Briana White, the actress who portrays Aerith in Final Fantasy 7, has called on fans to stop tagging voice artists in spicy material featuring their characters.
The discussion began after White saw KPop: Demon Hunters actor Rei Ami discovering adult fanfiction featuring her character Zoey. In response, White suggested fans in general had “forgotten the meaning of the word inappropriate.”
“Maybe let’s normalize not tagging voice actors in smut of their characters,” White wrote in a series of posts on X. But many fans responded by saying Ami had gone on to look for the content purposefully — to which White then suggested it was all a matter of “consent.”
“It’s really a shame when VAs want to interact with the people who love the characters on social media but just a few creeps ruin it for everyone,” White wrote, acknowledging that she had seen all sorts of fan-made Final Fantasy 7 content even though she tried to “actively avoid it.”
White portrayed Aerith in the 2020 Final Fantasy 7 Remake, a role she has then continued in Crisis Core: Final Fantasy 7 Reunion, 2024’s Final Fantasy 7 Rebirth, and Final Fantasy Tactics: The Ivalice Chronicles.
“I’m so associated with FF7 that it gets shown to me every single day anyway,” White explained. “As someone said earlier, it is a matter of consent. And it can be almost impossible to know what exactly is acceptable or not to an individual just from knowing their social media persona.”
Ultimately, White conceded that while Ami had chosen to seek out the fan-made content that had prompted her initial post, fans should still be mindful of what they share. “Alright alright y’all have spoken and I hear you,” White concluded. “Point stands, just not for [Rei Ami]. Carry on.”
“It’s about making sure the pacing feels right,” series director Naoki Hamaguchi said. “It’s not about cutting out content, it’s making sure that it feels right, the speed that the story progresses at feels right, and it is fairly quick and feels like you can get through it at a reasonable pace. But it has to feel right, so that’s what I mainly intended to say there.”
Tom Phillips is IGN’s News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social
The CEO of Helldivers 2 developer Arrowhead has responded to fan concern about the choice of Justin Lin as the director of the Helldivers movie, after it emerged he leaned into not being a gamer for his pitch.
Helldivers 2 is an explosive co-op focused action shooter that’s a lot like a video game version of cult sci-fi classic Starship Troopers. You play as a disposable soldier in an ongoing galactic war, defending a fascist Super Earth regime against alien robots called Automatons and bugs called Terminids, all the while preaching “Managed Democracy.” (Incidentally, Sony is also working on a new Starship Troopers movie, which should make for a somewhat bizarre one-two punch of sci-fi satire.)
This week, The Hollywood Reporter confirmed that Justin Lin is set to direct the upcoming Helldivers live-action film adaptation. Lin is best known for his work on the Fast & Furious films, and was the director of the series from 2006’s The Fast and the Furious: Tokyo Drift to 2013’s Fast & Furious 6. He also directed 2016’s Star Trek Beyond, the final film in the modern Star Trek trilogy, and 2021’s F9.
But it was one paragraph in THR’s story that raised eyebrows within the Helldivers community:
Lin is not a gamer and leaned into that as a strength when pitching his take on the material, said insiders. He aims to find the humanity in the characters and weave timely themes into the story, while building out a world and mythology. There are plenty of details waiting to be drawn in, something that is compelling to the filmmaker.
Some fans are now worried that Lin simply won’t get what Helldivers is about because he’s not a gamer and, presumably, hasn’t played Arrowhead’s shooter. And because of that, some players believe, the Helldivers movie is at risk of missing the video game’s vibe.
Over on the official Helldivers Discord, Arrowhead CEO Shams Jorjani briefly addressed this concern. He first responded to one fan who asked if they could direct the Helldivers movie instead of Lin, saying: “let Justin Lin work his magic.”
Jorjani then responded to the following question from a fan:
“If you guys have any sway with Sony over the movie can you make sure the director plays the game at least once or at least sees some gameplay?”
Jorjani replied: “I trust Justin. He did a great job on the Star Trek movie.”
Arrowhead will likely face this sort of concern until fans see the Helldivers movie in trailer form, or hear from Lin himself on his vision for the film. And Helldivers is not alone in this approach. Amazon’s adaptation of God of War is helmed by Star Trek and Battlestar Galactica’s Ronald D. Moore, who isn’t a gamer either.
But it is in contrast to the situation with the Elden Ring movie, which is being directed by Ex Machina and Civil War director and self-confessed Elden Ring superfan Alex Garland. In June, Garland told IGN he was on his seventh playthrough of FromSoftware’s epic fantasy RPG, and revealed the boss he found the toughest to take down.
“We are not Hollywood people, and we don’t know what it takes to make a movie,” Pilestedt said. “And therefore we don’t, and shouldn’t, have final say.”
Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.
New gameplay footage of Resident Evil Requiem has teased a glimpse at a fresh area in the game filled with classic zombies — and it all looks very Resident Evil 1.
The snippet comes from a special Resident Evil program that aired recently on Japanese TV, shared online by long-time Capcom leaker DuskGolem. Within the footage, we can see Requiem’s lead character Grace Ashcroft approaching a staircase in a dimly-lit mansion, and taking aim at a shuffling zombie.
Ashcroft’s shots miss, and the zombie lunges forward to grab the character. It looks like the undead enemy manages to gnaw her arm, before she eventually fights it off — only to find another zombie waiting for her down the corridor.
There was some new Resident Evil Requiem gameplay of a new area with Grace fighting a zombie in the Resident Evil special program that aired on Japanese television. pic.twitter.com/FToPeqi4HW
— AestheticGamer aka Dusk Golem (@AestheticGamer1) December 3, 2025
It’s only a short clip, but fans are celebrating the classic Resident Evil vibe it gives off, and the setting for this gameplay segment which looks straight out of the Spencer Mansion. (It’s definitely not, but still.)
Capcom has specifically pitched Resident Evil Requiem as a return not just to the classic location of Raccoon City, but also to the series’ “overarching narrative” begun 30 years ago, after more recent games such as Resident Evil 7 and Resident Evil Village focused on events set elsewhere, with fewer connections to past titles.
What has Capcom got in store? Time is beginning to run short for Capcom to reveal much more, as Resident Evil Requiem launches on February 27, 2026 for PC, PlayStation 5, Switch 2 and Xbox Series X/S.
Tom Phillips is IGN’s News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social
At the PlayStation Partner Awards 2025 Japan Asia held in Tokyo on December 3, Monster Hunter Wilds won the Grand Award and the User’s Choice Award.
In an interview held before the award ceremony, Ryozo Tsujimoto, the producer of this work, and Yuya Tokuda, the director, answered questions from local media. IGN Japan was in attendance.
When Monster Hunter Wilds was first released on February 28, some players left harsh feedback, but Tokuda said the team worked to improve the game by taking advantage of that feedback.
“Immediately after the release, we apologized for the inconvenience caused by the volume of content and the difficulty level. Despite this, we were delighted to receive various awards, including Users’ Choice awards. We would like to thank all the players who have given their opinions and spoken warm words even in this situation. The development team was able to turn everyone’s feedback into an asset and work on the update with all our strength, and I think the result was also the reason why players voted for us,” said Tokuda.
“Monster Hunter has the characteristics of a title that gets regular updates, but player opinions were very helpful during the update process, and in order to make Monster Hunter Wilds better, the fans’ voices gave us power. There are still updates left to come, so we will continue to do our best,” added Tsujimoto.
The Monster Hunter series celebrated its 20th anniversary last year. The franchise was a hit in Japan, and after the release of Monster Hunter: World in 2018, it grew into a literal monster title overseas. According to Tokuda, the Monster Hunter Wilds team were more aware than ever of being accepted by newcomers or those who had trouble beating the games.
“We analyzed what kind of places beginners were stuck in, including Monster Hunter: World. We have worked on these points in turn to make it easier for new users to clear hurdles such as being able to reach certain monsters or to craft certain types of armor. In addition, we have tried to adopt as many new elements as possible that are beneficial for both beginners and existing users, such as Focus Mode. This time, as a result of making the game easy to beat even for new players and players who could not clear it before, I think the difficulty curve was a little lacking for existing users,” said Tokuda.
Tokuda said the team has focused on creating more difficult content with each update.
“If you beat the game immediately after its release and stopped playing, I would appreciate it if you could pick it up again,” said Tokuda.
Monster Hunter Wilds still has updates to come, but Tsujimoto also talked a little about the future of the series.
“Of course, we don’t intend to stop the series here. We plan to continue, and we want to let more people play. In addition, I would like to think about things beyond the games so that we can further expand the potential of the Monster Hunter IP,” said Tsujimoto.
From Tsujimoto’s remarks, it seems we can continue to look forward to new games and more in the Monster Hunter series.
Tsujimoto was also asked where Monster Hunter stands within the overall catalog of Capcom IP, which he answered diplomatically.
“Capcom is a company with various IPs, and every IP is very important. I’m in charge of Monster Hunter now, that’s all I can comment on, but as Capcom, we want to expand all our IPs,” he said.
Capcom is scheduled to release Resident Evil Requiem, Onimusha Way of the Sword, and Pragmata in 2026.
Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.
Legendary voice actress Jennifer Hale has been replaced as the voice of Samus in Metroid Prime 4, the new game’s credits have revealed.
Numerous actors have voiced Samus over the years, though Hale had been the artist behind most of the bounty hunter’s grunts and cries in Metroid Prime 1, 2 and 3 (with some additional work from a second artist, Vanessa Marshall).
Many fans had assumed Hale would return as Samus in Nintendo’s long-awaited new Prime game, but Nintendo Life has now reported on Metroid Prime 4’s credits, which list that Erin Yvette has taken on the role of Samus.
If you’re playing Metroid Prime 4 and think Samus’ grunts sound familiar, Yvette previously voiced Snow White in The Wolf Among Us, Alex in Oxenfree, and can currently be heard as Blonde Blazer in Dispatch.
IGN recently caught up with Hale and discussed her past work as Samus, and questioned whether she had recorded any new material for Metroid Prime 4 over the course of its lengthy development.
“I don’t know,” Hale told IGN. “I have no recollection of recording it or signing a contract, so it could be no. When we work, this is the thing, everything’s under a code name, so they would’ve called it Sasquatch or Pineapple or Cookie Jar. And ‘okay, I’m going to do Cookie Jar.’ And then when you get to the session they’ll tell you, but it stays in your brain for so much shorter a time. It doesn’t stick as much.”
While Hale’s work as Samus is limited to the famously silent bounty hunter’s range of grunts, she said she still had a full voice for the character in her mind while performing the role.
“I like to have identified a character’s way of speaking before I do grunting for them, because how you grunt is different to how I grunt, to how anyone else grunts,” Hale explained. “It’s very specific. If you are a civilian and you’re grunting, you’re like… [makes surprised grunt noise] because it’s all surprising and it’s all new. If you’ve done it a million times, you’re like [makes short grunt noise], because you’ve gone under fire 1,800 times and you’re used to it.”
Hale has voiced a string of famous video game characters over the years, including Ratchet and Clank’s Rivet, Metal Gear Solid’s Naomi Hunter, and BioShock Infinite’s Rosalind Lutece. But it’s for her role in Mass Effect that she remains perhaps known. Speaking to IGN, Hale said she hadn’t been asked to return for Mass Effect 5 yet, but “would be there before they finish the sentence” if BioWare got in touch.
“Not all of Prime 4’s additions work, but this is still an excellent comeback,” IGN wrote in our Metroid Prime 4 review, scoring the game an 8/10.
Tom Phillips is IGN’s News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social
Fern “Antireal” Hook, the artist who found her own designs and graphics in Bungie’s Marathon, has confirmed she has “resolved” the issue with the studio and its parent company Sony.
In a brief update posted to X/Twitter, Hook wrote: “The Marathon art issue has been resolved with Bungie and Sony Interactive Entertainment to my satisfaction.” She did not provide details of any settlement.
bungie is of course not obligated to hire me when making a game that draws overwhelmingly from the same design language i have refined for the last decade, but clearly my work was good enough to pillage for ideas and plaster all over their game without pay or attribution. pic.twitter.com/G3FbPtbPJD
Shortly afterwards, Marathon game director Joe Ziegler and art director Joe Cross apologized on a painfully uncomfortable livestream that featured no Marathon art or footage at all, as the team was “still scrubbing all of our assets to make sure that we are being respectful of the situation.” The studio commenced an “immediate investigation,” eventually acknowledging that a “former Bungie artist” had indeed used Fern Hook’s work without compensation or credit.
And then, of course, Marathon was delayed into 2026 as Bungie worked to respond to feedback from playtests. Things went very quiet until Marathon reemerged in October, when Bungie announced the extraction shooter was ready for a limited, invite-only playtest for players in North America and Europe across PS5, Xbox Series X and S, and Steam.
Vikki Blake is a reporter for IGN, as well as a critic, columnist, and consultant with 15+ years experience working with some of the world’s biggest gaming sites and publications. She’s also a Guardian, Spartan, Silent Hillian, Legend, and perpetually High Chaos. Find her at BlueSky.
The Warhammer 40,000 setting contains some pretty advanced technology. Blackstone Fortresses can destroy entire solar systems. The Aeonic Orb contains the power of an entire sun. And — get this — the Speranza, a massive vessel the size of a continent, can actually manipulate a black hole and fire it. Ouch!
So yeah, the Warhammer 40,000 setting has galaxy crushing might under its belt. But, it seems, the various races of the 41st millennium still don’t know what’s going on inside a black hole. And that’s not just the Imperium of Man letting the side down, either. It seems no-one — not even the incredibly advanced Necrons — have managed to work it out.
Confirmation comes from one of the latest Warhammer 40,000 novels, Guy Hayley’s Archmagos. It stars the much-loved 10,000 year-old dominus of the Adeptus Mechanicus, Belisarius Cawl, who travels to a Necron tomb world trapped on the event horizon of a black hole. And so, Belisarius Cawl ends up talking about black holes in general, and it’s this bit that surprised me as I was reading the book.
Warning! Spoilers for Warhammer 40,000 novel Archmagos follow:
Early on in the book, Belisarius Cawl ruminates on the big knowledge gap the races of the Warhammer 40,000 universe have when it comes to black holes. During this metaphysical ponder, he speculates that humanity, even during what’s called the Dark Age of Technology (the largely unexplored time period in which humanity was at its technological zenith), had no idea how they work. And, most surprising of all, neither do the Necrons.
Necrons, for the uninitiated, are terrifying mechanical warriors who wiped out an entire race of star gods long before the Emperor was even conceived (if he was, indeed, conceived). They’re meant to be the most technologically advanced of all the xenos, and use weapons far beyond our understanding. And so I was somewhat surprised to learn that the physics at play inside a black hole are a mystery to the Necrons, as they are to us in the real world.
Here’s what Belisarius Cawl, “the galaxy’s pre-eminent mind,” as he puts it, has to say about black holes:
Nobody really knows what these things are, even me. If we were to fall within, would we be destroyed, or would we emerge in some other place? I have never come across a satisfactory answer from any species. I doubt our ancestors at the height of their technology understood them. Some ancient Necrontyr records I… came into posession of by completely legitimate means, say they believe them to be the graves of their mightiest star gods. Maybe that is true. Why not? If a star can birth something with the power of a god, then why wouldn’t an astronomical body like this harbor similar secrets?
There was something grounding about reading this section of the book, something that made the often bizarre and unknowable Warhammer 40,000 universe ever so slightly relatable. The human race today does not know what goes on inside a black hole. I mean, we have theories, but we’re largely stumped. A black hole could lead to a new universe. Some think a black hole could lead to a white hole. Personally, I love the black hole leads to a 4D representation of a magical bookshelf idea. The point is we just don’t know. And it felt comforting somehow to learn that even 40,000 years in the future, we still haven’t worked it out.
A glance online at my usual 40k hideouts threw up a debate over this. I know — shock horror! — Warhammer 40,000 fans have something to say about the realism of the sci-fi universe they love so much. Some are pointing out that the C’Tan — those star gods I mentioned earlier — are said to have been able to call black holes into being. So if the Necrons defeated the C’Tan and ripped off their tech, shouldn’t they have black holes all figured out?
And others are pointing out that the Necrons, as they’ve been described to us in prior Warhammer 40,000 novels, are able to use black holes pretty effortlessly. “But… we have literally entire cryptek branch of black hole science called Voidmancers, they can just make black hole with wave of a hand… wear them as capes… it’s just author who didn’t know anything about it,” declared Mastercio before quoting from a book. “So we have entire group of them being able to just channel black holes, but this book just say that they can’t… bullshit.”
But Belisarius Cawl is not saying that the races of the 41st millennium are unable to use a black hole or interact with one in various ways, just that they don’t really understand their inner workings — literally what’s going on inside of them.
Which leads me onto the next thought: in the Warhammer 40,000 universe, what is going on inside a black hole? Having a bit of fun here, perhaps Warhammer 40,000 black holes have something to do with the warp, the alternate dimension hellscape in which the Chaos gods rile each other up and demons plot to tear into realspace and end all life as we know it. Maybe if you were to actually venture into a Warhammer 40,000 black hole, you’d end up in Grandfather Nurgle’s garden for a spot of (probably very bad for you) tea. Or perhaps you’d find yourself the inadvertent star of a Slaaneshi sex show. The mind boggles.
As with most things Warhammer 40,000, not knowing the truth of a thing is all part of the fun. Belisarius Cawl’s drive-by lecture on the nature of black holes should be considered as reliable as 90% of the lore fans like me fuss over on a daily basis. That is to say, not very reliable at all. And Games Workshop, as is its want, could one day decide to contradict everything Cawl says here and show us that someone somewhere in the Warhammer 40,000 universe knows exactly how black holes work inside and out.
Perhaps Trazyn the Infinite has had a peek.
Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.
When I played Escape From Tarkov for the first time in 2018, I remember being captivated by its obtuse, insanely challenging structure. Like PUBG was to the battle royale genre, this promising prototype of what would go on to be called an extraction shooter had so many unique elements going for it, even if it was sometimes completely broken in its Early Access state. All these years later, now finally hitting 1.0, it’s pretty shocking how much has changed while it simultaneously remains exactly as exasperating as I remember it. The hands-off approach to onboarding that forces newcomers to beat their heads against its unforgiving mechanics for dozens of hours before claiming even a single victory captures the same relentless challenge I’ve always adored, while other frustrations, like its continued bugs, poor technical performance, and inability to address an abundance of cheaters, remains disappointingly worse than ever. After over 120 hours with the 1.0 version, there’s still something utterly compelling about the hyper-realistic combat simulation and never-ending loot treadmill it puts you on, but I can’t help but feel like this progenitor may have been left in the dust of the genre it spawned.
Escape From Tarkov isn’t just the original standalone extraction shooter, but also the one most fanatically adherent to the ruthless principles on which the genre was founded. Not only are you thrown into a deadly hellscape filled with lethal NPCs and merciless human opponents, you’re also given absolutely no guidance in your quest for loot as you fight to survive. Practically none of the progression systems are explained to you, there’s no map for you to look at while out in the field to indicate where you or the extraction points are, and you could easily spend tens of hours studying weapon attachments and ammo types just to understand how the heck to use the tools of death you’ll find on your journey.
In some ways, I really admire how unapologetic Tarkov is – its beautifully exacting game design, and the sense of discovery that takes place across hundreds of lessons learned the hard way can be incredibly rewarding. But then there are times where it’s all just so dang frustrating, like how atrociously the UI and menus are organized, as if they were designed specifically to offend you. Whether or not the payoff of finally feeling comfortable enough to bring your best equipment out and try for a proper extraction is worth it will ultimately depend on a couple things: your tolerance for pain, and your drive to master something designed to really test your expertise of systems Tarkov refuses to teach you.
I find myself somewhere in the middle, sometimes mesmerized by its impenetrable and challenging rough edges, while other times just downright disgusted by janky design decisions. For instance, I really got a kick out of figuring out various armor protection levels and corresponding ammo penetration ratings, even though it oftentimes proved to be a complete maze and came with an extremely harsh learning curve of figuring out why I died instantly in one raid but survived getting shot 20 times in the next. For me, this was unforgiving in all the right ways, and a noted lack of handholding is something I connect with much more than the growing number of games that annoyingly treat you like you’re stupid with ongoing tutorials. On the other hand, memorizing maps over the course of 10 hours apiece was less entertaining, specifically because this meant I frequently spent 20 minutes wandering around in search of an exit or a mission objective that was only described to me in the vaguest of terms. It seems like the community’s solution here is to use online tools to figure this stuff out, so it’s sorta baffling that they wouldn’t just integrate one of those directly.
Even with everything that frustrates me about Tarkov, it’ll likely keep me playing for hundreds more hours.
So, with everything that frustrates me about Tarkov, what kept me playing for well over 100 hours, and what will likely keep me playing for hundreds more over the next year? Well, it’s the fact that once you put in the time to dig your way through all the layers of grime and obtuseness, you’ll find a pretty stellar extraction shooter that is quite hard to put down. Combat is an incredibly tense process of listening for rustling footsteps nearby and leaning out from behind cover to take precise shots, where a single bullet is all it could take to end another player’s run or put down a marauding NPC. Running around with your rifle’s flashlight blaring is an invitation for every enemy on the map to head in your direction with the aim of taking the gear from your corpse, and extracting with your loot is almost always accompanied by a deep sigh of relief.
NPC factions, including bosses, add a really interesting element of surprise and randomness to raids, too, where your best-laid plans go sideways when you run into an unexpected badass. They range from a psychopath chasing you around with a giant sledgehammer to a cowardly wimp surrounded by four heavily armed and armored guards. You might also find some other unexpected factions, like robed cultists creeping around in the woods with poisoned daggers, which is exactly as terrifying as it sounds the first time you encounter them. Discovering these things organically and either getting destroyed by or besting especially tough enemies to claim their loot kept me invested in exploring maps even when navigating them was sometimes an enormous pain.
When you’re not raiding, you’ll spend an almost equal amount of time with the tasks any extraction shooter worth its salt will have you doing: managing all that loot back at your hideout and using it to unlock cool stuff. The UI built around those activities is downright bad, and you’ll have to work to figure out some of the unintuitive systems that compose them, but the loot game is just about the best one out there once you do. It puts you on a beautiful treadmill that realistically takes thousands of hours to properly complete. That rewarding sense of forward momentum isn’t always there, as you’ll spend lots of time just grinding for cash by selling everything you find out on raids to vendors and stuffing your pockets with an absolutely obscene amount of nails and screw nuts to craft items you need back at your base. But it’s hard to argue that developer Battlestate Games hasn’t created one of the longest, most consistently enjoyable progression systems out there.
The upgrades in question range from facilities in your hideout that let you do things like restore your damage taken from previous raids faster, store more loot in your stash, or test out your weapons at a firing range, almost all of which are genuinely worth the effort to unlock (though many of those demand a whole helluva lot of resources in order to do so). You’ll also have an absolutely enormous list of story missions and side quests to complete, special items to unlock from vendors by exchanging rare materials, and more. Missions run the gamut of killing a certain amount of enemy combatants or looting specific items while out on raids, to more involved, plot-focused stuff like a side quest where I set up camcorders all over a warehouse to record myself killing people, presumably to then cut into a sick highlights reel. Sure, actually chatting with each of the vendors, who only speak Russian and have little in the way of personalities, is a waste of time that only highlights how not great the story is, but in a game about loot and long-term progression goals, Tarkov absolutely nails that bit, with a truly brilliant, Sisyphean grind.
It takes work to figure out, but the loot game is just about the best one out there once you do.
Although most runs are quite stressful and require you to put all the gear you’re carrying on the line, one nice element of Tarkov is the ability to do “SCAV Runs” where you play as a street rat that uses a random set of borrowed equipment. In these low stakes runs, you have a whole lot to gain from taking out a rival player or geared-up NPC and basically nothing to lose from dying yourself, which provides a great opportunity for a come-up that’s especially helpful after your latest devastating loss. Plus, it puts you on the same team as other SCAVs, and pitting a group of poorly geared plebs against those with better equipment is an entertaining twist on the extraction formula in its own right. I tried to do SCAV runs in between each proper deployment and found them to be a pretty great cooldown option after each sweaty raid.
One of the upsides of bothering to learn each of Tarkov’s 11 maps is that they’re all actually quite diverse and are filled with unique takes on the extraction format. On one map, I fought my way through military bases and bunkers and had to stand my ground while a massive armored train arrived to spirit me and my loot away, while on another I wandered through the woods and the wreckage of a crashed airplane while constantly looking to the horizon for snipers due to a distinct lack of cover. Another level requires keycards to enter and is filled with incredibly good loot, but also has equally formidable foes stalking the halls, while another still is just a massive shopping mall filled with stores waiting to be looted. Learning the ins and outs of these levels can be a bit painful at the outset, especially since some things are quite annoyingly unclear, like how the boundaries of most maps are never explained and lethally enforced. For example, in one level you’ll get sniped by unseen enemies without warning if you walk beyond the ill-defined borders, and in another you’ll get immediately blown to pieces due to the edges of the level being a literal mine field.
Unfortunately, Tarkov’s intentionally punishing design is marred by completely unintentional issues that have made this full launch much harder to enjoy. At least in these first couple of weeks with 1.0, there are still numerous bugs I would’ve hoped to have been cleaned up after so many years in Early Access, like characters getting caught on objects or clipping through walls, desync and rubber-banding that monkeys with hit registration, loot that’s visible but painfully lodged in the environment so it can’t be picked up, and numerous issues with the already ugly-as-sin menus that make navigating them even more frustrating.
Even more alarming is the continued prevalence of cheaters, who continue to plague the PvP servers so they can sell their ill-gotten items back to the people they’ve ripped off via an in-game trading market. It’s all the usual stuff like wallhacks, aimbots, and moving at faster-then-normal speeds, but in a game where all your loot is on the line, not doing a better job to mitigate this kind of stuff is pretty hard to swallow. In fact, it was such an issue in my first 10 hours that I decided to spend the vast majority of my time for this review just focusing on Tarkov’s PvE mode for my sanity’s sake, which removes other players entirely aside from those you bring with you. For a sweaty PvP tryhard like myself, forsaking the competitive mode goes against every instinct I have, but with the exploitable state of the PvP servers as they are, it was definitely the right choice.
This thing looks and performs badly by the standards of the day.
There’s also the matter of just how bad this thing looks and performs by the standards of the day. I remember thinking Tarkov already didn’t look great when I last revisited it a few years ago, and coming back to it again in 2025 has not done it any favors. Objects in the environment are blurry and low res, and (with the exception of the vendors you’ll chat with as you complete quests) human faces look like they were modeled using the monster-generator that is The Elder Scrolls IV: Oblivion’s character creator. And although the servers have never exactly been speedy, it’s still pretty shocking that it took me about five minutes of loading every time I wanted to enter into a match, during which time my menu was locked up so I couldn’t even fiddle with my inventory or engage in stash organizing busywork while waiting.
Even if you can look past a lot of the jankiness, which I generally can, you still might be infuriated by the current monetization model. Now, normally cost has no actual impact on the quality of a game’s content, but Tarkov is a bit of an exception in that its uber-premium packages come with straight up pay-to-win perks that are just about as nasty as can be. Over the course of the past two weeks, I progressively purchased all four of Tarkov’s escalating packages in order to try them out firsthand, which range from the standard $50 up to a whopping $250, and each one offers more appallingly game-changing boons than the last.
The benefits granted are incredibly powerful boosts that give you quite an advantage. You can get an exclusive safety pouch that’s up to 50% larger, allowing you to keep more of your valuable items upon death. Certain hideout upgrades that offer huge benefits can be unlocked automatically, like a massive amount of additional storage space that normally costs millions of in-game dollars and rare materials to acquire. Most outrageous of all, though, are the boosts to vendor reputations that would otherwise take dozens upon dozens of hours to earn, which are a pathway to purchasing better gear that gives you a huge leg up on progression. It’s so insane and shameless that I honestly felt bad playing alongside my friends who had the standard edition.
Escape From Tarkov also has a purely PvP mode, called Arena, where you go toe-to-toe with rival players in claustrophobic stages, but I can’t really recommend it. Many of Escape From Tarkov’s interesting combat mechanics, like sparse ammo and the need to heal injuries by using a variety of medical equipment on the affected area, just don’t really work in a purely fast-paced arena FPS. Plus, I only spent a small amount of time playing this mode, but in this time I encountered some of the most toxic ghouls I’ve met online in any game. A typical match involves teammates with slurs for usernames threatening you to perform well in the lobby, before screaming at you and quitting the match after a single round. Some of Escape From Tarkov’s quests will point you toward this mode and playing matches can reward loot that you can bring back to the main game, but even so, I don’t suggest spending time here.
We’ve made it, friends. The last month of the year has arrived, and it’s bringing a handful of new PS5, Xbox Series X|S, Nintendo Switch, Switch 2, and PC games to see us through until the new year. Most (but not all!) of the biggest games of 2025 have already arrived, but a few more are yet to come. This month we get games like Metroid Prime 4: Beyond, Octopath Traveler 0, and perhaps most importantly, Terminator 2D: No Fate. Read on to see release dates for all the biggest games and expansions coming out this month and beyond. Let’s have a look.
If you’re the preordering type, you can click the links for the platform of your choice to see the game at Amazon (if available).
Last week, we reported that disturbing horror game Horses had been banned from Steam, with developer Santa Ragione claiming that Valve refused to provide a clear reason for the ban or discuss it further with the studio. Now, at the last possible minute before the game was set to release widely across other PC store fronts, Epic Games Store has also banned Horses.
This news was shared with us by Santa Ragione, who passed on a press release stating that Epic informed them 24 hours before the game’s release that it would not be distributing Horses, despite the studio’s build being approved for release weeks earlier. Per the developer, no specifics on what content was at issue were provided, “only broad and demonstrably incorrect claims that it violated their content guidelines.” When Santa Ragione appealed, the studio says it was denied 12 hours later “without further explanation.”
As Santa Ragione explains it:
Epic’s decision comes after the overwhelming support Santa Ragione received last week upon the disclosure of Steam’s ban, including the public announcement by Epic’s and Steam’s competitor GOG that they would promote and support the game. We do not know what triggered Epic’s sudden decision. Following the announcement of Steam’s ban, Horses became highly visible online, with strong support and a small but vocal opposition. It is difficult not to wonder whether this visibility played a greater role in Epic’s choice than any newly discovered issue with the game itself.
IGN has asked Epic Games for comment and will update when and if we hear back. At the time of this article’s publication, Horses is still listed as “Coming Soon” on the Epic Games Store.
Horses was previously revealed several years ago, and has made appearances in showcases like The Indie Horror Showcase and Day of the Devs. It’s gained some attention for its deeply unsettling premise: a young man travels to a remote horse farm to work for several weeks over the summer, only to find the farmer’s “horses” are actually enslaved, naked humans with horse masks affixed to their heads. Horses, says Santa Ragione, is meant to be upsetting: it’s at least partly a commentary on what sorts of morally horrifying things people will accept or even participate in without pushback, a subject we found was executed artfully, if upsettingly, in our 7/10 review of the game.
And yet, the game has been banned from now both Steam and Epic. Last week, we reported that developer Santa Ragione said it was rejected from Steam after the team submitted an unfinished but playable build of the game in order to create a store page, an unusual request that Valve said was necessary. Valve then rejected Horses, generally citing its Steam Onboarding Documentation, as well as the sentence, “Regardless of a developer’s intentions with their product, we will not distribute content that appears, in our judgment, to depict sexual conduct involving a minor.”
Santa Ragione has since guessed this was in relation to a scene in the game at the time that depicted a fully clothed child “riding” one of the horses on their shoulders. However, the studio says it has since changed that scene to involve an adult instead of a child, and that all characters in the game are clearly adults in their 20s and up, a fact that has remained true in the final version of the game that IGN reviewed, ironically, on the Epic Games Store. Santa Ragione says it was not given the opportunity to resubmit a build to be reconsidered by Valve, and remains unsure if this scene was even what triggered the ban in the first place.
In response, Valve issued a statement claiming it “gave the developer feedback about why we couldn’t ship the game on Steam, consistent with our onboarding rules and guidelines” and that its internal content review team discussed a re-review “extensively” but decided against it.
