CD Projekt Devs Wants to ‘Push the Envelope’ With Social Issues in Cyberpunk 2077 Sequel

Cyberpunk 2077 developer CD Projekt Red recently discussed the future of the RPG series and where it still has room to grow in its upcoming sequel, codenamed Project Orion. One hope the studio has for its upcoming sequel is to do a better job of pushing the envelope in its commentary on social issues.

During a recent episode of CDProject Red’s AnswerRed Podcast, associate game director Paweł Sasko underscored how, despite the game’s nature of not hand-feeding players answers to prevailing social issues, Cyberpunk 2077 didn’t go far enough in its social commentary.

“I see that we didn’t push the envelope far enough in some places, for instance,” Sasko said. “Like, let’s say, the homeless crisis. When I look at it, I’m like, ‘We weren’t far enough in ‘[Cyberpunk 2077.’] We thought that we were dystopian, but we just touched the surface.”

Dan Hernberg, the executive producer for Project Orion, agreed with Sasko that Cyberpunk’s portrayal of social issues was flawed and voiced his optimism for Orion furthering the game’s social commentary in ways 2077 fell short.

“I think the really cool thing about Cyberpunk—and the dystopian future that it has—is there’s so much relevance to today, of megacorporations, of people on the fringes, you know, of people just being exploited resources, of the wealth gap, of all these things,” Hernberg said. “I think that 2077 allows us to tell these stories in ways where—at the heart of it—there’s always relationships and people, but we’re in a really broken world and that we can call out some of these things.

“I think for me that’s what Cyberpunk is about, exploring those themes but in a very poignant way,” Hernberg continued. “I love the world, and I think that’s what we’re going to try to do with Project Orion. Really continue to lean into that and continue to say, ‘What is [the state of the world ] today,’ and what does it look like in a couple of years.”

Back in March, CD Projekt Red hired Hernberg, a former head of production at Amazon Games and lead product manager at Blizzard Entertainment, as one of the veteran developers working on Orion in its Boston studio. Although details on Project Orion are scarce, one thing we know for sure about the follow-up title is that the company wants it to follow in the footsteps of The Witcher’s evolution. Meaning, that CD Projekt Red aims to have Orion usher in more gameplay enhancements and features than its predecessor once it finally releases. Another rumored idea for the title is that it might include Cyberpunk 2077’s scrapped multiplayer feature.

In our review of Cyberpunk 2077: Phantom Liberty, we gave the game a 9/10, writing, “Cyberpunk 2077: Phantom Liberty completes an immense turnaround for CD Projekt Red’s future RPG kickstarted with the anime spinoff, Cyberpunk: Edgerunners and its latest 2.0 Update.”

Isaiah Colbert is a freelance writer for IGN. You can follow them on Twitter @ShinEyeZehUhh.

Can Metaphor: ReFantazio Escape the Shadow of Persona? Exploring One of 2024’s Most Interesting Games

Eight years ago, Japanese director Katsura Hashino announced that he was forming a new team within Atlus after more than a decade spent working on the Persona series (and Catherine), saying he wanted to try something new. Last summer, his game was finally revealed – Metaphor: ReFantazio, an RPG that features plenty of similarities to the Persona games, but has a personality all its own.

In broad strokes, Metaphor retains many familiar elements from Hashino’s previous games. Like its spiritual predecessors, Metaphor utilizes a turn-based command system built around exploiting the weaknesses of enemies. The main character, an outcast who uses forbidden magic, looks a great deal like the hero of Persona 3 Reload thanks in no small part to the art of Shigenori Soejima. Even some of the terminology is the same, a notable example being Tarukaja – a spell that boosts attacks in Persona and now Metaphor (though Hashino denies any link between the two).

Its pedigree and excellent production values has been enough to generate excitement in some RPG circles, with some going so far as to call it their most anticipated game of the year. But others in the broader gaming community are a bit more perplexed, either because of the similarities to Persona, because of the unconventional name, or both.

So what is Metaphor: ReFantazio really all about? And does it have a chance to step out of Persona’s shadow and establish a fanbase all of its own? These are still open questions, but I did get a little closer to developing my own understanding of Metaphor when I played it at Summer Game Fest earlier this month.

About Metaphor’s name, and why it doesn’t have romance

First, that name, which is definitely a mouthful. The Metaphor part is easy enough to understand – Hashino says that he wants players to be able to relate the story to their own lives. In short, he wants it to be a metaphor. “We had all these different ideas. We couldn’t think of many good ones so we were like, ‘Okay, just Metaphor. It’s easy.’”

As for the second part, Hashino says, the team wanted to rethink the idea of a fantasy world. Hence, ReFantazio. Okay, so it doesn’t quite roll off the tongue, but you can’t say it’s not memorable.

As for the game itself, the demo I saw consisted of three different sections – a story sequence, a dungeon crawling sequence, and a boss battle. The demo begins by establishing some of the world through Gallica, a fairy companion who brings a bit of an 80s D&D vibe to Metaphor.

In the sequence, Gallica relates the legend of a place that looks suspiciously like New York City, with Gallica amazed by a world with no magic, no tribal conflict, and “towers of glass that reach the heavens.” It’s a story that seems to suggest that discrimination is a recurring theme through Metaphor, with many of the main cast members battling prejudice of some sort.

As we developed the concept of the game, we realized our interest in exploring the idea of inner strength and how people overcome limitations

Speaking with IGN in a follow-up email, Hashino confirmed that Metaphor’s story is “closely related to the theme of changing the world for the better.”

“As we approached this project, we wanted to challenge ourselves to do something different from our past works while still leveraging the comprehensive strength and experience of Atlus as an RPG maker. As we developed the concept of the game, we realized our interest in exploring the idea of inner strength and how people overcome limitations. Essentially we wanted to explore how we can become the best possible versions of ourselves,” he said.

“To achieve this, we focused on how people perceive each other based on personality or personal interactions. This led us to the idea that biases or prejudices can form around judgements of these characteristics. We created a backdrop to this world around the idea that various characters in this world are exposed to some form of bias or prejudice in this regard.”

While the fantasy world of Metaphor is different from ours in many ways, if we are able to convey it well, we believe fans will be able to find various similarities between it and our own.”

Ultimately, Hashino says, his main goal for Metaphor was to move away from Persona’s modern setting while sticking to the format he knows best. That means that Metaphor plays a great deal like Persona on a moment to moment basis, which is especially evident in the dungeon crawling and boss battle sequences. It even has summons that look a lot like the demons from Personas. Admittedly, there’s plenty of nuance to be found in these comparisons – among other things, a big part of the strategy is positioning your characters in the front or the back row, and the battles overall are much faster – but on the surface the resemblance is clear.

The most meaningful change can be found in the third section of the demo, which in addition to the boss battle showcases a bit of how the story progresses. Where the latter day Persona games are built around a linear daily school calendar, Metaphor is structured more like a road trip where you have the freedom to go where you please (Hashino compares it to a vacation where you won’t be able to see everything in one playthrough).

Setting a destination on the Gauntlet Runner, the crew’s landship, will take a certain amount of time to reach, during which you can build up your stats by reading books with titles like “Pride and Persuasion” or doing laundry.

Notably, Metaphor doesn’t have any romantic connections to build, unlike Persona, which Hashino attributes to the desire to avoid making a “romance game.”

“We made [Persona] as a RPG story about teenagers. And teenagers, they date, they have romance. That’s part of the joy of being a young person exploring your boundaries. So that was why we included it in the game…because if we didn’t have this in, it wouldn’t really feel authentic. For our new gam…we didn’t want to include it because it didn’t feel as natural, if that makes sense,” Hashino explains.

“The second point I would like to make is the main plot focus is that there’s this character, the protagonist, who is trying to become the next king. And rather than focusing on his love life, we wanted to make sure we have this whole follower system. So we wanted people to focus on that.”

Metaphor draws heavily from 80s and 90s fantasy

This approach sits at the core of what separates Metaphor from Hashino’s previous work. I’ve often compared the latter day Persona games to something like an anime Buffy the Vampires Slayer, featuring Japanese teenagers who deal with high school drama by day and battle demons by night. When I played Metaphor, though, the first show that popped into my head was Aura Battle Dunbine – an early example of the isekai sub-genre featuring a young motorcycle enthusiast who is transported to a fantasy world populated by giant robots resembling bugs.

Hashino acknowledges that he’s a fan of Dunbine, but chalks up any influence it might have to its significant popularity in the 1980s. More significant may be what Soejima calls “the fantasy boom” of the 1980s and 90s, which gave rise to Record of Lodoss War, Dragon Quest, and a host of other well-known properties.

“So I lived through the late ’80s and early ’90s when there was a fantasy boom over here, and all the fantasy stuff that existed in that era and that previously came from overseas was part of my artistic DNA,” Soejima says. “After that, I read a lot of really serious fantasy stuff, which came into me and mixed into this other base layer and helped form my DNA as well. The first fantasy I interacted with was [Dungeons & Dragons] way, way back in the day. Probably more than books, Wizardry would be what really influenced me from the fantasy genre.”

One way or another, Metaphor figures to be an interesting experiment for Hashino and company. Given a new canvas, the team seems keen to put their own stamp on the fantasy genre, drawing from well-known influences and giving them a new spin with their distinct verve and style. It feels at once familiar and invigorating – a fresh approach that still leans into their individual strengths, with a heightened art style and even faster battle system. Atlus, for its part, is treating it like the launch of a new franchise, giving it a global launch with a prime release slot in October.

“When we were creating this game, we thought, okay, we know that people do like the approach that we take,” Hashino says, “so we have more confidence to realize our vision without fear of how people will react, because we think people will like our game.”

We’ll be able to see for ourselves when Metaphor: ReFantazio releases October 11 on PlayStation 4, PlayStation 4, Xbox Series X|S, and PC.

Kat Bailey is IGN’s News Director as well as co-host of Nintendo Voice Chat. Have a tip? Send her a DM at @the_katbot.

GOG’s Resident Evil 2 PC Port Is Based on the Original 1998 PC Version, Not the Sourcenext Version

A few days ago, Capcom and GOG surprised fans by announcing they would be re-releasing the original Resident Evil trilogy on PC. Along with providing easier access to the original trilogy, DRM-free, GOG has also revealed that the original version of Resident Evil 2 is based on the 1998 Windows PC version.

The news was first reported by YouTuber The Sphere Hunter, who revealed she had the chance to play the first two games in advance — revealing that Resident Evil 2 classic was based on the original Windows PC version, not the Sourcenext version. A GOG spokesperson also confirmed this detail to IGN in a statement sent via email.

If you’re unfamiliar with these two ports, the former was released in 1998 for Windows 98, while the latter, developed by software company Sourcenext, was a WindowsXP-compatible port released exclusively in Japan in 2006.

The biggest difference between these two versions is that the Sourcenext version provided higher-quality full-motion videos (FMVs). Many Resident Evil fans have argued that the Sourcenext version was the definitive way to play Resident Evil 2 on PC. Though this version was only released in Japan, as content creator Ultra Creed pointed out, fans have used the Resident Evil 2 Classic REbirth mod to not only translate the Sourcenext version to English (minus the FMVs) but also add support for modern controllers and added optional gameplay features you could enable, such as quick turns and tactical reloads.

In our review of the original PC version of Resident Evil 2, IGN wrote: “It’s just too shallow for the average PC gamer. With such little change over the Playstation version, it makes you wonder why it took Capcom three months to get this one out on the PC.”

The original Resident Evil is now available on GOG. Resident Evil 2 and 3 are not available yet.

Taylor is a Reporter at IGN. You can follow her on Twitter @TayNixster.

Konami’s Metal Gear Series Producer Says It Would Be a ‘Dream’ to Work With Hideo Kojima Again

Hideo Kojima left Konami and the Metal Gear series he created nine years ago, but for the person now producing the franchise it would be a “dream” to have the legendary developer back in the fold.

As reported by VGC, Konami’s Metal Gear series producer Noriaki Okamura said on a recent livestream published to YouTube that, personally speaking, he’d love to work with Kojima again on Metal Gear.

“But just speaking for myself, personally, I’d like nothing better than to work with Mr. Kojima and the rest of the team again,” Okamura said. “If that could happen, that would be the dream.

“But people have moved on to new things and new commitments, and that’s just our current reality. We can’t just take it for granted that everyone would work with us again, or let ourselves be completely dependent on them.”

Of course, it seems extremely unlikely that Hideo Kojima will work on Metal Gear again after his high-profile exit from Konami amid the launch of Metal Gear Solid 5 in September 2015. Kojima went on to take his studio, Kojima Productions, into new intellectual property territory with the release of Death Stranding, and is now working on a sequel among a number of other projects. There’s even a Death Stranding movie in the works.

Perhaps mindful of that, Okamura said it was up to Konami’s in-house Metal Gear team to do a good job with new entries in the series, including the upcoming Metal Gear Solid 3 remake, which was the focus of the livestream.

Metal Gear Solid Δ: Snake Eater, as it’s known, is said to be a faithful remake of 2004’s Metal Gear Solid 3, so much so that Konami isn’t even planning on recording new voice lines for it. Despite that, the Delta symbol in the name of the remake is meant to highlight “‘change’ or ‘difference’ without changing structure,” Konami previously explained.

Meanwhile, Okamura confirmed Kojima and the original staff will be credited in the Unreal Engine 5-powered remake, as they were in last year’s Metal Gear Solid: Master Collection Vol. 1.

Photo by John Phillips/Getty Images for Warner Bros. Pictures

Wesley is the UK News Editor for IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

College Football 25: EA Sports Reveals Top 25 Rated Teams

EA Sports has officially revealed the best overall teams available in College Football 25.

In the latest announcement regarding the highly anticipated return of College Football video games, EA Sports revealed the top 25 overall teams. The overall rating number represents the quality of the entire team, using both offensive and defensive parameters to determine it.

College Football 25’s top-rated team is the University of Georgia (UGA), which has an overall team rating of 95. UGA’s overall team rating should not be entirely surprising to some, as we learned yesterday that UGA was ranked the top offensive team and the second-best defensive team in College Football 25. Additionally, we learned earlier this week that UGA’s Sanford Stadium was ranked number five in the top 25 toughest places to play in College Football 25.

Alongside UGA, seven additional teams have a team overall rating of 90 or higher, including Ohio State (93 overall), Texas (92 overall), and LSU (90 overall). The full list is available below.

College Football 25 is the first game in the college football gaming franchise since 2013’s NCAA Football 14. Most notably, College Football 25 marks the first time real-life student-athletes are being used, with all 134 FBS schools confirmed to be featured in the game in some capacity, such as stadium traditions and mascots. Additionally, college bowl games, awards such as the Heisman Trophy, and Name, Image, and Likeness (NIL) deals are featured in College Football 25.

College Football 25 will be released on July 19 for PS5 and Xbox Series X/S. For more, check out our hands-on preview, where I explain why it is more than just a clone of the Madden NFL football games.

College Football 25’s Best Overall TeamsGeorgia – (95 OVR)

  1. Georgia – (95 OVR)
  2. Ohio State – (93 OVR)
  3. Oregon – (93 OVR)
  4. Alabama – (92 OVR)
  5. Texas – (92 OVR)
  6. Clemson – (90 OVR)
  7. Notre Dame – (90 OVR)
  8. LSU – (90 OVR)
  9. Penn State – (88 OVR)
  10. Utah – (88 OVR)
  11. Michigan – (88 OVR)
  12. Florida State – (88 OVR)
  13. Miami – (88 OVR)
  14. Texas A&M – (88 OVR)
  15. Ole Miss – (88 OVR)
  16. Colorado – (87 OVR)
  17. Oklahoma – (87 OVR)
  18. Wisconsin – (87 OVR)
  19. USC – (87 OVR)
  20. Virginia Tech – (87 OVR)
  21. NC State – (87 OVR)
  22. Kansas – (87 OVR)
  23. Arizona – (87 OVR)
  24. Oklahoma State – (87 OVR)
  25. Iowa – (87 OVR)

Taylor is a Reporter at IGN. You can follow her on Twitter @TayNixster.

IGN UK Podcast 755: Miyazaki’s Michelin Star

Cardy, Matt, and Emma have all been playing Elden Ring’s new DLC, Shadow of the Erdtree, and give an update on their (mostly spoiler-free) journeys so far, including all of the new weapons, places, and fingers they’ve seen so far. They’ve also been watching the new season of The Bear with a range of thoughts shared on the opening episodes of the restaurant drama. And finally, Emma has been getting to grips with M. Bison in the latest Street Fighter update. Plus, there’s a new Spotify-based Endless Search game to play.

Be sure to send us your thoughts about all the new games, films, and TV shows to ign_ukfeedback@ign.com.

IGN UK Podcast 755: Miyazaki’s Michelin Star

Elden Ring Dev FromSoftware Suggests Turning Off Mouse Control Apps to Improve Shadow of the Erdtree Frame-Rate

FromSoftware has warned players that performance issues experienced while playing Elden Ring’s Shadow of the Erdtree DLC may be caused by computer mouse software running in the background.

Shadow of the Erdtree released to critical acclaim on June 21 with IGN’s review awarding the expansion a 10. However, many in the community have since complained about significant performance issues on both console and PC, which contributed to a review bombing that saw the DLC slip to a ‘mixed’ overall user rating on Steam.

According to a recent FromSoftware tweet, these issues may partially be remedied by closing any third-party computer mouse software prior to launching the game. “In the PC version, the frame-rate may not be stable when playing the game while running a mouse-control related app,” read the tweet, as translated via Google Translate. “In that case, please try playing the game after stopping the mouse-control related app.”

As reported by Automaton, some players had stumbled across the suggested fix earlier this week after running into stuttering issues while using mouse gesture software. FromSoftware has also noted that players should check to see whether ray-tracing settings had been enabled erroneously on their PCs upon loading save data from a previous version of the game, which could contribute to unstable frame-rates.

Further bug fixes and balance adjustments are planned to be rolled out in future updates. Check out IGN’s guide detailing the best settings with which to take on the Shadow of the Erdtree DLC on console and PC.

Performance issues aside, Shadow of the Erdtree is off to a phenomenal start, with publisher Bandai Namco announcing earlier this week that the DLC had sold over five million copies in the three days.

Anthony is a freelance contributor covering science and video gaming news for IGN. He has over eight years experience of covering breaking developments in multiple scientific fields and absolutely no time for your shenanigans. Follow him on Twitter @BeardConGamer

Is Elden Ring: Shadow of the Erdree Too Difficult?

FromSoftware has once again delivered a critical darling in Shadow of the Erdtree, its gargantuan DLC expansion for Elden Ring. But while it has received glowing adoration from professional critics, a not-insignificant slice of players have rallied against Shadow of the Erdtree’s difficulty. Perceiving its enemies and bosses to be so challenging that they make the game unfair, some fans have review bombed the DLC on Steam and even crafted mods for the PC version that make the experience easier.

And so comes the inevitable question – is Elden Ring: Shadow of the Erdtree too difficult? Has FromSoftware finally gone too far? The answer, at least according to the various journalists and Souls content creators I’ve spoken to, is no. However, the answer to Erdtree’s steep challenge lies in much more than that age-old, condescending advice of ‘git gud’.

A Challenge Too Far?

“I was surprised to see people passing judgement on the difficulty so quickly,” says VaatiVidya, the YouTuber known for his meticulously researched FromSoft lore videos, about the review bombing. “If you’re up against something difficult, you need time to explore different areas or come up with a different strategy, and I think many critics were overlooking that.”

It’s easy to characterise some of that backlash as naivety. It is entirely unsurprising that Shadow of the Erdtree is difficult. Elden Ring is difficult, and so this DLC – locked behind two of the base game’s most challenging bosses – was bound to be a hurdle designed for the most dedicated fans. FromSoftware’s approach to DLC has always been to cater to those hardened players. In a list of the studio’s most punishing bosses, fearsome DLC foes such as Sister Friede, The Orphan of Kos, Ludwig The Holy Blade, and Darkeater Midir will all inevitably rise to the top. But it’s not just the bosses. Pushing forward through Dark Souls 3’s Ringed City and Bloodborne’s Fishing Hamlet is an uphill struggle thanks to tricky enemy placement and ‘mid-tier’ monstrosities that are practically bosses without ceremony. Such areas demand complete mastery of your abilities. There is no way to be ‘relaxed’ in FromSoftware’s expansions. By being more punishing than its parent game, Shadow of the Erdtree is merely following tradition.

There is something Elden Ring has that Dark Souls or Bloodborne never had, though: mass popularity. “I think the reality is that Elden Ring is the most successful game FromSoftware has ever released, and introduced literally millions of newcomers to the genre who’ve never played a FromSoftware game before,” says Matt Kim, IGN’s senior features editor. “Which means they’ve effectively dove straight into the hardest DLC the studio has ever produced. But there’s a progression here that they may have missed, with the Elden Ring DLC being harder than the Dark Souls 3 DLC, which was harder than the Bloodborne DLC which was harder than — you get my point.”

Newcomers have been raised on what is the most approachable Souls-style game the developer has ever made – one with strong NPC allies available at beck and call, incredibly powerful magic and weapon skills, and an open structure that allows you to bypass bosses until you’re suitably ready. All this also exists in Shadow of the Erdtree, but so do the aforementioned increased difficulty traditions. And so fans have quickly discovered that the medieval superheroes they built and perfected, with stats stacked higher than skyscrapers thanks to countless hours spent grinding out runes, are now far from the devastating powerhouses they once were.

By being more punishing than its parent game, Shadow of the Erdtree is merely following tradition.

“People have come up with builds that can shred [the base game’s] hardest bosses without breaking a sweat,” says Mitchell Saltzman, who reviewed Shadow of the Erdtree for IGN. “All of the weapons and talismans to complete those builds have been painstakingly mapped out and can be relatively easy to obtain, and there are rune farming spots that can skyrocket a player’s level by the hundreds in just a handful of hours. So FromSoftware had to make this DLC difficult to account for all of the above.”

But while many a FromSoft veteran will have entered Shadow of the Erdtree with full understanding of this, they may have been surprised at just how quickly the height of that challenge smacks you in the face. When you stumble across the Western Nameless Mausoleum, the first optional location in Erdtree’s Land of Shadow, you’re forced into a fight with the Blackgaol Knight – a foe equally skilled at ranged and close combat. Inside his arena you are prohibited from summoning Spirit Ashes, Elden Ring’s NPC allies, and so you’re entirely on the backfoot. It’s like going back to level one all over again. And, in a way, you are. Progression works differently in this expansion. Your stat levels, earned over hundreds of hours by spending hard-earned runes, are… not exactly useless here, but less impactful. Instead, your ability to inflict and resist damage comes from Scadutree Fragments, a new collectible that increases your stats.

A Blessing or a Curse?

“A big part of the issue seems to be people not understanding the Scadutree Fragment mechanic, whereby your character gets stronger from the process of wide exploration,” explains VaatiVidya.

Scadutree Fragments fit together to make Scadutree Blessings, which when used at a Site of Grace buff your character’s ability to both inflict and resist damage. The logic behind them makes a lot of sense: those aforementioned boss-shredding builds could steamroll through the DLC, bypassing the artistic intent of its many bosses and challenges. And so to ensure everyone experiences Shadow of the Erdtree as intended, FromSoft has put everyone back on a roughly even playing field from which only Scadutree Blessings will raise you up. In short: they made you start again from scratch.

“I think the Scadutree Blessing system is actually a pretty smart solution that allows Shadow of the Erdtree to be difficult right from the start, but also allow people to overcome that difficulty by doing the thing that Elden Ring has always been about: exploration, discovery, and being rewarded for your curiosity,” says Saltzman. “There are a ton of Scadutree Fragments that can be obtained right from the very start of the game, without even having to fight any of the big bosses that players seem to be getting stuck on.”

It is worth considering how that system impacts Elden Ring’s values of exploration and discovery, though. In the base game, simply playing is enough to acquire the runes needed to level up and become more powerful. But by locking increased stat power behind specific items located in specific places, Shadow of the Erdtree has arguably turned the entire experience into something of a scavenger hunt. The effect of this will vary depending on taste; for some, this further encourages exploration of a world that frequently rewards the curious. For others, it may turn any reward that isn’t a Scadutree Fragment into a disappointment, or even a waste of time.

Personally, I agree with Saltzman’s views on the Scadurtree Blessing. But while the system is certainly mechanically sound, it does function very differently to what players are used to. For those trained on not just Elden Ring but FromSoft’s historic reliance on traditional levelling, it may not be immediately clear just how vital to the experience the Scadutree Blessing truly is. A tool tip does explain that the blessing “bolsters the recipient’s abilities to deal and negate damage,” but – in FromSoft tradition – there’s little further information on the system to be found within the game itself. It’s been down to the community, guides writers, and even the Bandai Namco X/Twitter account to emphasise the Scadutree Blessing’s importance. It’s therefore understandable that many people outside of those circles may have missed the very system designed to aid with Shadow of the Erdtree’s escalating difficulty.

Beyond the Golden Path

Another, less obvious contributor to Shadow of the Erdtree’s apparent difficulty is the community focus on boss fights. While these spectacular showdowns are Elden Ring’s centrepieces, it’s important to remember that they are the spine of the experience rather than the body. With so much discussion in the community around conquering each foe and getting closer to the final boss, it’s easy to be caught up in the need to speedrun through the chain of major fights. Down that path lies not just frustration, but a distraction away from a wider world that holds the many tools required to achieve an easier victory.

“I don’t enjoy spending four hours learning a boss,” says Daniel Krupa, IGN’s former Prepare to Try loremaster and founder of the Souls-focussed YouTube channel RKG. “I love exploring these worlds and piecing together the stories they tell, and I’ll do everything I can to make that easier. I’ll horde equipment, constantly reconfigure my Talismans, and over-level my weapons as quickly as I can. I still wouldn’t say I’m good at these games, but over the years, I’ve learned enough to survive.

“It’s what I always tell people who are interested in these games but put-off by the perceived difficulty,” he adds. “Yes, there’s no in-built ‘easy mode’ but you can make your experience far less punishing.”

“The online community has always been a huge help in this regard,” says VaatiVidya. “Making it clear how your build can be optimised, or telling you which things are overpowered. For example, the Mimic Tear summon, or the Blasphemous Blade. As the days go by, even more powerful things are being found in the DLC to make use of. If you’re truly struggling, you can use these to move the difficulty level of the DLC more in line with your ideal level of challenge.”

Remix and Retry

Shadow of the Erdtree is full to bursting with a variety of exciting new weapons and talismans that can either boost your existing build or encourage a new one entirely. As a long-time Moonveil user with high intelligence and dexterity stats, I was delighted to discover the DLC features a thrusting sword that can be used to cast spells. That’s a game changer, and has entirely altered my tactics when it comes to combat. But I know it won’t be a catch-all solution to every boss down the line, and that being open to experimentation is more valuable than ever in this expansion.

“I’ve got to the final boss,” says Krupa. “Yes, it’s tough – but I’m choosing not to suffer. I’ve always seen bosses in these games as problems to be solved, rather than gruelling challenges to overcome. So I’ll go explore the Cerulean Coast some more, and maybe I’ll find something that will help.”

“I had a great experience against the final boss,” says VaatiVidya. “I had trouble, and so I switched up my build to incorporate a greatshield and Scarlet Rot […] I like when bosses force you to switch up your strategy…however I wish an infinite source of Larval Tears could have been made available in the DLC, so people could have more freedom to test out different strategies.”

There are just 18 Larval Tears in Elden Ring – the item that allows you to reallocate your stats – while Shadow of the Erdtree adds at least another nine. But that’s still a very limited number of times you can completely rebuild your character’s stats. It makes exploring other gameplay avenues a risky business. Sure, a new weapon may sound like the key to defeating a boss, but if respeccing your character to use it results in yet more defeat, then it’s a waste of precious resources.

I wish an infinite source of Larval Tears could have been made available in the DLC, so people could have more freedom to test out different strategies.

“They’ve made more Larval Tears available in the open world as they spawn at night time, which is great, but I personally would have loved if these could have respawned infinitely as a resource for players to make use of to overcome difficulty,” says VaatiVidya. Such a system would bring Elden Ring in line with other build craft-focused RPGs like Diablo 4, which allows for infinite reallocation of skill points and thus promotes freeform experimentation. It’s easy to see how Elden Ring could benefit from this, not just in regards to its difficulty, but in allowing players to experience its incredibly broad range of weapon types and approaches.

Legitimate Concerns

It’s clear that the key to success in Shadow of the Erdtree is the exact same as it was in its parent game: explore the world and the world will provide the answer. Elden Ring is not a boss rush, it is an open world game, and that structure is key to overcoming what can initially seem an overwhelming difficulty spike.

Despite this, everyone I’ve spoken to acknowledges just how challenging Shadow of the Erdtree is, especially in its later hours. “FromSoftware definitely skirts the line between fair and unfair with some of the later boss designs in particular,” wrote Saltzman in our review, while Kim tells me that he thinks “FromSoftware pushed the envelope further in Shadow of the Erdtree, particularly with the final boss”.

Use the tools the game gives you, go explore, find Scadutree Fragments. You can do it. I believe in you.

That challenge scales with your New Game+ progress, too. If you’re on your second, third, perhaps even fourth or fifth run on the game, then your character will suffer more than those using a fresh save file. A future balance patch could potentially address this. “I’ve heard some complaints from a lot of people struggling on their NG+ characters, so I guess I could also see the effects of NG+ being toned down as it applies to the DLC areas,” VaatiVidya says.

There’s also the issue of Elden Ring’s performance. Digital Foundry notes that, two-and-a-half years on from launch, the game still suffers from long-standing technical issues. Shadow of the Erdtree has come with no stability fixes. When perfect parries and desperate dodges are part of the game’s core fabric, an unstable frame rate is just as much the enemy as Messmer the Impaler. Without fixinging such long-standing performance woes on all platforms, FromSoftware is sadly leaving players vulnerable to frustrating defeats. These issues may not be an intentional increase in difficulty, but they can contribute all the same.

So far, there’s no indication that FromSoftware has any intention of reducing Shadow of the Erdtree’s difficulty. However, the studio has already responded to the playerbase: in the DLC’s first update, the buff provided by Scadutree Blessings has been increased for the first 10 you obtain. That’s half of the maximum blessing count. To balance this adjustment, the latter 10 will offer more gradual buffs, leading up to a slightly increased final blessing. The overall effect is that the initial areas of the DLC will feel more achievable, but the actual difficulty of the expansion overall remains the same. Of course, that additional level of ease will only be available if you actually engage with the Scadutree Blessings in the first place. Ignore that and you’ll still face the same issues that seemingly triggered the review bombing in the first place.

So, Shadow of the Erdtree is hard. We know it. You know it. FromSoftware knows it. As to if it’s too hard… well, that’s naturally a subjective topic. But from a purely design standpoint, the DLC’s approach continues in the lineage of both Elden Ring and its FromSoftware predecessors.

“It’s not too hard,” concludes Satlzman. “Use the tools the game gives you, go explore, find Scadutree Fragments. You can do it. I believe in you.”

Matt Purslow is IGN’s Senior Features Editor.

Original Life Is Strange Dev Delays New Game to Avoid New Life Is Strange

Don’t Nod has delayed its upcoming game, Lost Records: Bloom & Rage, from the third quarter of 2024 to early 2025 in order to avoid clashing with the new Life is Strange game.

Don’t Nod Entertainment is the original developer of narrative adventure Life is Strange for publisher and franchise owner Square Enix. It’s currently working on new narrative adventure Lost Records: Bloom & Rage, while Square Enix has tasked Deck Nine with developing Life Is Strange: Double Exposure for release in October.

Don’t Nod announced the decision to delay Lost Records: Bloom & Rage to avoid a narrative adventure showdown with Life is Strange later this year.

“We’ve made the decision to move the release dates of Lost Records: Bloom & Rage to early 2025,” a statement published to X/Twitter read. “We know you’re all excited for both Lost Records and the new Life is Strange game, and we wanted to ensure both have adequate space to shine. The wait will be worth it!”

In a note to press, Don’t Nod boss Oskar Guilbert expanded on the decision, saying: “We know that many of our fans are eagerly awaiting this game, just as they are the recently announced next installment of Life is Strange. Let’s give both titles the space they need to be enjoyed by our players within the large community we have built.

“We firmly believe that the wait for Bloom & Rage will be worth it. We look forward to sharing this new adventure, which we hope will become another memorable chapter in the Don’t Nod universe.”

Let’s give both titles the space they need to be enjoyed by our players within the large community we have built.

Lost Records revolves around a group of friends who reunite after over two decades of no contact to “confront a long-buried secret that made them promise to never speak again.” Announced at The Game Awards 2023, Lost Records: Bloom & Rage is meant to kick off a new connected universe, but Don’t Nod is also working on a number of other games.

Life Is Strange: Double Exposure, meanwhile, stars the main character of the original Life Is Strange, Max Caulfield. It’s planned for release on October 29 Xbox, PlayStation, and PC.

Wesley is the UK News Editor for IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

Amazon’s Tomb Raider and Lord of the Rings Video Game Reveals ‘Not Too Far Away’

It’s been some time since Amazon announced its Tomb Raider and The Lord of the Rings video games, and it sounds like fans will have to wait a while longer for a reveal.

Amazon announced it had signed a deal with Crystal Dynamics to develop and publish the next major Tomb Raider game back in December 2022. We’ve heard nothing in the year-and-a-half since, although Crystal Dynamics was forced to reassure fans that it was unaffected by devastating cuts at embattled parent company Embracer.

Meanwhile, Amazon announced it had signed a deal with Middle-earth rights owner Embracer to develop an as-yet-untitled The Lord of the Rings MMO back in May 2023. Again, we’ve heard nothing since, but we do know this game is set in Middle-earth and features the stories of The Hobbit and more.

Speaking to Variety, Amazon Games chief Christoph Hartmann said a reveal for either game is not imminent, but is not long away. “It’s not going to be tomorrow, but it’s not too far away,” Hartmann said, before insisting Amazon Games is now “getting into a much more regular cadence of shipping games.”

“That’s all I’m allowed to tell you right now,” Hartmann added. “It’s all about quality. You don’t want to just be rushed out. That doesn’t work. It has to be triple-A quality, because the bar is so high.”

Amazon will be keen to capitalize on other Tomb Raider and The Lord of the Rings projects it has in the works by lining up the TV shows with the video games. Prime Video has confirmed a Tomb Raider live-action series with Fleabag star Phoebe Waller-Bridge in place as writer and executive producer, although it has yet to say when it will launch. Meanwhile, Rings of Power Season 2 kicks off on Amazon Prime in August, with more seasons confirmed to be in the works.

It’s not going to be tomorrow, but it’s not too far away.

In the interview, Hartmann pointed to Microsoft’s recent success with the Prime Video Fallout TV show, which boosted interest in the Fallout games. “And so you can see a world where Amazon would do well to release a game simultaneously available to play on PC, console, mobile, as well as launching a TV series or an animation on its Prime Video service,” Hartmann explained.

However, fans shouldn’t necessarily consider the Tomb Raider TV show canon with the video games. While that’s worked out well for the Fallout TV show, which is set after all the Fallout video games, Hartmann suggested Amazon’s plan for Tomb Raider is closer to Sony’s with its hugely successful Marvel’s Spider-Man games, which are separate to the Spider-Man movies.

“You see it with Tomb Raider, where we’re gonna have a Tomb Raider game coming and they’re doing a show,” Hartmann said. “And some people say, ‘Oh, will they be linked together?’ And I give them the example, look at Spider-Man. There’s amazing, amazing games. There’s great animated content, there’s great live-action, and everyone seems to be very happy with that. So it does not need to be always that everything is mingled together, but it’s really one brand, which really just shows for me why transmedia nowadays is so important, and how games is such a vital part.”

Wesley is the UK News Editor for IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.