take different anti-cheat approaches in games without leaderboards or a competitive system. As such, it wouldn't be a surprise to see EA add EAAC to the likes of Apex Legends, but it seems unlikely to be patched in to the 2021 Game of the Year (don't take my word for it) It Takes Two.
The tool will only be active when a game with EAAC is running on your PC. It will be uninstalled when you remove all EA games that require it (you can uninstall EAAC manually, but the likes of FIFA 23 won't be playable). Murphy wrote that "EAAC will have negligible impact on your gameplay," so it shouldn't diminish performance.
As far as system privacy and security goes, Murphy says that EAAC will only examine the files it needs to for anti-cheat reasons. EAAC will hash the information that it does collect and jettison the original data. The tool won't collect data from your browsing history, apps that don't interact with EA games or anything else that's irrelevant to its purposes, according to the blog post.
Marvel has teamed up with Pokémon Godeveloper Niantic to create an augmented reality mobile game that will be available worldwide next year. In Marvel World of Heroes, you can create your own superhero in a Marvel game for the first time, according to a Niantic blog post.
Players will be able to forge their hero's identity and origin story. They'll be tasked with patrolling their neighborhood to thwart crimes, take on missions and fend off interdimensional threats and super villains. As you level up, you'll unlock more gear and abilities. You'll be able to team up with your friends, as well as the likes of Spider-Man, Captain America and Wolverine. It seems players can also visit multiple alternate realities — in a virtual sense, anyway.
If you're interested in checking out the game, you can pre-register on the Marvel World of Heroes website. As it often does, Niantic will soft launch the game in select markets before rolling it out more broadly.
Disney and Marvel are holding what's shaping up to be a newsworthy gaming event today at the D23 Expo. The first Disney and Marvel Games Showcase (to give its official name) starts at 4PM ET and you'll be able to watch it below.
On top of those, rumors suggest the showcase will include a peek at an Iron Man game from EA. Maybe we'll finally learn a bit more about the Indiana Jones game Bethesda announced early last year or even get a look at Spider-Man 2 gameplay. In any case, we won't have to wait long to find out.
Sony PlayStation CEO Jim Ryan has revealed that Microsoft offered to keep Call of Duty available on PlayStation for three years beyond its current Activision deal. "After almost 20 years of Call of Duty on PlayStation, their proposal was inadequate on many levels and failed to take account of the impact on our gamers," Ryan told GamesIndustry.biz.
Last week, the UK's competition authority said it was concerned that Microsoft's $68.7 billion Activision Blizzard acquisition could "harm rivals" by shutting them out of popular games like Call of Duty and World of Warcraft. Xbox chief Phil Spencer essentially responded by saying the company made a deal with Sony to keep Call of Duty on PlayStation for "several more years" in an offer "that goes well beyond typical gaming industry agreements."
However, Sony is apparently concerned about the arrangement. "I hadn’t intended to comment on what I understood to be a private business discussion, but I feel the need to set the record straight because Phil Spencer brought this into the public forum," Ryan said. "Microsoft has only offered for Call of Duty to remain on PlayStation for three years after the current agreement between Activision and Sony ends. We want to guarantee PlayStation gamers continue to have the highest quality Call of Duty experience, and Microsoft’s proposal undermines this principle."
Fun Fact:
Sony was Activision Blizzard's largest customer in 2020 accounting for 17% of it sales or ~$1.37 billion.
Microsoft was Activision Blizzard's 4th largest customer in 2020, behind Apple and Google, accounting for 11% of its sales or ~$890m pic.twitter.com/9dlm6vhDhA
Activision's current deal with Sony is reported to cover the next three Call of Duty releases, including Modern Warfare II set to arrive on October 28th. Last month, Microsoft made an interesting argument about monopoly concerns around the Activision acquisition, saying that the company it wants to pay $68.7 billion to acquire makes no "must have" games. Sony, meanwhile, called Call of Duty an "essential" triple-A game "that has no rival." As analyst Daniel Ahmad pointed out, Sony was Activision Blizzard's biggest customer in 2020, while Microsoft was the fourth largest behind Google and Apple.
The first video game studio in the US to unionize is shutting down. On Wednesday, Beast Breaker developer Vodeo Games announced it had failed to secure funding to produce an additional release beyond its debut title. “Despite a year of avid efforts, we’ve been unable to secure funding for our next project from publishers and investors,” Vodeo Games said in a tweet spotted by Polygon. “As such, we’ve run out of funds and aren’t able to keep the team together — and there simply is no Vodeo without our incredible team.”
Vodeo Games was founded in 2021 by Threes! designer Asher Vollmer. The studio released its first game that same year. According to Vodeo’s website, it had been working on a new project before today’s announcement. The studio will complete work on the Steam version of Beast Breaker before closing shop.
At the end of last year, Vodeo’s all-remote team of 13 successfully unionized with Code-CWA, the Communication Workers of America's Campaign to Organize Digital Employees. Despite the management of Vodeo Games recognizing the studio’s union, the two sides never came to a bargaining agreement. According to Vodeo Workers United, negotiations came to an end when it became apparent the studio could not secure additional funding. The group said it would share what it learned with other industry workers to help them organize their workplaces.
Vodeo Games has announced that it has closed its doors. Vodeo Workers United (CODE-CWA) were in the process of collective bargaining but had not yet reached an agreement when it became clear the studio was no longer financially viable. Therefore we decided to halt bargaining.
Since workers at Vodeo unionized, employees at other studios have attempted to follow suit. Most notably, there’s the QA division at Activision's Raven Software, which voted in May to form the Game Workers Alliance. More recently, quality assurance staff at Blizzard Albany, formerly Vicarious Visions, filed for a union election.
Sci-fi arena shooter Splitgateexploded in popularity after it hit consoles last summer, two years after it debuted on PC. It racked up more than 10 million downloads in the space of a month thanks to its blend of Halo and Portal gameplay. The fact it's free-to-play didn't hurt. However, developer 1047 Games is now winding down feature development, effectively putting the game into maintenance mode. Although Splitgate will move out of beta with its next update, that will be the game's "last major iteration," the studio said.
Splitgate became much more successful than 1047 expected. The studio attempted to turn a "college dorm dream project into a AAA game" that could compete with the biggest titles around. "But this also meant that as we've brought on top-tier talent from across the industry, we've spent a lot of our time trying to rework old content and systems that were originally built by a handful of people," 1047 wrote in a statement. "We are, in a way, bailing water while also trying to keep everyone who bought a ticket to board our ship happy, while also trying to turn our boat into a rocket ship."
The studio is now focused on its next project. It will again be a free-to-play shooter with portals and it's set in the same universe. 1047 will build the upcoming game from scratch in Unreal Engine 5.
Meanwhile, Splitgate, which has now been downloaded more than 18 million times, will stay online for the foreseeable future. As a thank you to players, 1047 will add a free battle pass with an infinite number of levels and new skins and characters when the final season starts on September 15th. 1047 will continue to make fixes and roll out smaller updates for Splitgate, but the game won't get any new features after the next big patch.
“After careful consideration and much deliberation the 1047 team has determined that in order to build the game that fans deserve — and to build it in a way that isn’t trying to retrofit our existing game — we are turning our attention away from iterative, smaller updates and going all-in to focus on a new game in the Splitgate universe which will present revolutionary, not just evolutionary, changes to the gameplay,” 1047 Games CEO and Splitgate creator Ian Proulx said in a statement. “Splitgate will remain online and supported for our dedicated community who have been the backbone of our studio from our earliest playtests on PC. Our community means everything to us and we can’t wait to share what’s next with them.”
Meanwhile, in an FAQ, 1047 acknowledged that players put time, effort and money into acquiring skins and other items. While it suggests that fans won't be able to carry those over to the next game, "we want to reward your efforts and time in Splitgate and we take that seriously. How we will do that is not decided at this time, but know that it is something we are focused on as we discuss the next game." It's also not clear whether the Splitcoin virtual currency will transfer over.
Three and a half years after Chinese tech conglomerate NetEase snapped up a minority stake in Quantic Dream (of Heavy Rain and Detroit: Become Human fame), it is gobbling up the rest of the developer. NetEase didn't reveal how much it's spending to buy out the studio, which will be its first in Europe.
After Quantic Dream formally becomes a NetEase subsidiary, it will continue to operate independently as a studio and publisher of first- and third-party titles. Additionally, it will be able to tap into NetEase's game development capabilities.
The studio has a couple of projects in the pipeline. Last December, it provided the first peek of Star Wars Eclipse, which is set in the High Republic era of a certain galaxy that's far, far away. Earlier this month, during Gamescom, it revealed it's publishing a game called Under the Waves. Parallel Studio is developing that title with the help of Quantic Dream's motion-capture, animation and voice-recording knowhow.
In 2018, ex-Quantic Dream employees accused the company of fostering a toxic work environment, where sexism, racism and homophobia were present. Later that year, a French court determined the company unfairly dismissed a former employee who made allegations of workplace harassment, but that ruling was overturned in 2021. Quantic Dream, which won libel suits against publications that reported on accusations against it, has refuted notions that it has a “toxic atmosphere“ or allows "any kind of discrimination in the studio."
This acquisition marks the latest entry in a long, long list of studio buyouts this year. Among others, Sony has boughtDestiny 2 developer Bungie, Haven Studios and, to help set up a mobile gaming division, Savage Game Studio. Along with Tencent, it just acquired a sizable, but minority stake in Elden Ring studio FromSoftware.
Elsewhere, Embracer Group is continuing on its quest to seemingly snap up every developer it possibly can. And then, of course, there's Microsoft's blockbuster acquisition of Activision Blizzard, which is still pending. On that note, NetEase publishes Blizzard games in China, including Diablo Immortal, which it co-developed.
Ever since Sony and Naughty Dog announced The Last of Us Part I, a $70, ground-up PS5 remake of the classic 2013 PS3 game, there’s been an intense discussion around whether this even needs to exist. After all, Naughty Dog remastered the original game in 2014 for the PS4, giving it 1080p graphics at 60 fps, and it still looks solid. But, compared to The Last of Us Part II, which came out in June of 2020, the original shows its age. Facial expressions are less lifelike, and the environments, while still beautiful and well-designed, lack a certain level of depth and detail.
As Naughty Dog co-president and The Last of Us co-creator Neil Druckmann tells it, the idea for this remake came when they were animating flashbacks for Part II. When I first played the sequel, I took note of a very brief sequence showing the game’s protagonists Joel and Ellie walking through a ruined city — the vastly improved animation and fidelity of the scene made me want to see more of a world that I had spent so much time in rendered with modern technology.
Now, two years later, my wish has been granted. The Last of Us Part I is a complete rebuild of the game (and its excellent two-ish hour DLC Left Behind), but it’s a bit of a different beast than remakes like Resident Evil 2 and Final Fantasy VII. It’s a massive visual upgrade over the original, and there are numerous other significant improvements — but the experience of playing the game itself will be extremely familiar to anyone who has experienced The Last of Us on the PS3 or PS4.
Level design and enemy placement is identical to the original, but the enemy AI has been significantly improved, which means some encounters can play out quite a bit differently. The music and voice performances are lifted straight from the original game, and the direction of cinematic sequences are completely faithful — but when they were so good to begin with, why change it?
For those who haven’t played The Last of Us, it’s a survival / action game that takes place 20 years after a pandemic wipes out most of the world’s population; the Infected are bloodthirsty, zombie-like beasts, and society as we know it has collapsed. Joel, a hardened, violent, emotionally stunted survivor, finds himself tasked with smuggling Ellie, a 14-year-old girl, across the country.
While the post-apocalyptic setting has been done many times, The Last of Us manages to tell an impactful story that balances brutal and devastating emotional beats with surprisingly hopeful and tender human connections. In my opinion, nothing about that original tale needed to be changed, and I’m glad that Joel and Ellie’s journey is authentic to the original vision.
A complete visual redesign
Naughty Dog has a reputation for building intricate, vast and beautiful worlds, and as the company’s first PS5 game, The Last of Us Part I continues that tradition. From the very first scene through the end credits, I marveled at the detail and richness of the world Naughty Dog created — it’s a huge upgrade over the original and easily on par with The Last of Us Part II.
For me, the most significant change is in facial animations. Naughty Dog has said they were able to go back to the original motion-captured performances and use them as a guide for putting more nuance and emotion into the game. The climax of the 15-minute prologue showing how the outbreak starts hit harder, thanks in large part to the facial expressions carrying more emotional heft. The original version of the game looked great but still occasionally dipped into the uncanny valley – that’s not the case here.
Characters' facial animations look amazing, regardless of whether it’s in a cutscene or during gameplay. While there are plenty of cinematics in The Last of Us Part I, there’s a ton of storytelling that happens through the gameplay itself. I always enjoyed spinning the camera around to focus on the characters’ faces during quieter times of conversation, and they’re impressively detailed and expressive, reflecting the feel of the scene in subtle but noticeable ways. Enemies look more realistic than ever, too, whether it’s the angry faces of a pack of human hunters or the disturbingly distorted expressions of the Infected.
The improved environmental detail Naughty Dog added to the world is just as significant. The original game was already a stunning depiction of a post-apocalyptic United States, from the Quarantine Zones where humanity clung to safety, to abandoned towns overrun with Infected, or lush forests and roaring rivers of the wilds. All those settings are amplified in The Last of Us Part I, with better lighting, more realistic trees and vegetation, stunning reflections on water and loads of tiny details everywhere you look.
A great example of this is in the pinboard above Joel’s desk in his Texas house, which we briefly see in the prologue. I used the game’s photo mode to zoom in on the details and found numerous hand-written notes reminding Joel of his grocery list, his daughter’s soccer schedule, a cleaning schedule and even a letter his brother Tommy wrote when they were kids. Unless you go into photo mode and zoom in, you’ll never notice these details, but it helps build a world that feels lived in.
Throughout the game, you’ll come across certain areas like the subway under Boston and the Pittsburgh hotel basement that are shrouded with infectious spores and have little natural light. In the original game, those areas were particularly hard to see fine detail in — the spore particles overwhelmed the visuals and reduced the colors and visibility of the area to a shadowy gray mush. These types of environments look significantly better in Part I. The spores add an unsettling dimension, but the details shine through the fog. It’s also much easier to navigate, which is a welcome change — a lot of these darker areas involve going underwater to make your way around obstacles, and it was often hard to see a way forward.
The Last of Us Part I offers two visual modes: Fidelity runs the game at 30 fps in full 4K resolution, and Performance targets 60 fps while dynamically adjusting the resolution. (Alternatively, if you’re running the PS5 beta software that enabled 1440p as resolution setting, it'll max out there.) I found myself jumping between the two modes, turning on Performance for battles and using Fidelity for quieter parts that were more focused on exploration. Overall, I prefer Performance mode, mostly because I find it hard to go back to 30 fps after playing at 60 for a while.
Gameplay tweaks and a new AI system
Improved graphics are table stakes for a remake, though. The big question around The Last of Us Part I was how much gameplay would change – whether we’d see new mechanics from Part II, or if the company would redesign levels to give experienced players something new.
Naughty Dog has been faithful to a fault. Level design is identical, and as best I can tell there are even the same number and placement of enemies throughout the world. If you know the general progression of The Last of Us and Left Behind (which remains a separate experience from the main game), you won’t find any surprises here. It’s revealing that Naughty Dog apparently had a chance to “do over” any parts of the game that it feels didn’t age as well and didn’t take them. A cynic would say they wanted to put less effort into the project, while an optimist would say they’re just standing by the original game’s design. I think both points of view are valid and will simply note that people who know the game inside and out aren’t going to find anything unexpected.
Similarly, Joel still moves like the burly middle-aged man that he is. You can’t dodge, and you can’t lay prone. You can now, however, pick up and throw bricks and bottles on the run, just as you can in Part II. There’s definitely something satisfying about running towards an Infected, stunning them with a brick throw and then finishing them off with a swing a melee weapon, but in the grand scheme of things it isn’t a major change.
One thing that is notably different is enemy AI. Human enemies are smarter and more aggressive, working together to flank you; they're also a lot harder to lose once they pick up your trail. Infected, meanwhile, present their own set of challenges. Clickers, the blind Infected that use echolocation to find you and can kill you in one shot, have the same behavior they do in Part II. They’ll often stop their wandering and let out a series of “barks” — and if you’re near them when they do, well, you’re probably going to die quickly. In the original game, you were mostly safe as long as you didn’t make too much noise walking, but now you have to keep moving or hiding at all times.
The mega-powerful Bloaters are also modeled after their counterparts in Part II. The biggest change in their behavior is that they’ll build up a head of steam and charge at you like a bull — if you get out of the way they’ll often slam into a wall or other object and be stunned for a moment, a great opportunity to blast away at them with your shotgun. But in Part II, you can use the dodge button to dance out of the way. Since there’s no dodge in Part I, you have to sprint out of the way instead, something that’s not nearly as reliable. After getting so used to dodging the Bloater’s charge in Part II, it was a real pain to not have the same move here. And if a Bloater grabs you, it’s an instant death, so you’ll want to treat these upgraded enemies with the utmost care.
The AI and behavior of your allies has been upgraded, too, which addresses a big complaint about the original game. If you were in stealth, your allies were essentially invisible to enemies, which meant that your cover couldn’t get blown if Ellie or another companion ran out in front of a Clicker. This avoided the frustration of being seen when you didn’t actually do anything to reveal your position, but it also meant that it looked pretty ridiculous when characters could run right out in front of enemies and not get spotted.
Now, your companions are much smarter at mimicking your behavior, going into cover when you’re in stealth and only revealing themselves if you do the same. Once or twice in my playthrough, an ally would be “out of position” and in the enemy’s line of sight, but, as in the first game, they’re essentially invisible. The good news is that it just doesn't happen very often. It’s not perfect, but it’s an improvement.
The haptic feedback system and adaptive triggers on the PS5’s DualSense controller also offer some subtle but noteworthy improvements to gameplay. Naughty Dog says each weapon has different resistance and feedback from the triggers, and the haptic vibrations are unique as well. While I can’t recognize every slight detail, shooting a revolver feels quite different on the trigger than shooting the shotgun or drawing your bow. Haptics accompany actions like reloading too, so you’ll feel a vibration for each pump of the shotgun after Joel takes a shot. There are too many haptic touches throughout the game to count, but one of my favorites is that you can "feel" rainfall as it vibrates lightly across the controller, like droplets are bouncing off your body.
Updates galore
While graphics and AI are the changes most people will notice first, there are a lot of smaller tweaks throughout that make The Last of Us Part I feel more like Part II. Things like a redesigned HUD and weapon selection interface, aiming reticles for different weapons and button prompts (like mashing square to open a blocked door or holding triangle to lift a gate) all match their counterparts in Part II. While weapon upgrade options are identical to those in the original game, the new visuals of Joel working on his guns with various tools are a lot more interesting than in the original game.
Sony / Naughty Dog
Upon finishing the game, you’ll unlock a host of bonus material and gameplay modifiers. Most significant are the Permadeath and Speed Run modes. Just as in Part II, Permadeath removes all checkpoints, and if you set it to the most difficult level, one death sends you back to the very beginning of the game. For those who want a significant challenge but aren’t quite that dedicated, you can do Permadeath “per act” (which Naughty Dog estimates encompasses two to three hours of gameplay) or “per chapter,” which adds some checkpoints within each act. You can also try it at any difficulty level, which makes the challenge a lot more accessible. I know I’m not good enough to try a truly obscene Permadeath run on the ultra-difficult Grounded difficulty, but I have kicked off a run on Hard, which I should have a prayer of surviving.
Speedrun mode is pretty self-explanatory, but it’s a nice quality of life enhancement for people who like to play games as quickly as possible. It enables an in-game timer that automatically pauses during cinematic and scene transitions. Once you finish the game, you’ll find a recap that breaks down your speed per chapter as well as your total play time, and the game saves records broken down by difficulty level and permadeath setting.
Other unlockable extras include tons of concept art, both from the original release and new art done for this 2022 rerelease. There’s also a viewer that lets you explore highly detailed character models for just about everyone in the game; it also lets you see the disgusting details of the Infected in close range if you’re into that sort of thing. More Part II extras brought over here include a set of filters you can apply to tweak the visuals of the game (think an 8-bit setting or one that renders the game in a comic book style) and a bunch of gameplay modifiers. You can turn on infinite ammo or crafting supplies, one-shot kills, slow motion, explosive arrows and much more. Only hardcore fans are probably going to spend time with these, but they can add some fun new ways to play the game — combining something like unlimited ammo with a permadeath setting on the game’s hardest difficulty would be a particularly unique challenge, for example.
It’s not a stretch to say that The Last of Us Part II helped push accessibility in the video games industry forward — Naughty Dog provided players with an extensive and impressive selection of options, and I’m very glad to see that the company replicated that with Part I. Setting include a host of control adjustments (including complete control remapping), visual aids like magnification and high contrast modes, features that make navigating the world easier like a ledge guard to keep you from falling to your death, a text-to-speech reader, audio cues, extensive combat modifications and much more.
Sony / Naughty Dog
It’s all present in Part I, along with a new feature that delivers haptic feedback on the controller to help deaf or hard-of-hearing players feel the emphasis in how lines of dialog are delivered. The game also includes audio descriptions for cutscenes, something that wasn’t present in Part II. All these accessibility modifications are important additions and things that any player can appreciate if they want to customize their experience with the game.
At a more basic level, Part I also lets you set a custom difficulty level. There are six options, but you can also set different challenges across five parts of the game: player, enemies, allies, stealth and resources. So you could make it a little easier to stay in stealth, or make resources more plentiful while otherwise keeping enemy aggressiveness high, for example. It’s yet another way to tweak your experience to match your skill level.
I'd be remiss if I didn't mention that virtual photographers will love Photo Mode in The Last of Us Part I. It's even better than it is in Part II thanks to the addition of three lights that you can place anywhere around a scene to make things even more dramatic. You can adjust the color temperatures, brightness, position and many more options to customize the scene further than ever before. I can't wait to see what the incredibly skilled virtual photography community around these games does with Part I. (All screenshots in this review, with the exception of those credited to Sony, were taken by me using the game's Photo Mode.)
Is Part I worth it, and who is it for?
After going through the many things Naughty Dog added and changed for The Last of Us Part I, the $70 price point doesn't bother me as much as it initially did. Yes, that’s a lot of money for a game, and it's fair to ask whether replaying a game with nine-year-old mechanics should cost that much. If Sony / Naughty Dog priced this at $50 or even $60, I think that would be a fair price point that would be harder to take issue with. Even at $70, though, the sheer breadth of changes and significance of things like the new visuals and accessibility options make this a major improvement over the remastered PS4 version.
In fact, I’d go so far as to say that this is the definitive version of The Last of Us. I know the original game inside and out, and everything that made it one of my favorites is here; the changes Naughty Dog made do nothing to diminish that original experience, only improve it. If the company had gone further and redesigned levels or made more extensive changes to gameplay mechanics, I don’t know if I’d feel the same. There’s something to be said for the purity of the original vision, and that’s fully intact. It just looks and plays better than ever, and the accessibility features mean more people can enjoy it.
That said, this game definitely isn’t for everyone. If you played The Last of Us and haven’t felt the need to revisit it, Part I won’t change your mind. The story is identical, and the combat and exploration formula is essentially unchanged.
But in a world where The Last of Us is going to premiere as a high-profile HBO series sometime in 2023, it's not surprising to see Sony and Naughty Dog revisit this game. The companies are surely expecting increased interest in the franchise, and having a beautiful, modern version of the game ready for new players makes a lot of sense. For those people new to the series, this is the version to play. And if you’re a big fan of the game, the kind of person who goes back to Joel and Ellie’s story every year or two (like yours truly), this is the best way to do it.
Dead Island 2 is coming. The long-awaited zombie-slaying role-playing game is set to hit PlayStation 4, PS5, Xbox One, Xbox Series X/S, Google Stadia and PC via the Epic Games Store on February 3rd, 2023. Deep Silver showed off the blood-soaked sequel with a cinematic trailer and a gameplay video during Gamescom's Opening Night Live showcase.
Dead Island 2 will feature six playable characters with unique voice acting and traits, and it all takes place in Los Angeles. The game is designed as a love letter to cult-classic horror films and old Hollywood vibes: It has a pulpy narrative to follow, classic RPG elements and a co-op mode for up to three players. All six of the main characters are customizable, and a brand new skill system allows players to adjust their specs on the fly. There are dozens of individual zombie types to slay, too.
Dead Island 2 is the full follow-up to the 2011 hit Dead Island, though there have been smaller installments in the series. The game was announced in 2014 and it's essentially been in development hell ever since, lost among a handful of studio sales and team swaps. It's now in progress at Deep Silver's Dambuster Studios, which worked on Homefront: The Revolution.
Sometimes, a game trailer just catches your eye. Phantom Hellcat is the first title in an original hack-and-slash universe from Ironbird Creations, a new studio under Ghostrunner and Chernobylite publisher All in! Games. Phantom Hellcat is a perspective-shifting action game that blends fantasy and pop culture, starring a young woman named Jolene on a mission to save the world from an encroaching evil force. You know, classic action fare.
The interesting bit of Phantom Hellcat is its shifting perspective, which transitions from 2D platforming to 3D close-quarters battling. The game has a skill tree, upgradeable masks with varying abilities and secrets to find in each level. Developers at Ironbird drew inspiration from the Nier series, which is a fantastic starting point for this type of experience.
Phantom Hellcat is coming to PlayStation 4, PS5, Xbox One, Xbox Series X/S and PC at some point — there's no solid release date yet, but it's available to wishlist on Steam.
