Hear ye, hear ye! Embark have shared some more concrete details for Arc Raider’s next main update, Headwinds, which is set to be downloaded onto your platform of choice tomorrow, January 7th. Namely, just what that new matchmaking option is, which is, as it seems, one that won’t be for everyone.
Early-bird price expires today.
Over the coming years, we’re likely to see a bunch of alternatives to the Switch 2’s Joy-Con, but NYXI’s new Hyperion 3 looks like it might be a solid early contender.
Available for pre-order now via the NYXI website, you can currently take advantage of a 30% ‘early-bird’ discount, bringing the price down to £88 for those in the UK. This is only valid for the remainder of the day, by which point the price will return to £125.
Read the full article on nintendolife.com
Lots of games offer intense, competitive, squad-based action, but I can’t think of any besides Highguard where I can sling spells and bullets from the back of a majestic, galloping bear as I charge in to destroy an enemy fortress.
Highguard turned a lot of heads with its flashy reveal at the end of the Game Awards last month, but many were left wanting to know more about this mysterious debut from Wildlight Entertainment, a new studio of Apex Legends, Titanfall, and Call of Duty veterans. The developers are first to admit that the intervening month has been quiet, but are confident that the game they’ve toiled over in secret for four years will speak for itself on release today.
I spent a whole day playing the game and interviewing its lead developers and studio founders last week, and I am here to tell you exactly what we’re all about to play with Highguard.
As a “PvP raid shooter,” Highguard is built around a new and interesting gameplay loop in which two teams of three players fortify bases, ride out on mounts to gather resources and gain power, and initiate a series of raids to try and destroy the opposing team’s base first. It’s a little bit MOBA, a little bit survival shooter, and a little bit Capture the Flag, among other influences.
Game Director and studio Co-Founder Chad Grenier tells me that the mode’s genesis came from team members enjoying the thrill of raiding an enemy base in multiplayer survival classic Rust, and wanting to distill that into a refined, competitive, repeatable experience. “Every match is about escalation: fortifying, venturing out, clashing, then mounting coordinated raids and defenses until only one base is left standing.”
Each round starts with a minute locked in your base to selectively fortify walls, before being cut loose to find better gear and harvest crystals that can be turned in at shops all over the map to also change and upgrade your kit. The maps are wide open, and I very rarely ran into members of the other team until after several minutes into a match, when a storm would form over one of several predetermined locations, where the Shieldbreaker soon materialized. This magical sword is your key to victory—teams fight to grab it first and run it to the enemy base (“like reverse Capture the Flag,” according to Grenier) and insert it into one of several slots around their magical perimeter shield, initiating a raid.
A siege tower immediately materializes from a portal, which cracks a segment of the base’s shield for the invaders to enter, also serving as their forward base for respawns during the raid. The invading team’s objective is then to breach the base (which is full of breakable walls), plant bombs on one of three key spots, and defend them until they go off. Two of the points will do substantial damage to the base’s life total, while successfully destroying the main, centrally fortified point will take it out entirely. The match ends when only one base remains standing.
If both bases are still there when the raid ends, the match resets and another Shieldbreaker starts to form, but with new and improved gear found scattered around the map and in shops. Each of these phases is on a tight timer, on which respawns for both teams will be capped until the next phase begins, which keeps things moving. My matches ran anywhere from 10 to 30 minutes, with some of the longer ones being quite dramatically swingy.
The tempo variation between the phases and escalating power over the course of the match gave it a distinct and pleasant rhythmic cycle of rising anticipation in preparation leading into tense raids with higher and higher stakes. Lead Designer Mohammad Alavi says that this was deliberately tuned to make it enjoyably sustainable, where the same number of hours of nonstop PvP deathmatch would be more exhausting for most players.
Most of Wildlight’s creative leadership and design team worked on Apex Legends, and it shows in how buttery smooth the action feels.
There are 10 weapons available at launch, all of which will feel familiar to a seasoned FPS player. With slots for two at a time, I tended to use the Ranger sniper rifle and Paladin automatic shotgun to cover long- and close-range engagements, as matches would inevitably include both. You also have one of three raid tools (a rocket launcher, an explosive sledgehammer, or a zipline gun), which provide limited-use tactical utility or base destruction. Everything looks and sounds as good as you would expect from so many genre veterans, and the difference in approach between each piece of the arsenal is immediately noticeable.
Respawn games are also famous for their movement tech, and Highguard carries that legacy confidently. In addition to the expected running, jumping, sliding, and mantling, the big new mobility addition is mounts, which you can summon and dismiss at will in most parts of the map. There were horses, bears, panthers, and gryphons available to choose from, though the differences are cosmetic. I rode a large, brown bear clad in bone armor, and I loved my chonky, beautiful son.
Mounts are a necessity for covering the maps’ huge distances efficiently, and also lend themselves to fun gameplay moments that I’ve never experienced in a shooter before, like being able to mount up and dramatically gallop off to head the enemy off at the pass as I see the Shieldbreaker icon on the minimap moving up towards our base.
Adding to the sense of flexibility and choice, players also choose to play as one of eight Wardens available at launch, with more coming later. They are unique characters, limited to one per team, each with a passive ability, a tactical ability on cooldown, and an ultimate that slowly charges up. The two I ended up spending the most time with both had powerful area denial abilities.
Atticus is a proud, armored warrior that throws lightning spears as his tactical ability, which spark damage to nearby enemies like a Tesla coil until destroyed. When covering an imminently forming Shieldbreaker or a ticking-down bomb, I liked throwing these in corners or above doorways at strategic choke points, peppering the enemy team with additional damage as they tried to come in.
Una, on the other hand, is a masked shaman who summons adorable little nature spirit buddies (not unlike like Zelda’s Koroks), which throw stunning grenades to pester passing enemies as well as occasionally popping up to give her loot. Her ultimate summons a huge tree spirit that can really lock down an important spot in a crucial moment. Both characters reminded me of how much I enjoy playing as Symmetra and Torbjörn in Overwatch, finding the trickiest and most obnoxious spots possible to stick their turrets. Kai was perhaps the character I saw the most in my matches, a monk fused with a frost demon that summons a big wall of ice as his tactical ability, which proved clutch time and again for controlling space.
The bases themselves are also a sort of character choice, as players on each team will vote for one the six total in the game at launch, which will then slot into any of the maps. The bases have distinct advantages and vulnerabilities that interact with the Wardens’ abilities in all sorts of interesting ways. For instance, Hellmouth is a fortress suspended over a lava chasm with narrow bridges that are perfect for shutting down with Kai’s wall.
The Wardens, bases, weapons, and items in the game at launch already provide a fun and wide range of possibilities to explore in how they can remix to synergize or counter one another, giving a lot of dimensions around which the gameplay meta can evolve. Moreover, Wildlight already has a robust plan in place for infusing the game with a generous, steady drip of new content in all of those areas and more.
Highguard’s live service additions will come in the form of two-month chapters, divided into two halves. That means that every single month they intend to release some combination of new Wardens, bases, maps, weapons, raid tools, and more. The first update, coming in just a few weeks, will introduce ranked play, and Grenier tells me they have lots of alternate gameplay modes in the works that will cycle in and out – such as Mario Kart-inspired mounted racing. All gameplay content will be added for free, with monetized elements strictly cosmetic.
That’s an ambitious plan, but one for which this team is extremely well prepared. Wildlight CEO and Co-Founder Dusty Welch tells me that, while the Respawn team were very happy with the initial launch of Apex Legends (which arrived as a total surprise), they hadn’t started to plot out any post-release content until after it had come out, leaving months of lag time before they could release anything new. Wildlight and Highguard were conceived with this hard-earned experience in mind to be oriented around live-service production from the very beginning.
“Starting this company, Chad [Grenier] and I knew we have to think about building it differently,” Welch told me, “and the people we hire, the mindset that we have, the pipelines that we set up, the tools, the technologies, the external partnerships and relationships, so that we’re thinking from day one how to successfully operate a live service and have an ongoing, meaningful dialog with our player base, and constantly be delighting and surprising them with content. We didn’t do that well with Apex at launch, and we are extremely well-prepared as we sit here today.”
That whole year of new content for Highguard is already deep into development. Both Welch and Alavi gave the same sly look and non-answer when asked about their favorite Wardens to play, since they’re not in the game yet at launch (Welch confirmed it’s the same one). The standards and expectations for live-service games are higher than ever, but this team comprises people who have been doing it for a very long time already, and they’ve come about as correct as any studio I’ve yet seen chase this model.
Highguard surprised and impressed me. I’m not great at fast, competitive shooters as a baseline, but its vibrant aesthetics and thoughtful design have absolutely piqued my interest. The market for live-service shooters is crowded, but Highguard has the advantage of offering an interesting new gameplay mode that doesn’t map onto any of the existing genres like battle royale or extraction. This may be Wildlight’s first game, but that belies a deeply confident and passionate team at the top of their form, excited to make the best game they can without the constraints of a major publisher.
You don’t have to take my word for it: try Highguard today for free, available on Xbox Series X|S.
The post Highguard Is Out Today – and We’ve Played a Lot of It appeared first on Xbox Wire.
Hello PlayStation Blog community, my name is Kenny Sun and I’m the lead developer of the Ball x Pit, and I’m here to share with you development on the game’s concept, inspiration as well as what players can expect in the first content update that releases today for FREE for all owners of the game!
This journey begins back in November 2021, and while I was on the subway, I saw an ad on my phone for a game called Punball. It looked like a roguelike version of Holedown, a game I enjoyed a lot, so I decided to give it a download. Fifteen minutes later, I looked up and realized that I had missed my stop. I knew that the core of the game had something special, but as I continued to play it I felt that there were a number of elements I wished were different. So, a few weeks later, I decided to make a version of my own. The gameplay for the prototype that would become BALL x PIT wasn’t too different from its original inspiration. But, there were a few key moments in its development that shaped it into a unique fusion of mechanics.
Initially, gameplay in Ball x Pit was turn-based. You would fire a series of balls, they would bounce at incoming enemies, and after all bouncing was complete, enemies would advance and a new row would spawn. I thought the gameplay was fun and wasn’t really considering ways to improve it. But, in February 2022, I downloaded Vampire Survivors, and the idea to try making it into a real-time action game was sparked. I made the change a few weeks later, and immediately the gameplay clicked, I knew I made the right decision.
Another important mechanic in Ball x Pit is the fusion system, where any ball can be combined with any other ball to synergize their abilities. This stemmed from the way I coded the ball mechanics. In code, each ball has 3 categories of ability types: status effects, area-of-effect, and unique effects. So, it was obvious that combining status effects and area-of-effect abilities would be a great way to power up the balls. And naturally, an alternative to this was the evolution system, which combines certain sets of balls into a whole new one. This new stronger ball in turn can be fused with any other ball. For inspiration of different evolutions, I looked at online guides for games in the Doodle God series to see what combinations they had.
The last defining system of Ball x Pit I want to talk about is the base building layer. Other games in the survivors-like genre usually handle meta progression by letting players spend resources in a simple UI, but I wanted this section to stay thematically relevant to the core gameplay. I’ve always loved the feeling of meta progression in games like Loop Hero and Metal Gear Solid V, and wanted to integrate those ideas into Ball x Pit. Naturally, it was clear that buildings could act like bricks in gameplay, and from there I had the idea that characters should be able to bounce around to upgrade things.
As we keep building on this foundation, the next step is our newest content update, titled Ball x Pit: The Regal Update. Take a look below on what to expect from this content heavy update as it’s one of three completely free updates we’re planning throughout the year.
Players of Ball x Pit: The Regal Update will come across two new unlockable characters.
The Falconer fires off two balls launched by a pair of birds flanking the screen, giving their attacks a wide, swooping spread. The Carouser, a medieval royal troublemaker, twists ball trajectories with a personal gravity field that pulls shots off their usual paths.
– Banished Flame adds yet another burn status—shorter than the standard burn, but packing a much heavier punch.
– Fireworks burst outward in bright, unpredictable patterns, scattering damage in every direction.
– The Stone Ball hits like a truck on impact but slowly crumbles as it keeps bouncing.
– The Brimstone Ball behaves like an Inferno shot but laces its flames with poison for extra lingering harm.
– Landslide triggers a cascading wave of debris in front of the first impact point and deals damage that lasts for a few seconds to surrounding enemies.
PLUS MORE! Because why would we want to spoil the rest?
– Deadeye’s Impaler cranks up your critical hit chance, and when those crits hit, enemies that are not the boss do not get back up. Well, that’s because they instantly kill.
– Grotesque Artillery pulls from your own gear, firing off a random ball from your equipped lineup every time it triggers
– Iron Onesie rewards chaos, boosting the damage of special balls based on how many baby balls are bouncing around the field.
Players demanded an Endless Mode so much, it grew to the top of the priority list. This mode unlocks once you’ve finished the game, opening the door to a new way to play for even longer! Each level can now be pushed as far as you can handle, continuing indefinitely as long as you manage to stay alive once finishing the boss in that area, and agreeing to continue deeper into the pit. There’s no finish line here, just escalating pressure, longer runs, and the chance to see how far your skills and builds can really go.
Thanks for reading and we hope you’re excited! Ball x Pit: The Regal Update is now available for free for all Ball x Pit players on PS5.
Capcom has responded to ongoing fan speculation about Resident Evil Requiem being an open world game with a definitive-sounding response.
Fan discussion and leaks around the game have long pointed to Requiem featuring more open exploration than in previous Resident Evil titles. This suggestion was fuelled further earlier this month by the release of a fresh gameplay snippet that included a look at a bustling city street, complete with pedestrians and traffic.
Now, however, Resident Evil Requiem director Koshi Nakanishi has stepped in to set the record straight, having seen the discussion online. In short, anyone hoping for an open world Resident Evil should reset their expectations.
“[The development team] did just want to make clear one point,” Nakanishi told Game Informer. “They’ve seen some speculation of whether there’s any open world elements in the game, and they just want to set the record straight that this isn’t an open world game.
“The main concept behind this game is combining the very different gameplay of Grace and Leon into a cohesive package, and having those two gameplays represent the Resident Evil series, and I think when you play the game, you realize that, or you will find as well that the development team picked the best approach to do this.”
In other words, what you should expect from this game is for Grace and Leon’s portions to feel like how they’ve already been pitched, with Grace’s focus on horror and Leon’s focused on action, as an extension of the Resident Evil franchise’s existing games.
In IGN’s just-published Resident Evil Requiem final preview, we described Grace’s gameplay sections as familiar to anyone who has played Resident Evil 2 or 7. Leon’s gameplay sections, meanwhile, stirred up our muscle memory of playing Resident Evil 4. Neither of those games were open world, so it sounds like we shouldn’t expect Requiem to be open world either.
“This year is the 30th anniversary of the Resident Evil series, so it feels like no coincidence that 2026’s Resident Evil Requiem is combining the best ideas of the saga into what appears to be a fantastically constructed tribute to everything that makes the series so great,” IGN wrote. “Do you like tense survival horror? It’s here. Wanna go all guns blazing with intense action and a quip-obsessed hero? You get that too.”
Tom Phillips is IGN’s News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social
Against the overbearing weight of modernity, Old School RuneScape continues to complete a Sisyphean task of simply existing two and a half decades after it originally launched. It just celebrated that 25th anniversary at the start of the year in fact, and now during a Winter Summit a slew of updates coming to the MMO were shown off in a roadmap from developer Jagex.
Actress Eman Ayaz has said she’s lost three years of work in a “life-changing role,” just days after Ubisoft canceled its long-awaited Prince of Persia: Sands of Time Remake.
“So hi, my name is Eman, I’m an actor, and last week I experienced the most devastating moment of my career,” Ayaz said in a video message posted online today. “I’m still under NDA so I’m going to try my best to speak as vaguely as possible about the details, and I hope you understand.”
At no point does Ayaz specifically say the game she worked on was Prince of Persia: Sands of Time Remake, but the actress has also retweeted comments from those who have linked her to the role of Farah in the game, seemingly making the connection clear.
The most devastating moment of my acting career: https://t.co/ZzbWftGL1t
— Eman Ayaz (@emanayazz) January 26, 2026
“Three years ago I booked a life-changing role on a life-changing project,” Ayaz began. “It was a rigorous audition process, including a self-tape audition, an in-person callback, and a chemistry read that I had to fly out of the city for. When I got the role I remember crying my eyes out.
“I’ve spent the last three years getting to know the team which has become like a family to me. I’ve watched it grow through countless stages of development and I’ve waited and waited for it to finally be released so I could talk about it. And this week, I found out through the internet that the project was canceled.”
Ayaz says she was first contacted by her brother who had seen the news of the game’s cancelation via an online article. Ubisoft confirmed it had canned its Prince of Persia: The Sans of Time Remake last week, as part of a wider reorganization that featured layoffs at three development studios, the closure of two more, and the shutdown of five other game projects.
“I was in total shock,” Ayaz continued. “Just two months ago I filmed marketing for this project, everything had been running smoothly and that was the last I had heard. We were all looking forward to it being released this year, so it felt like an emotional whiplash to suddenly find this out in such a random way.”
Indeed, a report late last year suggested Ubisoft’s Prince of Persia: Sands of Time Remake was finally just a few months away, after first being announced in 2020. The project was then rebooted, with its most recent incarnation having been in development since early 2023.
“When I initially booked this role, what it said to me was that all the sacrifices I had made, going against my parents’ advice, pursuing my dreams, all the heartbreaks I’d had along the way, all the close calls, all the rejections, they finally had added up to something,” Ayaz added, discussing the personal toll the cancelation had taken.
Ayaz said she’d turned down other job oppurtunities during the process and worked on the job while recovering from an injury as she had been passionate about not missing out. “It was the best performance of my career, and now no one will ever see it.”
A Canadian citizen, Ayaz said she had planned to apply for a U.S. work visa based on having the game on her CV, something she can no longer do as she is unable to officially acknowledge her work on it. And as someone with Pakistani heritage, Ayaz said the cancelation had been yet another setback after working “twice as hard as non-marginalized actors to find space in the industry.” She added: “It’s an upward battle and it’s going to continue to be that way. It’s like you think you had your foot on a ledge, and it’s crumbled. And you have to start again, and it’s just as steep.”
For its part, Ubisoft told Prince of Persia fans that despite six years of work, the game was still too far away from being ready to fund any further. “We weren’t able to reach the level of quality you deserve,” the company said in a statement, “and continuing would have required more time and investment than we could responsibly commit.”
“Sadly the entertainment industry isn’t just about entertainment,” Ayaz concluded, “it’s about guaranteeing a cash flow. And that means making decisions that treat people’s lives as collateral damage, and art as disposable content… This project existed, even if the world never got to see it. So many talented artists devoted countless hours to make this happen. And that doesn’t just disappear, it’ll be in our hearts forever, as fricking corny as that sounds… The only way these stories survive is if the audience demands them.”
Tom Phillips is IGN’s News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social
Back in 2022, Winnie The Pooh entered the public domain in the USA, meaning that any denizen of that nation can publish work featuring the OG incarnation of A.A. Milne’s honey-supping woodland bear (the UK copyright expires in 2027). At some point in the future, once the newly founded Poohlike genre has matured, we can surely expect a renaissance of Winnie derivatives, ranging from erasure Pooh-ems through josei anime interpretations to Kaufman-ass Hundred Acre existentialism. Right now, though, it’s mostly about horror, because the logical thing to do when the lawyers finally abandon a beloved children’s character is break out the chainsaws.
The movie folk have already given us Winnie the Pooh: Blood and Honey and its sequel, both apparently dreadful in a bad way. Now here comes Steven H. Videogames with Winnie’s Hole, out in early access today. In this roguelite from Twice Different, the nectar-chugging teddy has become a rambling cosmic abomination, and your job is to mutate his insides using tetrominoes. Oh botherlyeh wgah’nagl fhtagn.
In certain parts of the world.
Yesterday, Nintendo finally gave us our first look at Yoshi in The Super Mario Galaxy Movie, thanks to a Nintendo Direct and a brand new trailer. And while Yoshi — and some other Mario series cameos — stole the spotlight, there’s one piece of additional news that fans in certain countries can get excited about.
The Super Mario Bros. Movie is coming out on 1st April 2026, two days earlier in the US “and many additional markets globally”. The new date was shown at the end of the trailer yesterday, with Nintendo confirming the news online.
Read the full article on nintendolife.com
The long-running Resident Evil series contains multitudes. At times it’s been about quiet menace, carefully weighing when to use each of the handful of bullets in your pocket as you try to explore and solve puzzles while avoiding terrifying and often unkillable monsters. At other times it’s been about kicking ass, tearing through hordes of zombies with grenades and shotguns. Resident Evil Requiem, the ninth mainline entry, dares to ask: why not both?
Requiem pulls off this feat of being two games in one with dual protagonists: series newcomer FBI analyst Grace Ashcroft for the classic survival horror and recurring lead and one-man army Leon Kennedy for the action. I recently played a demo that gave me a taste of both — three hours from the beginning of the game, with a lengthy Grace section bookended by bursts of Leon-fueled frenzy.
By default, you play in a first-person perspective with Grace and third-person with Leon. This nicely reflects the different levels of situational awareness between a timid desk analyst and a battle-hardened field operative, and helps Grace’s sections feel appropriately scarier, but you are free to toggle the perspective for either character at any time from the menu, which is a nice accessibility touch (and, again, a way for Resident Evil’s developers to play with the series’ history of switching between the two).
Both characters show up in Raccoon City’s creepy old hospital on their respective investigations and briefly meet before being separated in different parts of the building to continue alone.
Suffice it to say: Grace Ashcroft is having a really bad time.
Amid all the horrors on show, the thing that stood out to me the most about my time as Grace was her ragged breathing. More a proxy for the player than a power fantasy, Grace is terrified to be in the hospital, and not qualified for this. Even in her default first-person, Grace’s timid character is present at all times through her panicked breathing and muttering.
In classic Resident Evil fashion, my time with Grace was spent searching through different wings of the hospital to solve puzzles and collect sun, moon, and star keys in order to unlock the main door out. Healing herbs, bullets, and limited-use melee weapons (as well as inventory slots) were all scarce, so I had to be mindful of when I used them, lest I end up in a bind with no options. She eventually unlocked crafting, allowing me to be even more strategic with my finite resources.
The zombies shambling the halls weren’t fully mindless, with their locations and actions showing that they still retained some imprint of their former lives, performing a hollow pantomime of their duties as doctors, nurses, janitors, etc. Some of them seemed sensitive to light, creating an opportunity for me to turn on a nearby light switch to draw one out of a narrow hallway he’d been blocking to turn it off, allowing me to sneak by.
There was also a hulking chef lumbering through the kitchen and surrounding hallways, looking for meat. At worst, bullets seemed to just annoy him, so the only real thing to do was stay out of his way. Unlike previous games with unkillable threats like Mr. X or Nemesis being more omnipresent throughout the game, Requiem seems to have a variety of more localized horrors. I first encountered — and had to sneak past — the chef in his own kitchen, and once I’d advanced further and opened a nearby shortcut, he was roaming a wider radius, but I never found him outside the general vicinity of where he started.
My colleague Joe described a different, nurse-like monster in Summer Game Fest demo of another section that I never saw, and then across the lobby in the medical wing I encountered yet another unkillable threat: a monstrously fat zombie with the proportions of a giant baby that jump-scared me by obliterating a door frame right next to me as I picked up a key item before crawling after me, smashing through the building around it and cussing up a storm about how hungry it is. It fully took up whatever hallway it was in, forcing me to reroute around it as I continued to navigate that wing.
In my time with Grace, the point was made very clear: approach all of this with caution, because brains will trump your limited brawn. The instances when I tried to brute force my way through a problem in this section — just shooting or shoving my way past everyone — were when my efforts were most frustrated. It rewarded observation and punished impatience.
Leon, on the other hand, is here to chew bubble gum and kick ass, etc.
Resident Evil’s resident himbo is back, and where Grace spends her time in frightened lurking, he’s all roundhouse kicks and quips. “I think I want a second opinion,” he says dryly after slaughtering a room full of zombie medical staff that swarm him at the start of my session. As if to emphasize the over-the-top tone, the doctor had a chainsaw for some reason, which I naturally took and turned on them.
Leon’s sections feature way more enemies, because he’s way more capable of handling them. In addition to more plentiful guns, bullets and powerful kicks, Leon has a hatchet that, unlike Grace’s breakable knives, only dulls with use, and he can resharpen it at any time. When exploring areas that I’d already been through as Grace, I could use that hatchet to pry open cabinets, which typically seemed to be stuffed with ammo.
Beyond just reframing previous areas by returning as Leon, what’s unkillable by Grace isn’t necessarily beyond Leon’s capabilities. “Sorry, but I’m not on the menu,” he smugly told one previously impervious hungry monster, after blasting it to death with a shotgun. It’s a common trope to encounter a boss earlier on in a game and be unable to defeat them, but here it’s nicely used to contrast the characters’ capabilities, giving a sense of cathartic revenge to Leon bullying something that had seemed so impossibly dangerous to Grace.
Leon’s sections were charmingly big, loud, and dumb, and a relieving change of pace from my tense exploration as Grace. The balance between two distinct tones and modes of play worked well in the limited context of the demo, each enhancing the other by contrast, and I’m excited to see how it pans out over the whole game. The Resident Evil series has ranged widely over the last 30 years, and Requiem’s developers have managed the impressive feat of a sequel that embraces all of it.
Resident Evil Requiem shambles onto Xbox Series X|S and Xbox on PC on February 27.
CAPCOM CO., LTD.
– This content may be made available at a later date.
– This costume will change Grace’s appearance only.
Resident Evil Requiem Deluxe Edition. Includes the full game and the Deluxe Kit. A must have for true survivors.
The Deluxe Kit contains the following content:
– Grace’s Costume: Dimitrescu
– Grace’s Costume: Film Noir
– Leon’s Costume: RE4
– Leon’s Costume: Apocalypse
– Leon’s Costume: Film Noir
– Screen Filter: Apocalypse
– Screen Filter: Film Noir
– Four weapon skins including S&S M232 Weapon Skin: Apocalypse
– Mr. Raccoon Charm
– DSO Emblem Charm
– Audio Pack: Raccoon City Classic
– Files: Letters from 1998
A new era of survival horror arrives with Resident Evil Requiem, the latest and most immersive entry yet in the iconic Resident Evil series. Experience terrifying survival horror with FBI analyst Grace Ashcroft, and dive into pulse-pounding action with legendary agent Leon S. Kennedy. Both of their journeys and unique gameplay styles intertwine into a heart-stopping, emotional experience that will chill you to your core.
*The items in this set can be purchased individually. Please be careful not to purchase the same item twice.
CAPCOM CO., LTD.
– This content may be made available at a later date.
– This costume will change Grace’s appearance only.
A new era of survival horror arrives with Resident Evil Requiem, the latest and most immersive entry yet in the iconic Resident Evil series. Experience terrifying survival horror with FBI analyst Grace Ashcroft, and dive into pulse-pounding action with legendary agent Leon S. Kennedy. Both of their journeys and unique gameplay styles intertwine into a heart-stopping, emotional experience that will chill you to your core.
*There are other bundles that include this product. Please be careful of duplicate purchases.
The post Resident Evil Requiem is Two Games in One (and a Lot of Fun) appeared first on Xbox Wire.
