Pika-two!
We’re now getting updates about video game movies on a regular basis, but one we haven’t heard about for a while is the sequel to Detective Pikachu – so what’s happened?
After the star of the movie Justice Smith claimed a second film was unlikely to happen in 2021, we’ve finally got a new update. According to a Legendary Entertainment rep (via Polygon), this second project is still “in active development”.
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Free-to-play, team-based dodgeball game Knockout City is about to be, well, knocked out. According to an official post today, it’s shutting down in June.
We have an important announcement about the future of Knockout City.
Season 9 will be our final Season. All servers will be shut down on June 6th. We have more in store, so stay tuned!
Learn more about the upcoming sunset in our latest blog: https://t.co/15hTpzmSyq
— Knockout City (@knockoutcity) February 3, 2023
In the full blog post, developer and publisher Velan Studios says that Season 9 will be the final season for Knockout City, with the game shutting down on June 9, 2023 — over two years after launch. This means that all servers will shut down and Knockout City won’t be playable at all.
Beginning February 28 (the same day that Season 9 starts), all real-money transactions will be removed. However, Velan reassures that Season 9 will include copious rewards in the form of XP, style chips, and the currency holobux. Additionally, “almost every cosmetic we’ve ever sold” will end up in one of the upcoming event sale shops, and rewards for login bonuses, league play, and other elements will be increased.
A final, two-week-long event on May 23 will conclude Knockout City’s run with triple XP, “massive rewards,” and a community-favorite playlist.
In its FAQ on the shutdown, Velan did say that a private hosted server version would be released on PC, which should allow players in pre-formed groups to enjoy the game and keep it alive for posterity. However, the live version of the game will be gone.
Notably, game director Jeremy Russo wrote in the same blog post a very detailed explanation for why Velan Studios is opting to shut down Knockout City, saying that it had become extremely challenging for Velan to create a large, live service game with “no points of comparison,” noting that there were many aspects of the game that needed overhauls to become sustainable longterm.
Since we are a small, indie studio, it’s simply impossible for us to make those kinds of systemic changes in the live game while continuing to support it. So it became clear to us that we needed to take a step back and pave the way for Velan to do what we do best by innovating. Now we can take everything we learned, everything that succeeded and everything that needs improvement, and get to work on exploring new possible experiences for Knockout City and other games and products we are very excited about. We’re currently in the process of doing a comprehensive retrospective on every aspect of the game, all the community feedback and analytics data, and even our development processes. Our hope is that sometime in the not-too-distant future, all this information can be used to start work on what comes next in the Knockout City universe. While we can’t promise that Knockout City will be back, what we can promise is that you’ll continue to see new and innovative games from Velan Studios that will surprise and delight players around the world.
It’s been a week of live service game shutdowns, incidentally, with EA announcing Tuesday that Apex Legends Mobile and Battlefield Mobile would be sunsetting soon, and Iron Galaxy almost simultaneously announcing that Rumbleverse would also be closing. Like both Rumbleverse and Apex Legends Mobile, Knockout City was critically praised, with our own reviewer calling it “one of the best team-based PvP games to come out in years.” Hopefully Velan’s able to bring the IP back for another round one of these days.
Rebekah Valentine is a news reporter for IGN. You can find her on Twitter @duckvalentine.
The last thing I expected from developer Tango Gameworks was a vibrant, fun-loving action game with the heart of a cartoon I would’ve absolutely loved. The studio’s primarily known for the dark and creepy likes of The Evil Within or Ghostwire: Tokyo, but Hi-Fi Rush is instead filled with a joyous, youthful personality seen in its stunning animation, art style, and characters. And while the surprising change of pace is already refreshing, Tango’s greatest accomplishment is how it expertly executes on the singular concept that permeates Hi-Fi Rush’s design — that rhythm is everything.
Right from the jump, Hi-Fi Rush establishes its reverence for modern garage and alt-rock, kicking things off by using The Black Keys’ “Lonely Boy” to introduce the cheesy but endearing protagonist Chai and the colorful, high-tech industrialized world he lives in. Labeled a “defect” by robotics megacorp Vandelay Industries after a surgical mishap leaves him with an iPod stuck in his chest, Chai can see and feel the pulse of his music coursing through the world around him. From that point on, nearly everything is impressively tied to the rhythm of Hi-Fi Rush’s soundtrack as this boyish goofball bashes Vandelay robots with a makeshift sword in the shape of a Gibson Flying V.
This playful setup sets a strong tone, and things only get better from there as Hi-Fi Rush layers on a fantastic crew of allies, charismatic villains, and bombastic fights — and often wrapped in a poignant satire of our tech dystopia. It’s done with effortless humor and some genuinely warm moments. From so many angles, Hi-Fi Rush is able to showcase its uniquely charming spirit.
At its best, Hi-Fi Rush’s combat creates a unique harmonious flow where music is your guide every step of the way. Chai always executes his attacks on the beat regardless of your own input timing, but keeping in rhythm with the BGM’s BPM rewards you with extra damage rather than punishing any missed notes. Using a similar foundation as Devil May Cry or Bayonetta, each combat encounter across the roughly 10-12 hour campaign is graded on completion speed, elegance, and the ability to stay on beat with combos, but that constant tie to the music results in a type of satisfaction I just don’t get from other stylish-action games.
This rhythmic system leaves no ambiguity in combo timing and paces itself in a way that allows for room to consider each follow-up move. Deciding whether I should use a light or heavy attack to mix up my combo string, a dodge or parry in anticipation of incoming hits, the grappling hook to close the gap on targets, or a summon to have a companion break shields or stun enemies never felt overwhelming since I could just pace myself to the music. It doesn’t linger on any one concept or gimmick for too long either, steadily throwing in new ideas to toy with before bringing them all together to test my mastery, which meant I never felt like I was simply hammering away to a basic 4/4 time signature.
Every enemy’s attack pattern also plays by the same rules. Whether it be charge-ups, AoEs, sword slashes, or projectiles, the rhythm let me confidently avoid telegraphed attacks and approach them like a dancing rhythm game. Sometimes that inspiration even becomes more explicit – tougher foes and some bosses break into brief standalone rhythmic quick time event minigames that require a sequence of parries to counter their last-ditch efforts and deliver a final blow. The rhythm game die-hard in me got hyped every single time I had to do this, and getting perfect strings of parries left me nodding in satisfaction. In fact, one boss fight solely based on this concept is still my favorite encounter, even after some bombastic battles with dazzling spectacles in the late-game.
My natural ability to clap on two and four wasn’t enough to get past Hi-Fi Rush’s tougher battles. Enemies gradually evolve in complexity with different offensive styles, and things can get chaotic in encounters that mix and match enemy types. The targeting system did leave me in precarious positions on occasion – since there’s no manual lock-on, I’d sometimes hook onto or gravitate towards enemies I didn’t intend to target, leaving me vulnerable or swinging at the wrong foe. That can become a problem when Hi-Fi Rush layers on flame-wielding robots and electrified floors, for example, but it works well-enough for most fights. Thankfully, with all the tools at my disposal, I could overcome any moments of frustration by changing my approach or at least playing it safer.
Because music is the driving force behind Hi-Fi Rush’s design, anything that syncs to the beat through audio cues is also represented with distinct visual cues. For example, powerful combo finishers called Beat Hits use colored circles to show their proper timing, while big incoming attacks leave AoE markers on the ground that change color to the beat to indicate when they’ll land. Additionally, you can activate an on-screen metronome at any point to help keep time more explicitly. I can’t be the judge of whether or not it’s enough from an accessibility standpoint, but those who may struggle with rhythm games or need assistance with the audio do have some options here, and it’s worth acknowledging the importance of including them and the effort put forth to level the playing field.
The closer you look at Hi-Fi Rush’s world, the more you see how deep the rhythmic ethos runs. Chai’s footsteps, his snapping idle animation, the pulsing light rings on his robotic cat companion 808, the trees and rocks bouncing in the environment, and even building infrastructure all move to the groove – this level of meticulous detail shows the whole world is in on the action. No matter where you turn, someone or something is jamming out to the same song as you. That attention to detail is still one of the most impressive parts of Hi-Fi Rush, and it gives a sense of momentum into an already vivid world.
Platforming and puzzle sections between the staged combat encounters operate on the same principles, with platforms and key objects retracting and moving to the same beat. There’s no mistake when it comes to timing – Hi-Fi Rush can’t pull any cheap tricks or hit you with inexplicable difficulty spikes when it always plays by the same rules. The beat establishes a ruleset and dance you understand, nailing the timing is about seeing the environment as an extension of the music. That said, for as slick as it is on a conceptual level, movement during platforming isn’t quite as fluid as it is during combat. The consequences aren’t dire for misjudging a jump, but the fact that you can do so fairly easily is still a minor but noticeable inconvenience.
While the harmonious fusion of rhythm and action is an outstanding achievement, what makes Hi-Fi Rush truly memorable is seeing its charismatic crew and world come to life. Chai’s great as the goofy, irreverent everyman, but it’s the supporting cast that makes the journey feel whole.
Peppermint is the slick badass who’s the brains behind the operation to take down Vandelay’s band of comically evil executives. She steals every scene she’s in, and in many ways, this story is more about her. 808 acts as a vessel for the squad to communicate, but she’s also an adorable little baby tiger who’ll steal your heart simply doing cat things. Macaron is the big softie whose adorable demeanor contrasts with his brute force capabilities. It’s a strong dynamic in a crew of lovable personalities shining brighter than the protagonist himself – sorry Chai, you’re cool but I wish I could take control of your cooler friends on this journey!
Hi-Fi Rush breathes life into these characters with some of the best animation in games, period. Cutscenes let their personalities shine bright as they fight to the beat and express themselves in such charming fashion. They’re also critical to call in during battle, and I always loved seeing their partner attacks play out. The camera cuts for tandem special moves are sweet as hell, too. Juggling an air combo and finishing it off with Peppermint’s partner attack where she whips out a massive laser beam or Macaron’s ground pound never gets old. They’re also super effective against the toughest foes and it really sells the idea that taking down Vandelay is a team effort.
There are so many cute quirks that ensure they just don’t end up as supporting characters in the background and they naturally bounce off each other and the villains. Genuinely funny dialogue, impeccable comedic timing, and superb voice performances make warmhearted and laugh-out-loud moments possible. And that stayed consistent throughout the entire story, even bringing a tear to my eye as I marched towards the conclusion. There’s also an amalgamation of nerd culture references that surprisingly fit the tone and a bunch of clever little goofs and gags with some sobering satire of modern work culture and the tech industry within a capitalist dystopia. Hi-Fi Rush makes melding all these seemingly disparate elements look effortless.
While Hi-Fi Rush is filled with tons of original music, licensed tracks are interspersed to define key moments and make for some sick needle drops, like Number Girl’s “Inazawa Chainsaw” coming on during an exciting getaway. These aren’t just licensed songs for the sake of having them either, because they also play by the rules of Hi-Fi Rush’s universe, layering on instrumentation and matching the beat of the world – for example, Nine Inch Nails’ “1,000,000” and “The Perfect Drug” play for their respective bosses, only progressing through the whole song as you get deeper into the fight’s phases. Yet neither of those examples come close to the flawless implementation of The Prodigy’s electro-punk tune “Invaders Must Die”, genuinely invigorating me to tear through robotic hordes and barrel towards the end, or The Joy Formidable’s “Whirring” to really capture that bittersweet feeling.
Between those moments of licensed spectacle, Hi-Fi Rush bounces off the beat of original tracks from composers Shuichi Kobori and Reo Uratani, which replicate the modern garage rock sound nicely. These songs tend to blend into the background; catchy enough to get me to tap my foot as I’m playing but mostly serving their purpose as a guide for combat and puzzle timing rather than standout songs of their own. Outside of one, I’m not sure if I can hum a melody or recall a specific song off the in-house tracklist. It may also be a symptom of having every other aspect of Hi-Fi Rush be outstanding that anything that’s simply “good” gets lost in the shuffle.
However, that aforementioned stand out track comes from a late-game stage that, dare I say, gives me Persona vibes. Upbeat acid jazz with a Rhodes piano backed by sharp orchestral strings and funky guitars as I pull up to infiltrate a gaudy museum? Madarame, eat your heart out. I thought to myself, I’ve been waiting for this – an original, evocative song to perfectly frame the moment. Every layer of this intoxicating track blast in combat, but they revert nicely to a toned down version in exploration and build up additional elements the further you get in the stage; it’s a prime example of how Hi-Fi Rush wields its music, and the most memorable one at that.
Take a look.
Nintendo has not exactly made many changes to the Switch user interface or the eShop over the years, but today is different.
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The monstrous hero Swamp Thing is coming to the big screen thanks to DC Studios co-CEOs James Gunn and Peter Safran’s new DCU plan, the first part of which is dubbed Chapter One: Gods and Monsters. Looks like we know which section of that title Swamp Thing fits in…
The character has gotten his fair share of cross-media attention in recent years, including being in the roster for the 2017 fighting game Injustice 2 as well as having his own live-action TV series on the DC Universe streaming app. Alas, that show only lasted one season, and the service itself is long gone as well now.
Still, Swamp Thing has had a long and interesting history at DC Comics. Here’s everything you need to know about the roots of this character (pun intended) and the role he plays in the larger DCU.
Alec Holland was a brilliant scientist developing a “bio-restorative formula” that promised to change the fields of botany and medicine forever. But when Holland refused to sell his formula, his lab was sabotaged. Holland was doused with burning chemicals and dove into the nearby swamp to save himself. Instead, he emerged as a giant, plant-like monster. His old life gone, Holland was left to roam the bayou and punish anyone who threatened his new home.
Swamp Thing has few real connections to the human world. One of those is Abigail Arcane, the one woman capable of seeing and loving the man beneath the moss. The other is John Constantine, who actually got his start as a supporting character in Saga of the Swamp Thing before spinning out into his own adventures.
It’s obvious just from looking at Swamp Thing that he’s a powerful monster, but super-strength is the least of his skills. With a body that’s more plant matter than human tissue, Swamp Thing can alter his shape, change his size and extend various vines and tendrils. He can even grow wings when he needs to fly from Point A to Point B.
Most impressively, Swamp Thing has direct control over all plant life – not just on Earth, but essentially anywhere in the universe. While his body isn’t quite invulnerable, Swamp Thing is basically immortal. As long as there’s plant life to cling to – be it a tree or a a bush or piece of tobacco – Swamp Thing can transmit his consciousness and rebuild his body anew. He often uses this ability to travel from plant to plant, meaning he can go pretty much anywhere in the world that has plant life.
You can see why many consider Swamp Thing to be one of the most powerful heroes in the DC Universe.
Swamp Thing made his debut in 1971’s House of Secrets #92, where he was depicted as an early 20th Century man who was murdered by a jealous rival and returned as a plant monster to defend his wife. The character was given his own series the following year, and creators Len Wein and Bernie Wrightson reworked the concept to fit a more contemporary setting. But the basics remained pretty much the same, and hence Alec Holland was born in 1972’s Swamp Thing #1.
Swamp Thing’s very existence is defined by the question, “Is he a man who looks like a plant or a plant that think’s it’s a man?”. That question was at the heart of Alan Moore’s Saga of the Swamp Thing run, widely regarded to be the greatest in the character’s long history. Early on, Moore revealed that Swamp Thing isn’t actually a transformed Alec Holland. Holland died as a result of his injuries. Swamp Thing is merely a mysterious form of plant life that absorbed fragments of Holland’s consciousness and memories. Naturally, this is a character prone to questioning his own existence and place in the universe. That existence always seems to be in flux, as recently DC’s comics have taken a hard turn and suggested that Alec Holland does still exist within Swamp Thing.
Swamp Thing’s mythology was further complicated with the addition of elements like The Green and the Parliament of Trees. The Green is sort of like The Force in that it’s a living energy field that links all plant life in the universe and is the source of Swamp Thing’s powers. It coexists with other mystical energies in the DCU, including The Red (animal life), The Rot (death and decay) and The Grey (machine life).
These energy fields also exist as actual locations, and The Green is home to the Parliament of Trees. These ageless, powerful Plant Elementals oversee all plant life in the universe. As it turns out, the Parliament has always relied on a Swamp Thing to carry out their will in the human world, and Alec Holland is simply the latest in a long line of Swamp Things.
Swamp Thing has enjoyed a pretty healthy career outside of the comics. He was actually the first DC hero after Batman and Superman to star in his own live-action movie. Horror icon Wes Craven directed 1982’s Swamp Thing, which was fairly well received. That was followed up by 1989’s ultra-low-budget sequel Return of the Swamp Thing, which wasn’t.
Swamp Thing also starred in both a live-action and animated TV series in the early ’90s, with the former enjoying a pretty healthy run from 1990 to 1993. More recently, he’s appeared on the animated series Justice League Action and in the direct-to-video animated movie Justice League Dark. Alec Holland was mentioned on NBC’s short-lived Constantine series, but unfortunately that show was canceled before he was able to appear in the flesh (plant-flesh?). And of course, he also got a one-season series on DC Universe which starred Andy Bean and Derek Mears as Swamp Thing, Crystal Reed as Abby Arcane and Virginia Madsen as Maria Sunderland.
Aside from Injustice 2, Swamp Thing has appeared in a variety of games. Several video games were developed based on the 1991 animated series. Swamp Thing has also been a playable character in the MOBA game Infinite Crisis and LEGO Batman 3: Beyond Gotham.
Swamp Thing was expected to return to the big screen in Dark Universe, a horror-flavored DC movie inspired by the comic book series Justice League Dark. That project seemed perpetually trapped in development hell, and now it’s clear that James Gunn and Peter Safran have figured out a different way to bring the character to the big screen. In fact, Logan and Indiana Jones and the Dial of Destiny director James Mangold is said to be in talks to write and direct Swamp Thing for Warner Bros.
Note: This story was updated on Feb. 2, 2023. It was originally published when the DC Universe series was released.
Jesse is a mild-mannered writer for IGN. Allow him to lend a machete to your intellectual thicket by following @jschedeen on Twitter, or Kicksplode on MyIGN.
Read moreThis console generation — the PS5, Xbox Series X|S, and (kind of) Nintendo Switch OLED — has been an unusual one, to put it mildly. Finding current-gen consoles in stock, either in brick-and-mortar stores or online, has been far more difficult than usual. For the average consumer, the PS5 in particular was nearly impossible to find in stock at pretty much any point over the past two years.
Sony recently said the PS5 shortage is essentially over, and we’re finally seeing that bear out. Right now, you can order all of the latest game consoles at one retailer or another, and they will ship almost immediately. It’s about time.
Naturally, there are a couple of caveats. For the PS5 disc edition, the only SKU that’s currently available is the one that comes with God of War: Ragnarok and costs $559. Back in the old days, game pack-ins came at no additional cost, but those days are over. (Thankfully, it’s a great game; see our 10/10 God of War Ragnarok review). And the PS5 Digital Edition isn’t as widely available as the disc version. It still requires you to request an invitation to order from Amazon, or it ships out in a week from Walmart.
Still, it’s a rare thing to see all models of all the current consoles available to purchase online without any major delays. Let’s hope it stays this way.
I suspect several factors are at play here. By all accounts, the chip shortages that kept these machines scarce before are finally easing up. It’s also likely that demand for these machines is slowing down, as usually happens in the first quarter of the year.
All of which is to say, if you’ve been looking for a new console over the past couple of years and have struggled to find it in stock, this is good news. Now the question is whether stock will stay this easy to find going forward. We can only hope.
Chris Reed is a deals expert and commerce editor for IGN. You can follow him on Twitter @_chrislreed or on Mastodon @chrislreed.
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Back 4 Blood won’t be getting any new content. Developers Turtle Rock say that River Of Blood, the expansion which launched in December 2022, was it’s last as they’re now working on a new game.“You’re not real…”.
Animation artist Densle has been working on creating an amazing and intricate story set in the world of Animal Crossing: New Horizons. In this story, a gas-masked player terrorises villagers and NPCs like Tom Nook and Isabelle, until finally, they decide to fight back.
The latest episodes — a two-parter called Reset — handle Isabelle’s journey to find out what the heck is going on after the gas mask player resets the island to avoid the wrath of the villagers. The poor creatures get booted onto other islands, including Pietro, who gets sent to a deserted island, cursed to wait for someone who actually likes his whole clown thing. We’ll take you, Pietro. We love you.
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