Battlefield Studios says it plans to listen to and work with the Battlefield 6 community for “a very long time” as it continues post-launch support with Season 2: Nightfall while dealing with an unsatisfied fanbase.
IGN caught up with Ripple Effect studio design director Justin Wiebe to learn more about how the team is adapting to feedback in response to mixed opinions from fans. And as it and the rest of the four-studio group that makes up BF Studios prepares to launch Season 2 Phase 2: Nightfall on March 17, there’s one thing Wiebe said he wanted fans to know: “We’re listening, and we’re reacting, and it’s going to continue that way for a very long time.”
“We’re getting amazing feedback from the community, and we’re constantly trying to strive to make the best game possible,” Wiebe said when talking about BF Studio’s efforts to communicate with fans. “So we appreciate the community’s time that they take to share the details of what’s working and what’s not working for them, and we take it very seriously.”
Reactions to Season 1 and the Season 2 delay left Battlefield 6 in a rough spot, but it didn’t start that way. In fact, the latest installment in the classic EA FPS franchise eventually became the best-selling game of 2025 after launching for PC, PlayStation 5, and Xbox Series X/S last October. We gave its multiplayer an 8/10 at the time, with the entry managing to receive strong reviews from both critics and fans in the weeks following its release. Where it’s run into trouble is everything that’s come after, with fans bombarding social media feeds with calls for bigger maps, progression and gameplay adjustments,grounded cosmetics, and more in the months since.
As concerns and critiques have mounted, we asked Wiebe if BF Studios has felt the need to shift its post-launch strategy to give players’ feedback more weight. Although there’s no doubt the community has played an important role both after and before the launch of Battlefield 6, he says the answer isn’t so simple.
Anything can change based on what is going on with the community, what is going on with the feedback, and what we’re seeing from the game.
For him, including testing done with the pre-launch Battlefield Labs program, the project at launch is the dev team’s vision. After that, it becomes something more.
“So, for me, once we’ve launched the game, it’s in the community’s hands to give us feedback. It becomes our game now. All feedback is important, and we weigh the community feedback, but also, like I said, we look at the data of what’s actually going on in telemetry. Sometimes it can be a perception problem. Sometimes it’s actually like, no, both sources of information are saying, ‘This is a big problem, and therefore we need to stop the plans we were going to do and redirect and start focusing on the things that we’re seeing identified.’”
He continued: “That’s the main thing to take away here: It’s not like, ‘Hey, we crafted this massive plan, and we’re going to hold to it.’ It’s like, no. Anything can change based on what is going on with the community, what is going on with the feedback, and what we’re seeing from the game.”
Battlefield 6 and the BF Studios team will continue when the Nightfall update adds night modes, the new Hagental Base map, weapons, and more next week. A third phase for Season 2, Hunter/Prey, will then add more content come April 14. There’s no word yet regarding Season 3 or when it may launch.
For more, you can read our full interview with Wiebe. You can also read up on our other interview with more members of Ripple Effect from shortly after Battlefield 6’s launch. Be sure to also check out how the BF Studios team responded to fan feedback regarding cosmetics like stickers and infantry skins in the past.
Michael Cripe is a freelance writer with IGN. He’s best known for his work at sites like The Pitch, The Escapist, and OnlySP. Be sure to give him a follow on Bluesky (@mikecripe.bsky.social) and Twitter (@MikeCripe).
It’s been a busy 24 hours for Yoshi fans. Yesterday, Nintendo confirmed Community and Star Wars actor Donald Glover would provide the voice for its elastic-tongued dinosaur in the upcoming Super Mario Galaxy Movie. Now, we know when Yoshi’s next game will release.
Nintendo made the announcement today initially via its Nintendo Today app and then across social media, in celebration of this being Mario Day (because March 10 looks a bit like Mar10). There’s also a new trailer to watch, which offers our best look yet at gameplay.
Today’s trailer introduces us to Mr. E, a talking encyclopedia, whose pages are full of odd creatures. Diving into the pages from the book will see an adorable inky Yoshi leap in and observe the animals for himself. And by observe, of course, we mean swallow.
Thankfully for the frog found in today’s trailer, Yoshi soon decides the animal isn’t particularly tasty. After spitting it out, the frog will gamely blow bubbles for Yoshi to hop into and ride, allowing for some quick platforming. By feeding the frogs different foods, you can create different kinds of bubbles, and unlock further discoveries about the species. You can also name the species yourself (which we’re sure players will be completely normal with).
As you progress further through the game, new environments and many more creatures will be unlocked for Yoshi to research. And at the end of the trailer… there’s a reveal that Bowser Jr. will somehow be involved in the proceedings too.
Yesterday’s Super Mario Galaxy Movie-focused Nintendo Direct confirmed Glover as Yoshi, plus Wednesday star Luis Guzmán as Wart, and Issa Rae as Honey Hive Galaxy’s Honey Queen. We also got to see a good chunk of new footage from the film, as Bowser Jr. begins his own diminuitive reign of terror. For more, check out our roundup of everything announced in the Super Mario Galaxy Movie Nintendo Direct.
Tom Phillips is IGN’s News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social
Featuring a character dressed like Link and a creature that looks like Pikachu, upcoming Steam game Pickmon isn’t afraid to hide the games it’s clearly, er, inspired by.
A initial trailer for Pickmon, below, begins with Link, or whoever the main character is supposed to be, leaping from a clifftop that’s clearly a riff on Breath of the Wild’s Great Plateau, while familiar-sounding piano notes tinkle away in the background.
Not-Link deploys his glider, and is shown to have a not-Pikachu clinging onto his shoulder. A dragon-like creature definitely not based on Rayquaza then also drifts past — and this is all in the trailer’s first two seconds.
PickMon | Summer Game Fest 2026 Trailer | Pockegame This is the official account of PickMon. #PickMon is a brand new multiplayer monster-collecting game with open-world survival elements! 🧭Open world survival crafting game for up to 32 players! 🔫Gather your weapons and go on… pic.twitter.com/IdR6byINRk
The next few minutes of Pickmon footage offer much more of the same, with creatures familiar to both Pokémon and the gun-toting Pals of Palworld (the previous Pokémon-like game to land on Steam, which is also still the subject of a Pokémon Company lawsuit), as well as some rudimentary base-building and farming mechanics.
The trailer concludes with a prompt to go wishlist Pickmon on Steam now, and to look out for a future release that’s rather ambitiously “planned for Nintendo Switch and PlayStation.”
Let’s be honest here, everything about this trailer looks set to spark obvious comparisons to Nintendo properties. Even the name of the game’s developer, Pokegame, seems part of the bit. For an indie developer looking to launch its first game, it’s a safe way to grab attention — and if Nintendo was to start legal action, well, that’s even more publicity guaranteed. And already, a Pokémon player has claimed Pickman copied one of their designs for a Pokémon fan design, too.
Of course, it remains to be seen whether Nintendo will bother getting involved. While the comparisons between Pickmon and Pokémon are far from subtle, Nintendo currently seems to have gotten bogged down in its previous Palworld lawsuit, which has dragged on for over a year while Palworld itself remains on sale, albeit with a few minor gameplay tweaks.
Perhaps notably, Pickmon does not seem to include the same catch mechanic as Pokémon, which Palworld initially contained at launch, before tweaking. Instead of creatures being caught and unleashed from a ball, Pickmon seems to have them being summoned forth from magic cards.
“What if we take Palworld, and take its designs EVEN CLOSER to the original Pokémon designs were inspired and even dare promising a release on Switch?” wrote one fan after seeing Pickmon in action. “This is the smash bros ‘everyone is here’ trailer of plagerism [sic],” said another. “We have Pikachu at home ass trailer,” said a third.
But despite the criticism, it’s hard to imagine Pickmon’s developer is upset about all the attention. Whether it will now also gain the attention of Nintendo, however, remains to be seen.
Tom Phillips is IGN’s News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social
Boring filler quests, often of the “fetch” variety, used to be derided – but in extraction shooters nobody seems to mind that they’re rampant. Go here, scan this terminal, collect ten wotsits, find five doodads, spin around three times and return to base.
Of course, extraction shooters don’t stand on the strength of their quests, and these objectives are welcome excuses to explore the map. I don’t mind trekking to reach a quest marker if I find something surprising on the way, or an enemy team to fight when I arrive. But these quests cannot get in the way of the looting and shooting.
Not only are Bungie’s quests, called “contracts”, boring and fiddly, but they’re at the heart of the game. Completing contracts is your progress. You cannot mostly ignore them and do your own thing, as I have for my 250 hours in Arc Raiders – you need to finish them to unlock new skills and better gear.
Let me be a bit more specific about their failures.
First, some of these contracts have multiple fiddly steps. An early quest on Perimeter, the starting map, commands you to visit North Relay, South Relay, and Overflow, scanning objects in the first two and downloading an “agricultural report” – try not to explode with excitement – at the third. You could not pick three locations more spread out if you tried.
Remember, every player in a squad will have their own contracts, likely in entirely different areas. Before you know it you’ve got six target locations: even if you meet friendly players who want to help, that’s an impossible task.
These contracts are the only thing that could stop me loading in for run after run after run
At least for that particular quest, you can finish it across multiple runs. Some contracts demand completion in one round. A single distraction – a boss fight, running into a squad of runners, a teammate leading your squad to a different location – can spoil the run. I’ve died before because I couldn’t convince my teammates to accompany me to the final step of a contract that would’ve reset if I’d extracted.
Marathon’s UI doesn’t help. On the Perimeter quest I mentioned above, I wasted five minutes searching for two Sparkleaf Bioprinters in North Relay and by the time I found one, it was time to extract. I know now, of course, that you can open your map and hover over a contract objective for more detailed instructions, such as the specific building to search. But why make players menu dive? Why not just put the exact locations front and centre on your map, or simply flag it on your screen as you enter a point of interest?
The tip about hovering over an objective does, apparently, appear in early hints but it’s clearly eluded many players by (I’ve had multiple teammates asking for help finding those damn bioprinters).
My final gripe is linked to the penalty for leaving a match early after you die. In Marathon, your teammates can revive you even after you’ve been downed, finished, and stripped of your loot, and Bungie therefore wants players to hang around in case they’re brought back from the dead. To encourage this, leaving while a teammate is alive incurs strict penalties – including losing any progress towards quests.
Fine on paper but oh-so-frustrating when, as happened to me yesterday, your remaining teammate is AFK. I was forced to watch a static screen for 15 minutes or repeat my contract in a different run. The same goes for teammates who, often rightfully, opt to flee the scene rather than revive you when a full squad is picking over your corpse: you can watch their round play out, or lose your contract progress.
I know this sounds like a big moan. Let me be clear: I’m still loving Marathon and its quirky heroes that set it apart from other extraction shooters. My annoyance with contracts isn’t enough to put me off yet, and the fact Bungie plans to make objective markers clearer on your HUD in a future patch is promising.
But more invasive surgery is required. These contracts, which are the heart of Marathon, are the only thing that could stop me loading in for run after run after run.
Resident Evil Requiem director Koshi Nakanishi has confirmed plans to launch a major story expansion for the game, following other additions planned over the coming months.
In a video posted to social media this morning, Nakanishi thanked fans once again for Requiem’s huge success so far, with 5 million copies already sold as of last week.
Clearly, Capcom now has much more in store for the game, too — including a story expansion, the addition of a “mini game” in May, and the upcoming arrival of a photo mode, too.
Pokémon Pokopia players are speaking out to save others a whole lot of time and bother — because no, you don’t actually need to water every single square of the game’s world.
When you first start playing Pokopia, your character wakes up in an arid wasteland that was once a lush Pokémon utopia. There are no humans anymore, the world is in ruins, and other Pokémon are few and far between.
On top of that, you’ve likely seen screenshots and trailers showing the possibilities in store when you do revive Pokopia’s world — and so when you gain the ability to water the ground and bring back its green hues, many players’ first instinct (including my own) is to do so everywhere. For hours. Every. Last. Square.
Well, it turns out you don’t need to do that. As many players are now taking to social media to point out (and also, very mildly spoil) there will soon come a time when all of this is handled for you. And if you’d prefer not to read more about what happens next, well, take this as your cue to stop reading — but also stop watering, too.
Nobody ask me if Pokopia has a story, I’ve been watering grass for 4 hours before I let myself progress pic.twitter.com/WP6EKIql85
Thank you because that was starting to feel like such a huge task and I haven’t been focusing on the main quests as much because the dry and withered look BOTHERS me 😭
Yes, eventually your world will experience rain, something that will sort out all those areas of dry ground for you, and immediately make the game look a lot more like those screenshots and trailers. Until then, you really only need to water the plants and trees that you need to create habitats or farm resources such as fruit.
How do you kickstart Pokopia’s rain, you may ask? It’s as simple as crafting the Rain Dance Site item and then activating it using a Water-type Pokémon. This is something that you’ll complete as part of the game’s main storyline when rebuilding the Pokémon Center in Pokopia’s starting area, so you can’t miss it. And for a more detailed walkthrough on increasing your world’s humidity, IGN has you covered.
For now, though, relax and put away your Water Gun. Rain’s comin’.
IGN’s Pokémon Pokopia review returned a 9/10 score, and dubbed the game as “an enjoyable building and town simulator that capitalizes on the charming personalities of its monsters in a way that appeals to both the creative and collector alike.”
Since the earliest cave paintings, human beings have used art to recreate the world around us. But while the painter’s limit is imagination, the photographer can only capture what actually exists. They can use their tools to increase exposure, change framing, or apply filters, but they cannot create something entirely new; only preserve a moment in time. It’s telling that Fatal Frame II: Crimson Butterfly is getting its moment now. A game about twin sisters haunted by the past with a camera as their only salvation, Crimson Butterfly Remake is similarly bound to its predecessor while also being charged with modernizing it. In many ways, it succeeds. I cannot deny that I enjoyed revisiting Minakami Village, but I also fear that constantly bending a knee to the modern and adding more complex mechanics has added an artificiality that is at odds with the captivating story it tells. By the time I reached the end of my 20-hour journey, I was deeply satisfied with and impressed by this remake, as well as incredibly conflicted about that feeling.
Before I continue, let me say this: I consider the original Crimson Butterfly – not Silent Hill 2, not Eternal Darkness, not pick-your-Resident-Evil, not any modern horror game – to be both the greatest and most terrifying horror game ever made. But any artist, no matter how skilled, risks tarnishing a great work by revisiting it. This is especially true in video games, where remakes seek to supplant and replace the original, trading increased visual fidelity and “modern” (read: Better. Always better. No one has ever used this term when speaking about a game and meant “worse”) design tropes for a piece of the original’s soul. We’ve seen this story countless times, from a Mass Effect remaster that dilutes the impact of Sovereign’s arrival on Eden Prime to a remake of Demon’s Souls that is visually remarkable but butchers the atmosphere of the original. I would like to tell you that Crimson Butterfly Remake does not fall prey to these traps, that it skirts them effortlessly. But I can’t – though that doesn’t mean what’s here isn’t an admirable attempt.
Crimson Butterfly Remake follows the same setup as the original. Twin sisters Mio and Mayu are visiting a stream where they used to play as children because the entire area will soon be flooded by the construction of a dam. As they reminisce, Mayu catches sight of a crimson butterfly that draws her deeper into the forest. Mio pursues, quickly gets lost, and the two eventually reunite on a hill overlooking a lost village said to have disappeared during a festival. The path they took is gone. There is no way back. With no other options, they descend into a village where the ghosts of the past still linger. Mio and Mayu’s only defense is a strange camera – the Camera Obscura – that seems to be able to exorcise them. Their goal is simple: escape. But that will mean learning Minakami Village’s secrets, and why they were called here to begin with.
I don’t want to say more because Crimson Butterfly’s story is remarkable, and developer Team Ninja has done an excellent job of expanding it. As you venture deeper into the village, you learn about the dark nature of the festival and the unique role twins, often twin girls, played in it. Crimson Butterfly is, to its credit, a quiet game. Cutscenes are fairly rare and Mio does not incessantly chatter about what’s happening to her or about the items she picks up. Instead, you’ll learn about the story through diaries, watching ghosts follow the paths they traveled in life, and by listening to their voices, preserved in the stones their spirits left behind. You’ll learn about the people who lived here, what happened during that festival, and the fates that befell those who, like Mio and Mayu, were called to Minakami Village. Most of the expansion comes in the form of new locations and side stories that trace the paths of supporting characters, and it’s all integrated seamlessly. If I didn’t know these things weren’t in the original, I would not have guessed, and they add a great deal to Crimson Butterfly’s story.
Minakami Village is a marvel of design, dripping with atmosphere
Minakami Village itself is a marvel of design, dripping with atmosphere. It’s a small place with few roads and fewer houses. But it’s dense, and it changes. You’ll revisit these roads, these houses, and each time, the experience will be different. When I first entered Osaka House, I was afraid and wary; later, it was like seeing an old friend. I became intimately familiar with those rooms, but I could never let my guard down while walking them. Kurosawa House, on the other hand, was terrifying no matter how many times I walked its sprawling halls. Whenever I passed through its doors, I felt myself tense up.
What I admire most about Crimson Butterfly Remake is how little it holds your hand. While there are objective markers to guide you around the village between story beats and crimson butterflies sometimes light the way forward, once you enter a house, all bets are off. If you need to go to a room with an altar, for instance, it is up to you to find that room. If you’re following a specter, you must use the camera to trace their path. If you are completing a side story, it is up to you to read the diary left behind and figure out where to go next. Crimson Butterfly Remake will give you the clues you need, but you’ll still have to make the journey yourself.
The Fatal Frame series is terrifying, but its horror is subtle – less an exercise in jump scares, and more one in unrelenting tension. When you pick up an item, Mio will crouch and extend her hand slowly. Oftentimes, nothing will happen. But sometimes, a ghost will appear and grab you. Each time she slides open a door, an angry spirit might be on the other side. Walk down a road, and you might stumble across a ghost or run into a roving patrol searching for twins who escaped on the night of the ritual. Sometimes, the spirits will be there, visible. Sometimes, they will simply appear.
Combat in Crimson Butterfly Remake isn’t rare, per se, but it’s also not frequent. You’ll spend much of your time exploring the village, navigating houses, snapping photos of lingering spirits and twin dolls scattered throughout the village, and solving puzzles. But every time you open a door or reach for an item, you are vulnerable. You may pull your hand away or slam a door shut in time, but they will still be there, and it won’t ease how you feel the next time. Often, those spirits are specters, condemned to retrace the paths they walked in life, only visible long enough to snap a picture if you’re quick and ready. (Change film, and you might miss them.) But sometimes, they are hostile. In the village, you can often avoid ghosts by crouching, hiding, or simply running away, which is useful against groups or when you’re not looking for a fight. But when you’re locked in a house and the doors are sealed shut, you’ll have to defend yourself with the Camera Obscura.
Your camera can exorcise ghosts. The better the picture, the more damage the shot will do. A shot that is in focus and captures a spirit’s face will be far more effective than one that captures its back. But the most effective shots are Fatal Frames, which require you to wait until a spirit attacks and the light atop the Camera Obscure flashes red. Time it right, and you’ll stagger the wraith, deal heavy damage, and replenish Mio’s Willpower, a new addition that allows her to use Special Shots (some stun, some slow, and so on) and is lost when Mio runs or a ghost strikes her. Lose all of it and Mio will be knocked to the ground and vulnerable. If a ghost attacks you while you’re down, you’ll have to use the camera to get it off. Miss your shot, and you’ll take a large amount of damage. I’m mixed on Willpower as a concept – I didn’t use Special Shots often, instead saving Willpower for when I needed to sprint – but I did appreciate it as an additional obstacle to navigate during combat.
Then there are Shutter Chances, which occur when a wraith’s health is depleted past a certain point. Snap a picture during one, and a ghost will be left defenseless for a single, high damage shot. Time a Fatal Frame with a Shutter Chance, and you’ll enter Fatal Time, allowing you to take multiple shots at once. Better pictures also reward you with points that can be spent on items and charms at save points, so there’s an additional reason to aim well.
When it clicks, Crimson Butterfly’s combat is compelling.
It’s a lot to remember, but when it clicks, Crimson Butterfly’s combat is compelling. Often, you’ll only fight one wraith at a time, but even that is challenging. Success is a matter of sidestepping attacks, managing your health and Willpower, and waiting for a ghost to attack so Mio can capture that elusive Fatal Frame. Choosing the right film matters, too. Will you stick with the infinite but weak and slow-to-reload Type-07 or upgrade to the slightly stronger but still slow and limited Type-14? The Type-61 is powerful, but reloading film still takes a while and you can’t carry much of it, while the rarer Type-90 is fast, powerful, and can be carried in bulk. And then there is the incredibly slow, but powerful, Type-00, which deals massive damage even to the most frightening wraiths. There just isn’t much of it. Crimson Butterfly Remake’s combat is about timing and choice, and unlike most horror games, requires you to leave yourself open and literally face your fears to succeed. You are always vulnerable; Mio always has reason to be afraid.
Each ghost presents its own challenges. You might be tempted to use Type-07 film for more standard spirits, but others will quickly push you into loading more precious film into your camera, and each time you miss a shot with a more valuable film, it hurts. You will never forget the first time you encounter the woman in the box, nor the first time you’re locked in a room fighting two ghosts at once. My favorite encounter was against a drowned woman on a bridge who moved through the air like she was floating in water, and who seemed to transport Mio underwater as the fight progressed. Even though you’ll fight most ghosts multiple times, they never get old. Even protecting Mayu from ghosts, something you’ll have to do off and on as the sisters are separated and reunited over the course of the story, is less frustrating and simply an additional challenge.
It’s here that I must talk about Crimson Butterfly Remake’s status as a remake. In many ways, it is an unqualified success. It is visually stunning while capturing and thoughtfully updating the character designs, environments, art, and sound of the 2003 original, and there are images here that will stay with me forever. The change from fixed camera angles to the over-the-shoulder view popularized by Resident Evil 4 is admittedly mixed; it dilutes some of the horror and unease, but it means Crimson Butterfly plays better and is more responsive than any other Fatal Frame. The additions Team Ninja made to the village and the new side stories are wonderful. Even smaller choices, like the ability to hold Mayu’s hand and guide her through the village, which restores both Willpower and both sisters’ health at the expense of slower movement, is a thoughtful change that emphasizes their bond through gameplay. I also appreciate that Crimson Butterfly Remake doesn’t force you to fight everything. Sometimes, sneaking past or running away is the best (or only) option.
What bothers me are the additions to the Camera Obscura. As in the original, you can still equip charms to boost your damage, reduce the health or Willpower you lose when a wraith hits you, and so on. That’s fine. Finding prayer beads in the village enables you to increase how quickly the camera focuses, to focus it or zoom in and out manually, and so on, which were not options before or were unlocked after completing the original game. These are good changes. I largely relied on the automatic focus so I could concentrate on keeping wraiths in frame as I moved around, but made liberal use of the zoom feature.
Where Crimson Butterfly Remake fails is in the addition of filters that you can switch between, each of which comes with its own Special Shot ability, many of which recall the original’s various lenses. The Standard filter is an all-arounder that recovers more willpower with each snap and a Special Shot that can stun; the Paraceptual Filter allows you to see ghosts through walls, has additional range, and it’s Special Shot blinds; the Exposure filter is great for dealing with aggravated wraiths, and the Radiant filter is short ranged but deals absolutely massive damage. Each has additional uses outside of combat: the Paraceptual filter allows you to track traces of spirits, the Exposure filter can reveal hidden areas and ghosts, and the Radiant filter can open doors and objects sealed by blood. In combat, however, they become one note.
It is visually stunning while capturing and thoughtfully updating the original.
Part of this is because of the aggravated wraiths. Each time you snap a picture of a wraith, you risk aggravating it. Basically, they turn red, recover health, take much less damage, attack more frequently, and hit harder. Initially, this is incredibly frustrating, especially if you’ve been using higher quality film or if you’re fighting multiple ghosts at once in a small room. The Exposure filter is great for dealing with aggravated wraiths, though you only get it after you’ve started seeing wraiths get real mad, and you’ll have to spend high quality film to return them to normal via a Shutter Chance (which also automatically triggers Fatal Time). The issue isn’t that there isn’t an answer, it’s that there’s only one answer, at least for a while: Exposure filter and good film. It becomes a grating game of Simon Says, and I often used better film against weaker ghosts to try to end their afterlife before they became aggravated, which works great until it doesn’t.
This problem carries over to the other filters, with options like the Paraceptual filter becoming my go-to for all far away ghosts. But the Radiant filter is what really breaks Crimson Butterfly Remake, especially if you upgrade the charms that boost it. Yes, the shorter range means it’s harder to hit things, but if you upgrade it, you’ll do so much damage (especially if you’re using anything other than Type-07 film) that it trivializes everything, even aggravated wraiths and boss fights. By the end, I wasn’t locked in rooms with the ghosts of Minakami Village: They were locked in rooms with me. Well, me, my fully upgraded Radiant filter, and my fully upgraded Radiant filter charm. Combine that with any decent film and they had no chance.
Yes, blasting through ghosts that I previously feared was a thrill, even if I wasn’t taking Pulitzer-worthy shots to do it (though I was still rewarded for quality), and I was never truly unafraid because Mio was still vulnerable. But as I traipsed around the village gathering prayer beads, upgrading my camera, photographing twin dolls, and checking off side stories, I realized how “gamey” some of these new additions were. I was supposed to be figuring out how to escape a haunted village, and while I could argue that completing the side stories gave me a better understanding of what happened here, what I was hoping to accomplish, and what I was up against, the rest felt… artificial. Pick up this film so I always have enough. Photograph those dolls because they’re there and doing so unlocks more things at the save point. Grab that prayer bead to get a step closer to another upgrade. Pieces of candy scattered along the ground, and I acquired them because this is a video game and that’s what you do, whether they are out of place or not. Does the removal of the fixed camera angles really help, or does it just ease a little friction? Is it a good design choice, or simply the modern one that will make me more comfortable? Removing film grain makes an image clearer, but it removes detail, too.
Once you start seeing these things, you can’t stop. Case in point: the filters. An inventor making a camera that exorcises ghosts is cool and makes sense in the context of Crimson Butterfly’s story. Filters that do more damage to ghosts, or let you see through walls, or open doors sealed by bloody handprints, on the other hand, only exist to solve gameplay problems. They feel less appropriate for Crimson Butterfly’s world and undermine its otherwise very effective horrors. I went from saying things like “man, I hope there’s not a ghost in that well” to “Get out here, lady. I dare you. I double-dog dare you. I have a Radiant filter and enough Type-90 film to make you wish you’d stayed down there.”
That’s fun as a video game power fantasy, as a way to make my dopamine-seeking lizard brain go brrrr. It’s stuff that would make a lot of sense in Resident Evil, but it goes against what Fatal Frame is. The strength of Crimson Butterfly is that Mio and Mayu are ordinary girls thrust into a terrifying, supernatural situation. As powerful as the Camera Obscura is, Mio is always vulnerable while using it. She always has to look the things that haunt her in the eye, to open herself to harm and not blink. It makes sense that she is afraid when she enters the Kurosawa House and her flashlight fails, or for her to hide from large numbers of ghosts, and Crimson Butterfly is most effective when you share her fear.
Some of the new stuff would make sense in Resident Evil, but goes against what Fatal Frame is.
Mio’s not a grizzled combat veteran or a superhero masquerading as a civilian the way most video game characters are. She’s a young woman trapped in a haunted village; she’s trying to survive and protect her sister, and she’s scared out of her mind. Her weapon is a camera, not a gun. She cannot physically overpower what threatens her. These are things she can barely comprehend, much less fight. But she continues in spite of that. She keeps raising that camera, facing her fears, and that’s what makes her brave. In creating a more seamless version of Crimson Butterfly that offers plentiful combat options, and allows you to be more powerful as a result, Team Ninja has unintentionally diluted it thematically.
It’s one of my only significant complaints about a remake that otherwise both respects and enhances the art it’s attempting to recreate, a smudge on an otherwise immaculately restored photograph, and something that I have been grappling with the impact of as I’ve thought about this review. I don’t think that this disharmony between thematic intent and modern convenience ruins Crimson Butterfly Remake, or even deeply damages it, and I doubt most people will even care. But it does make Crimson Butterfly feel more like an action game that you can optimize much of the horror out of if you wish to, and I think that does diminish it somewhat as a result.
A major shakeup to how shiny odds are handled in Pokémon Go has quietly made many species’ coveted shiny versions harder to find.
That’s according to fans who have been keeping a keen eye on the shiny chances for the nearly 1000 Pokémon species now available in Pokémon Go, using reliable crowd-sourced information gathered en masse from bot accounts to see the hidden impact of recent changes by developer Niantic.
Approached by IGN for comment on the changes, a spokesperson for Niantic said it did not discuss exact shiny odds as a matter of standard policy, despite the hunt for shiny Pokémon being a core reason that many players engage with the game.
Additionally, Niantic said it was permanently boosting the shiny chance of all Pokémon found in eggs and in raids, meaning that players who regularly hatch creatures or raid (and who pay to do so more frequently) would also likely be rewarded with more shiny creatures.
But what Niantic did not mention was that, seemingly, it had balanced these changes against a general flattening of existing shiny odds which had long given a boost to rarer species. Within Pokémon Go, fans are aware that the game’s base shiny rate is 1/512, though certain species have had a longstanding “permaboost” to 1/64. This includes uncommon species such as Chansey and Onix, as well as those which debuted via eggs or raids such as Rockruff, Sandile and Mawile.
In the past, the trade-off here has been that some species which are harder to find (or which don’t typically spawn in the wild at all outside of certain in-game events) were more likely to be found shiny, as the chance of finding them at all was more remote. This was also the case with evolved Pokémon that could be featured in Mega Raids (the only main exceptions to the game’s previous lack of shiny evolved Pokémon in the wild).
Now, according to player-sourced data, almost every Pokémon found in the wild has that same base rate of 1/512, whether it’s a common Pidgey, an uncommon Charizard, or a member of the Legendary Lake Trio. The only exceptions look to be leftover errors on Niantic’s part, rather than any general rule.
In a vast thread on the changes posted to top Pokémon Go fan reddit The Silph Road by user ch33psh33p, the move away from tying shiny odds to specific species is suggested to really only benefit “junk Pokémon in eggs and raids” that previously would have been set as 1/512. This is because many desirable creatures here (Drampa, Duraludon, Honedge, etc.) were already boosted, meaning that change has mostly acted as a nerf to those rare species’ previously boosted odds in the wild.
With shiny odds officially kept opaque, and more than a little uncertainty over how specific species are actually meant to be handled, fans are once again calling for more clarity from Niantic, particularly when it comes to spawns of the ultra rare Lake Trio and Galar Legendary Birds, which appear to have had their shiny rates flattened alongside everything else.
Tom Phillips is IGN’s News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social
If you’re hoping to stock up on some new board games for your collection this year, it’s worth having a look at Amazon. Right now, and for a limited time, the retailer has an excellent offer going on where you can get a $10 Amazon credit after spending $50 on select board games.
That’s certainly a nice bonus on top of picking up some new games. There’s some great picks to choose from in Amazon’s selection as well, including Pandemic, Azul Summer Pavilion, and quite a few more. Below we’ve gathered up just a few of our favorites included in this offer, but if you’re curious to see everything that’s available, check out Amazon’s sale page here.
Get $10 Amazon Credit When You Spend $50 on Select Board Games
If you’re curious how and when this promo credit will pop up in your account, Amazon notes that it will be automatically added to your account 30 days after your chosen board game (or games) have shipped. An email will notify you when it’s available, so make sure to keep an eye out for it.
As for some of the games included in this offer, there’s quite a few we think very highly of. Both Pandemic and Azul landed on our lists of the best beginner board games, which is good news if you’re just starting a collection at home, and the best classic board games. If you’re looking for a game that you and your partner can play together, 7 Wonders Duel even earned a spot in our list of the best board games for couples.
If any of these have caught your eye, this is a great opportunity to pick up some new board games to play this year while getting a little extra spending cash for Amazon. You can even put that credit towards more board games, if you want. What’s better than that?
Hannah Hoolihan is a freelancer who writes with the guides and commerce teams here at IGN.
EA has laid off an unknown number of individuals from across its Battlefield teams, including workers at Criterion, Dice, Ripple Effect, and Motive Studios, IGN understands.
Individuals are being informed that the layoffs are taking place as part of a “realignment” across the Battlefield studios, as the team continues its ongoing, live service support for Battlefield 6 following launch. All four studios will remain operational, though the layoffs seem to be impacting a variety of teams across multiple studios and offices. IGN has reached out to EA for comment on total number and types of roles impacted, as well as for the specific reasons for the layoffs.
However, the months since Battlefield 6’s launch have seen the game begin to struggle from patch to patch. Fans have criticized a number of updates due to reasons ranging from cosmetics to movement, and three months in, Steam reviews have fallen to “Mixed” from a “Mostly Positive” start. Major issues reported include criticism of heavy monetization, use of generative AI for in-game cosmetics, and fewer content updates than expected. The criticism was heavy enough that the teams delayed the start of Season 2 to allow more time to implement community feedback. EA recently published a three-month roadmap for its expected updates.
Steam concurrents have also dropped significantly following Battlefield 6’s big launch, when it hit a huge 747,440 peak. Steam concurrents are now, typically, in the tens of thousands. For example, Battlefield 6 hit 67,000 peak concurrent players on Valve’s platform yesterday. Of course, Steam numbers do not paint the whole picture of a game’s popularity or success, given Battlefield 6 is also available on PlayStation 5 and Xbox Series X and S. But they do give us a sense of where a game is at, and in Battlefield 6’s case the drop-off may have been more dramatic than EA had expected. Meanwhile, the free-to-play Battlefield battle royale, Redsec, has had problems of its own, with a ‘Mostly Negative’ Steam user review rating for recent posts.
These layoffs come just months after the unexpected death of Battlefield franchise head Vince Zampella in a car accident. They also come as EA is preparing to be acquired by an investor group composed of Saudi Arabia’s Public Investment Fund, Silver Lake, and Affinity Partners for approximately $55 billion. However, the acquisition has not yet closed (it’s expected to close in the first quarter of the 2027 financial year, or April, May, and June of this year). IGN understands internally, EA is stating that the layoffs are unrelated to the acquisition.
Rebekah Valentine is a senior reporter for IGN. Got a story tip? Send it to rvalentine@ign.com.
