Xbox and Bethesda Developer_Direct January 2023: How to Watch and What to Expect

Xbox and Bethesda are set to host their very first Developer_Direct on January 25, and the pair promise to reveal a bit more about the future of The Elder Scrolls Online, Forza Motorsport, Minecraft Legends, Redfall and more.

IGN is carrying the stream and, as usual, this watch guide will provide you with everything you need to know to watch the show, including when it starts, a list of places you can watch it with us, and what you can expect to see at the show.

Xbox and Bethesda Developer_Direct January 2023 Start Time

The upcoming Xbox and Bethesda Developer_Direct takes place on Wednesday, January 25, and will start at 12pm PT/3pm ET/8pm GMT. If you live in Australia, that translates to January 26 at 7am AEDT.

Where to Watch the Xbox and Bethesda Developer_Direct January 2023

If you’re interested in watching the upcoming Xbox and Bethesda Developer_Direct, we’ll be hosting the stream here and across our many channels on platforms like YouTube, Twitch, Twitter, Facebook, and more. Here’s the full list of places you can watch the show with us:

What to Expect at the Upcoming Xbox and Bethesda Developer_Direct January 2023

Xbox and Bethesda have specifically said to expect “the latest info for Xbox games launching in the next few months, including The Elder Scrolls Online, Forza Motorsport, Minecraft Legends, and Redfall.” One name notably missing from that list is Starfield, but Bethesda has bigger plans for that much-anticipated title.

“To dedicate the proper amount of time for a deep dive into Bethesda Game Studios’ Starfield, a standalone show is in the works,” Xbox Wire staff wrote.

As for what fans can expect from the games expected to be there, it all starts with The Elder Scrolls Online. Studio director Matt Firor will discuss 2023’s major Chapter update, including “the latest regions of Tamriel to become playable in ESO, as well as a major new feature coming in the game’s biggest update this year.”

If that isn’t enough ESO, the Developer_Direct will be followed by a ESO Chapter Reveal Event that will dive deeper into everything new coming to the game. If you are interested, you can also watch the ESO Chapter Revel Event on IGN’s YouTube.

Turn 10 Studios is planning on sharing “more gameplay and exciting new details” for Forza Motorsport and Mojang Studios will give an “insider’s look into the PvP multiplayer experience in Minecraft Legends.”

Lastly, Arkane Austin will showcase “several minutes of gameplay” from Redfall, and it will include single and multiplayer gameplay and details on combat, customization, bosses, the open world, and more.

For more, check out our predictions for the Developer_Direct and be sure to check out our breakdown of everything you can expect from Microsoft in 2023.

Adam Bankhurst is a news writer for IGN. You can follow him on Twitter @AdamBankhurst and on Twitch.

The Most Anticipated Game of 2023: IGN’s Readers Have Spoken

2023 is well underway at this point, and with it comes the promise of another year of (hopefully) spectacular games that will make us laugh, cry, and just have the best old time. As it stands (before delays start piling in), we have such potential classics as The Legend of Zelda: Tears of the Kingdom, Marvel’s Spider-Man 2, Starfield, and so many more games to look forward to. However, which game are you most excited for? Over the past week, we asked IGN’s audience to let us know which games they can’t wait to play, and the results are in.

After thousands and thousands of battles with matchups like Star Wars Jedi: Survivor vs Final Fantasy 16 and Dead Space Remake vs Resident Evil 4 Remake, the most-anticipated 2023 game, according to you, has been decided. Who took the top spot? Drumroll please…

Yes, in what you may call a bit of an upset considering the behemoth that is The Legend of Zelda: Tears of the Kingdom, Marvel’s Spider-Man 2 has taken the ultimate prize by winning 65,038 of its 79,160 battles. Marvel’s Spider-Man 2 appears to be the big PlayStation exclusive on the horizon and everyone loves that friendly neighborhood spider. This entry also looks to ramp things up even more by bringing Peter Parker and Miles Morales together to face Venom.

The battle, which was one of the closest and biggest in Face-Off history, saw Marvel’s Spider-Man 2’s 82.2% win percentage be enough to take down The Legend of Zelda: Tears of the Kingdom’s 82.1% win percentage. Yes, the margin between victory and defeat was less than 1,000 votes.

Now, defeat was probably too harsh a word as the hype for the sequel to 2017’s The Legend of Zelda: Breath of the Wild could not be higher ahead of its May 12, 2023, release date. We still don’t know much about Tears of the Kingdom, but it looks to take Link to the skies to explore floating islands above Hyrule and bring us back to the world first introduced in a game we ranked at the very top of our list of the top 100 games of all time.

Star Wars Jedi: Survivor took third place with a 80.4% win percentage and earned enough votes to hold off Starfield and Hogwarts Legacy in the top five. It’s interesting to note that three of the top five games are console-exclusives, and the other two are from two of the most popular IP in the world in Star Wars and Harry Potter.

Rounding out the top 10 were some more big hitters, including Final Fantasy 16, Resident Evil 4 Remake, Dead Space Remake, Assasin’s Creed Mirage, and Diablo IV.

On the other side of the spectrum, The Texas Chainsaw Massacre claimed the bottom spot with a 23.6% win percentage. We don’t have a firm release date for the game based on the 1974 film, but our first impressions with the 3v4 PvP game were positive and we said it was a great match with the license.

Bayonetta Origins: Cereza and the Lost Demon, a spin-off in the Bayonetta franchise, placed right above The Texas Chainsaw Massacre, and was surpassed by Kerbel Space Program 2, Company of Heroes 3, Minecraft Legends, Homeworld 3, Payday 3, Sons of the Forest, Ark 2, and The Expanse: A Telltale Series.

Many of these games are spin-offs or sequels to popular franchises and, while they may not be at the top of the list, they will likely be well worth a look. Sons of the Forest is one in particular to keep an eye out for as our recent exclusive preview said it “could not only provide a huge leap forward for the series, but the survival game genre as a whole.”

Are you wondering where your most anticipated 2023 game landed, like maybe Hades 2? (It took spot #13!) For all the rankings, you can check out the full list of where all 45 2023 games that competed in the Face-Off ended up.

For more, check out what you can expect in 2023 from PlayStation, Nintendo, and Xbox, as well as our look at the biggest movies and TV shows also coming later this year.

Adam Bankhurst is a news writer for IGN. You can follow him on Twitter @AdamBankhurst and on Twitch.

NVC Question Block: What Classic Game Did You Miss First Time Around?

Welcome to the inaugural issue of our new, weekly Nintendo Voice Chat column. We’re kicking things off by tackling a user-submitted question for our Question Block segment. Listeners of the show are no doubt familiar with the fact we will run into… time constraints… where we can’t give your questions the time they deserve. What better way to tackle this problem than to pick one of our favorite user-submitted questions of the week and answer it here?

Super Ninfriendo Tracy Vincent asked: “Is there a game that came out in your youth, but you didn’t get around to it until much much later? Why did it take you so long to play it – and what are your thoughts when you finally did. Do you think you would’ve enjoyed it more or less had you played it around when it was originally released?”

Kat Bailey

It wasn’t always easy getting hold of NES games during Nintendo’s 8-bit heyday. Castlevania was one of many popular games from that era that never seemed to be on store shelves – not even the gas station where I rented Battletoads and Batman over and over again (Beetlejuice was also there, but not Konami’s equally spooky and far superior platformer). One of the few hints I saw that Castlevania even existed was through my dog-eared copy of the Ultimate Unauthorized Nintendo Game Strategies, which barely even included screenshots. Still, Castlevania was to be one of the best NES games among my circle of friends, with Simon’s Quest being particularly popular. Castlevania continued to bounce around in the back of my head until I headed off to college a decade later, where I discovered a copy of Symphony of the Night in a random record store. I picked it up for $25 (a steal!) and decided to see if Castlevania indeed lived up to the playground hype.

Would I have loved the original Castlevania if I had played it growing up? Almost certainly.

Short answer: Obviously, it did. Of course, what I didn’t know was that Symphony of the Night was a radical reinvention of the Castlevania series, thereafter splitting fans between those who preferred “Metroidvanias.” Years later, I sat in a Japanese hotel room with Jeremy Parish – ironically one of the people to popularize the term “Metroidvania” – and watched as he blew through a Famicom Disc System version of the original game, pointing out all the unique details that made it special as he went. Would I have loved the original Castlevania if I had played it growing up? Almost certainly. It remains a striking achievement on the NES, with its soundtrack being a particular highlight. I may have even finished it, which is a feat I’ve yet to accomplish as an adult. One way or another, though, Castlevania remains a classic. Maybe one day Konami will bring it back.

Reb Valentine

Growing up, I pretty much only owned and played Nintendo devices – GameCube, Game Boy Advance, Nintendo DS, etc. So I missed a lot of the classic games that came out on other hardware. But my senior year of college, I finally purchased a beat-up, outdated, used PlayStation 2 on Amazon, and that’s how I was finally exposed to a lot of classic RPGs (that have since made it to Switch) like Kingdom Hearts, Chrono Cross, and most importantly – the Final Fantasy series. I played Final Fantasy 7 for the first time over a decade after it came out, and honestly, I didn’t love it. By 2012 it was seriously dated – movement was clunky, it wasn’t nice to look at most of the time (have you seen Cloud’s goofy arms?), and ugh, the writing! I didn’t understand why people raved about it!

I did eventually get into other Final Fantasy games, playing Final Fantasy X that same year and liking it much better, and then I picked up Final Fantasy 6 a few years after and loved that one. But FF7 never landed, and I never even finished it. That said, after hearing about the big twist of Final Fantasy 7 Remake, I played that all the way through last year, and I think I get it now. Had I played FF7 when it first came out, before people had hyped it up as one of the greatest games of all time and before thousands of other games figured out how to make characters move in 3D environments infinitely better, I think I would have fallen in love just as everyone else did. I’m glad Remake exists both as a challenge to the very idea of a Remake, but also as a gateway to help me understand what made that original so special in the first place.

Seth Macy

This will sound like crazy talk, but I never played Metroid in a serious capacity until adulthood. Which is kind of weird because I distinctly remember playing it on a demo kiosk at a JC Penney sometime in the 1980s, making it one of the first NES games I ever played. Being a Nintendo kid in the ’80s also meant it was almost impossible to overlook anything made by Nintendo. I knew about the ‘JUSTIN BAILEY’ password, and even knew Metroid was a girl! (note: I actually knew the main character’s spoiler ending but didn’t know until much later her name was actually Samus).

So as to why I didn’t play it in the heyday of the Nintendo Entertainment System, I just don’t know. It was an earlier game, which probably led me to pass it over when picking out games to rent for a weekend, and to the best of my recollection, none of my friends close enough to loan me a game owned a copy for themselves. I actually played Super Metroid and Metroids Prime 1 and 2 before I got around to the original, and I gotta say, I’m glad I waited. It’s still a solid game, one that holds up today. It’s not the flawless user experience of modern games of the genre, but with a good guide and a few free hours in the day, you can make your way through it fairly easily.

I was pretty excited to discover it still held up when I finally did get around to playing it, and I’ve played through it several times since then. Full disclosure, I still haven’t gotten the best ending. As to whether or not I would have enjoyed it more or less as a kid, I can say its setting and art style definitely appealed to me as a kid, but the game itself probably wouldn’t have.

As I said before, it’s pretty easy to get through now, but back then, I would have found it much more difficult. Not only because of my crappy kid reflexes, either, but because access to game help was nowhere near as easy as it is today. Back then there wasn’t a gaming vocabulary for a “Metroidvania.” The concept of impassable areas, ones you could only traverse with later upgrades, just wouldn’t have clicked with me and I would likely have become frustrated with the game series and never experienced the glory of Super Metroid and the first Metroid Prime.

Peer Schneider

I’m a kid of the ’70s, so I literally grew up with video games. From the Fairchild Channel F’s blocky magic to Atari 2600 and then home computers like Commodore 64 and Atari 800, I devoured – this time, not literally – thousands of games in the ’70s and ’80s. But my big blind spot happened in my late teens, when everyone was going nuts over console gaming’s second coming: the NES.

My big blind spot happened in my late teens, when everyone was going nuts over console gaming’s second coming: the NES. 

The Legend of Zelda is my favorite video game franchise of all time. Yet somehow I missed both the original game and Zelda II when they first came out. My first steps with Nintendo were definitely in the arcades – Donkey Kong in particular delighted and pissed me off at the same time – yet I somehow never felt the need to go and buy a Nintendo Entertainment System. It honestly wasn’t even on my radar, and that entire era of gaming initially passed me by. I think I was still playing Winter Games and The Eidolon when the Zelda craze kicked off.

It wasn’t until a few years later when I picked up the Japanese version of The Legend of Zelda: A Link to the Past for my Super Famicom that I discovered the greatness of Link’s adventures. My mind was blown. I had hit pause on gaming for a few years and I couldn’t believe how good games at home looked and sounded… and they PULLED ME BACK IN. Now, I had played games like Ultima that let you explore expansive worlds freely, but it never came with such great visuals and tight controls. It was the combo of (seemingly) free, open world exploration and the use of tools and weapons that made me instantly fall in love.

I would eventually go back and play the many NES games that preceded my SNES favorites. In hindsight, I bet if I had played The Legend of Zelda when it first came out, I would’ve figured out a way to get a NES or even a Famicom Disk System and spent way, way too many hours exploring its world. Going back years later just isn’t the same, as you already understand the language of the game, know the use of many of its items, and even attack patterns of recurring enemies. I’m sure it would’ve been love at first sight, but I don’t have any regrets. A few years without games meant that I was able to focus on college applications, figure out my life, and actually get to where I am now.

IGN UK Podcast #680: Dead Space and Other Games We Want Remade

Matt P and Dale have played a huge chunk of the new Dead Space and they’re very excited to tell you all about it and whether it’s a worthwhile remake. Speaking of remakes, we also go down the rabbit hole of what makes a good one, what their value is and games that we’d love to get the remake treatment. Mat J is also on the podcast and he tells us all about the latest horror film M3GAN.

Got a game for us to play or some feedback you’d like read out on the show? Why not email us: ign_ukfeedback@ign.com.

IGN UK Podcast #680: Dead Space and Other Games We Want Remade

Nintendo is Ramping Up Switch Production Ahead of Zelda: Tears of the Kingdom

Nintendo is planning to ramp up Switch production in the next fiscal year ahead of the launch of The Legend of Zelda: Tears of the Kingdom.

Sources familiar with the matter told Bloomberg that Nintendo has told suppliers and assembly partners that it plans to increase production in financial year 2023/2024, meaning from the beginning of April.

The increase in production is also a result of component shortages subsiding after two years, according to the sources, which finally lets Nintendo overcome supply constraints and produce as many consoles as the market demands.

The company admitted in August last year that these shortages were hurting sales, and while it is apparently open to revising its new production plans if they prove too ambitious, the previously reduced sales are largely attributed to the component shortages.

The increased production plans are somewhat unusual given how long the Switch has been on the market, however, as it’s now approaching its sixth year having originally launched in March 2017.

Tears of the Kingdom will likely create a spike in sales, however, given the success of its predecessor Breath of the Wild alongside Nintendo’s teasing of it since 2019.

In our 10/10 review of the original, IGN said: “The Legend of Zelda: Breath of the Wild is evocative, exhilarating, and a masterclass in open-world design.”

Ryan Dinsdale is an IGN freelancer and acting UK news editor. He’ll talk about The Witcher all day.

Riot Games Lays Off 46 as Wave of Games Industry Job Cuts Continues

Riot Games has laid off 46 employees amidst an ongoing wave of industry mass layoffs.

The League of Legends developer confirmed to journalist Jacob Wolf that it had eliminated the positions, which were largely concentrated in the company’s talent acquisition, recruiting, and publishing departments as well as a few roles in esports and support. Riot employs roughly 4,500 people globally.

In a statement to the Jacob Wolf Report, a Riot representative called the layoffs part of the “normal course of business.”

Riot Games implemented strategic shifts within a few teams to sharpen our focus in a number of areas. With these shifts, certain roles were eliminated, impacting a total of 46 Rioters. This is part of our normal course of our business: We periodically make changes to our structure and our teams based on what we believe will allow us to deliver the best content and experiences for players. We never make these decisions lightly and will always start from a place of wanting to retain Rioters and have them focus on our highest priorities. While that’s not always possible, it’s our primary goal.

Riot additionally noted that it continues to hire, and has over 150 open positions on its website.

Riot’s layoffs come amidst a much larger wave of ongoing layoffs across tech and media that continue to impact the games sector. Earlier this week, game engine maker Unity laid off over 200 employees. Yesterday, Microsoft laid off 10,000 employees including those at The Coalition, 343 Industries, and Bethesda, while Amazon laid off 18,000 more. Earlier today, Fandom laid off between 40 and 50 employees including editorial staff at both Giant Bomb and GameSpot, just months after it acquired the sites.

Rebekah Valentine is a news reporter for IGN. You can find her on Twitter @duckvalentine.

Game Developers Aren’t Sold on the Metaverse

As commonplace as it’s become to see big, bold speculations about a futuristic metaverse in games industry discussions, game developers themselves don’t seem too hot on the concept.

The 2023 State of the Game Industry survey has just been published, canvassing over 2,300 game developers for their situations and opinions on topics such as platform development, working conditions, and interest in technology. One of its more interesting questions this year was specifically about the metaverse:

“Which of these companies/platforms do you think is best placed to deliver on the promise of the metaverse concept?”

The platform that ultimately got the most votes was Epic Games’ Fornite with 14%, followed by Meta (Horizon Worlds) at 7% and Microsoft (Minecraft) also at 7%. Five percent of developers said Roblox, and even fewer brought up options like Google, Apple, Second Life, Sony, Tencent, Amazon, and VR Chat.

But nothing got anywhere near as many votes as an answer that isn’t a platform at all: “None – The metaverse concept will never deliver on its promise,” which took away 45% of the vote, up from 33% last year. So almost half of all game developers surveyed don’t think the metaverse promise is worth much at all.

Why?

While IGN doesn’t have access to all the survey answers, GDC and Game Developer did publish a handful of comments submitted by respondents that can help shed some light. In particular, the question “What does the metaverse need to become sustainable?” included a lengthy response from one survey taker that, per GDC, “seemed to represent the voices of a significant majority of respondents.” The response focused on the metaverse as a VR experience, noting that VR environments were currently missing levels of interactivity, affordability, control standardization, and hardware quality necessary to make the metaverse a reality.

The respondent also pointed out that even with all that, there still wasn’t a clear definition of what the metaverse was supposed to be.

“The ‘metaverse promise,’ as it stands, is nothing,” they wrote. “The people trying to sell it have no idea what it is, and neither do the consumers. Remember what happened, and keeps happening, with cloud gaming a decade ago?”

Other respondents’ comments noted that the metaverse already existed effectively, and companies just kept rebranding it, and one comment suggested it simply shouldn’t exist at all.

The metaverse has been discussed a great deal, certainly, and plenty of money has flowed in to make it happen in recent years. But companies like Meta have also lost a lot of that money as their bets have failed to pay off, leading even industry leaders to question whether or not the cost is worth it.

Alongside the metaverse question, the survey also asked developers about interests in other technology, such as blockchain. Seventy-five percent of respondents said they weren’t interested in it at all, and 56% were outright opposed to its use.

Additionally, developers were asked about workplace culture and policies. Sixteen percent said that their companies had facilitated changes to healthcare policies related to reproductive care in the last year in a question asked in response to the overturning of Roe v. Wade, and nine percent said their companies had improved their trans-inclusive healthcare policies.

Working hours has always been a big topic in these surveys, too. In this year’s survey, 29% of respondents said they worked an average of 36-40 hours per week. 33% worked less on average, while 38% worked more. But when asked about the maximum hours per week they had worked in a single week, 46% said they had worked over 50, and 16% had worked over 70 hours in a single week.

Among reasons cited were self-pressure (74%), management pressure (14%), and peer pressure (11%), while 36% said they didn’t feel they worked excessively (54% of respondents did not report ever working more than 50 hours in a single week).

The full report is downloadable here and includes responses on other topics such as platform interest, and industry opinions on unionization and consolidation.

Rebekah Valentine is a news reporter for IGN. You can find her on Twitter @duckvalentine.

Wo Long: Fallen Dynasty: High-Level Superplay with Epic Boss Battle – IGN First

From its weapons to its bosses, stages to systems, January’s IGN First has been all about Wo Long: Fallen Dynasty. So far, all of our footage has been from earlier stages of the game – but how does developer Team Ninja shake things up later in the game? What kind of weapons and Wizardry Spells can be learned and obtained? How can you evolve your character build? Do the stages become more difficult?

To answer such questions, let’s take a look at a playthrough by one of Team Ninja’s developers of mid-game stage Hulaoguan Pass.

Hulaoguan Pass is a site of many historical battles, in this case the clash between dissidents led by Yuan Shao and Dong Zhuo, who had occupied China’s ancient capital Luoyang. Team Ninja has implemented this in Wo Long as a huge battle site with siege weapons that can be utilized by the player. Hulaoguan Pass is much wider than earlier stages and can be tackled in multiple ways. Break the front line and fight hordes of fierce enemies to reach General Hua Xiong, or make a detour and find your way in through the castle’s walls.

Both routes ultimately lead to an epic boss fight with mighty warlord Lu Bu. Will this high-spec player find their way to Lu Bu, and if so, will they be able to defeat the powerful Three Kingdoms warlord? Be sure to check it out.

Wo Long: Fallen Dynasty is set to release on March 3 for PS5/PS4/Xbox Series X|S/Xbox One/PC and will be available on Xbox Game Pass day one. Be sure to check out our final preview, a gameplay video of the Tianzhushan area and our Aoye boss fight video, as well as a detailed article on the game’s weapons and an interview with the developer about designing the game’s bosses.

Sony Confirms List of 30+ Games Coming to PlayStation VR2 During Its Launch Window

Sony has officially confirmed the launch window lineup for PlayStation VR2 through March 2023, and it includes 13 new titles that haven’t been announced for the platform before, including Tetris Effect: Connected and Rez Infinite.

As detailed on PlayStation.Blog, PlayStation VR2 will launch on February 22, 2023, and more than 30 games will be available on the platform before March comes to an end, barring any unforeseen circumstances.

Alongside big hitters like Horizon Call of the Mountain, Resident Evil Village, No Man’s Sky, and Gran Turismo 7, PS VR2 owners will also be able to look forward to these 13 newly announced titles, which include Before Your Eyes, Kayak VR: Mirage, Pavlov VR, Puzzling Places, Song in the Smoke: Rekindled, Synth Riders: Remastered Edition, Thumper, NFL Pro Era, What the Bat?, Rez Infinite, Tetris Effect: Connected, Creed: Rise to Glory – Championship Edition, and The Last Clockwinder.

The full list of games in PlayStation VR2’s launch window lineup are as follows;

  • After the Fall (Vertigo Games)
  • Altair Breaker (Thirdverse)
  • Before Your Eyes (Skybound Interactive, launch window)
  • Cities VR (Fast Travel Games)
  • Cosmonious High (Owlchemy)
  • Creed: Rise to Glory – Championship Edition (Survios, launch window)
  • The Dark Pictures: Switchback (Supermassive, launch window)
  • Demeo (Resolution Games)
  • Dyschronia: Chronos Alternate (MyDearest Inc., Perp Games)
  • Fantavision 202X (Cosmo Machia, Inc.)
  • Gran Turismo 7 (via free update to PS5 version of GT7)
  • Horizon Call of the Mountain (Firesprite, Guerrilla)
  • Job Simulator (Owlchemy)
  • Jurassic World Aftermath (Coatsink)
  • Kayak VR: Mirage (Better Than Life)
  • Kizuna AI – Touch the Beat! (Gemdrops, Inc.)
  • The Last Clockwinder (Pontoco/Cyan Worlds)
  • The Light Brigade (Funktronic Labs, purchase includes PS VR and PS VR2 versions)
  • Moss 1 & 2 Remaster (Polyarc)
  • NFL Pro Era (StatusPro, Inc., free PS VR2 upgrade)
  • No Man’s Sky (Hello Games, launch window)
  • Pavlov VR (Vankrupt)
  • Pistol Whip (Cloudhead, free upgrade)
  • Puzzling Places (Realities.io, free upgrade)
  • Resident Evil Village (Capcom, via free update to PS5 version of RE Village)
  • Rez Infinite (Enhance)
  • Song in the Smoke (17 Bit)
  • STAR WARS: Tales from the Galaxy’s Edge (ILMxLab)
  • Synth Riders (Kluge Interactive, free upgrade)
  • The Tale of Onogoro (Amata K.K)
  • Tentacular (Devolver)
  • Tetris Effect: Connected (Enhance)
  • Thumper (Drool LLC)
  • The Walking Dead: Saints & Sinners: Ch. 2: Retribution (Skydance, launch window)
  • Vacation Simulator (Owlchemy)
  • What the Bat (Triband)
  • Zenith: The Last City (Ramen VR, free upgrade)

Kazunori Yamauchi, the president off Polyphony Digital, shared a few words in the blogpost about the upcoming free VR update for owners of Gran Turismo 7 and teases a bit as to what fans can expect.

“We’re thrilled that Gran Turismo 7 will be a PS VR2 launch title! Through a free upgrade, for those who have already purchased Gran Turismo 7, players will experience all cars and tracks in VR like never before,” Yamauchi said. “GT7 in VR takes full advantage of PS VR2’s next gen features. With eye tracking and foveated rendering, players will experience stunning visual fidelity while racing in any of the 450+ cars. While 2-player splitscreen races are not supported in VR, all other races, including online races, will be available. From the Nürburgring to Tsukuba, tracks can be experienced exactly as they are in real life.”

Sony noted that this final launch software lineup is “subject to change without notice.” Furthermore, IGN is confirming with certain developers whose games are not on this list but stated intention to launch alongside PS VR2 like Among Us 2, and will update this as we hear back.

For more on PlayStation VR2, be sure to check out our hands-on preview of Sony’s new VR headset and of Horizon Call of the Mountain.

Have a tip for us? Want to discuss a possible story? Please send an email to newstips@ign.com.

Adam Bankhurst is a news writer for IGN. You can follow him on Twitter @AdamBankhurst and on Twitch.

Dead Space Remake: The Final Preview

A few days ahead of visiting EA Motive for our Dead Space-focused IGN First, I played the original game for the first time since 2008. I only intended to play the first hour or so, but seven hours later I found myself still battling through the rusted corpse of the USG Ishimura. I always knew Dead Space was a modern classic, but I was surprised just how well it stood up all these years later. And so I headed to meet the developers with a slightly cynical mindset: what was the point of remaking something that remains so brilliant?

After playing the same seven hours of the remake, I think I may have been convinced. In many ways Dead Space is a purist’s remake; I’d estimate that around 85% of what I experienced was identical to the original game, just with vastly superior visuals. But it’s the other 15% that has me quietly wondering… could this remake genuinely be better than its progenitor?

Many of these changes are gameplay improvements, several of which are drawn directly from Dead Space 2. The zero gravity sequences now allow you to move freely in all directions, rather than hop from surface to surface. This obviously allows for a better sense of freedom, but segments redesigned around this ability are notably more interesting than their original counterpart. The centrifuge generator puzzle in chapter three is now a genuine spectacle, while the ADS cannon repair job has been completely changed to be a dangerous space walk that amps up the tension.

The 2011 sequel’s influence can be found in your weapons, too, which can now be fitted with a variety of special upgrades that alter their function. The Plasma Cutter, for instance, can be modded with an extended magazine and the ability to set foes alight for damage-over-time. The Ripper, meanwhile, can fire blades that ricochet around the room, allowing for trick shots.

I found the new secondary abilities to be much more useful than those in the original game.

Such modifications are found hidden around the ship, and so they act as encouragement to explore every room and store cupboard. But thanks to a new Security Clearance system, you’re initially locked out of many side locations you discover. As the story progresses you’re granted increasing levels of clearance, and so you can then backtrack through the now-seamless spaceship to open doors that were once forbidden. This interconnected design and backtracking turns the Ishimura into something closer to the Talos-1 station from Prey; a huge structure that feels like a genuine place rather than a series of video game levels. It’s an admirable direction, but I’ve yet to see exactly how well it’s used across the full campaign. My hope is that Motive has smartly weaved backtracking into the main missions and the newly-added side quests to allow for organic revisits of prior areas, rather than making backtracking a segregated chore.

Regardless of if you’re backtracking or making forward progress, Dead Space is full of horrifying necromorphs that threaten to rip you limb from limb. Much has already been made of the new ‘peeling system’ that rips the skin, fat, and muscle layers away from enemies with each new wound, but there’s more to this grotesque idea than just visceral visuals. Much like how protagonist Isaac Clarke has a health bar built directly into his suit, the necromorphs’ own bodies are now a visual representation of their health. This is never more obvious than when using the Force Gun, a weapon that has been completely overhauled for the remake. What was once simply a push-back weapon now rips the flesh off of enemies with a thunderous blast. The stripped down necromorphs can then be finished off with a more conventional weapon; their exposed bones ready to be snapped with just a round or two.

Talking of weapons, each one of Isaac’s lethally repurposed tools has been redesigned to encourage a new level of strategy. Dismemberment is still the main aim of every skirmish, but the flamethrower’s new alternate fire creates a wall of searing flame that can cordon off areas and manage crowds, while the Pulse Rifle’s new proximity mine works as both a trap and a makeshift grenade launcher. These are small changes, but I found the new secondary abilities to be much more useful than those in the original game, and they soon became a regular part of my combat routine.

My favourite change I’ve seen so far, though, are the Circuit Breakers. These occasional puzzles require you to reroute power to different machines, typically to open up locked doors. Each breaker box has a limited number of fuses and so powering up a door is done at the expense of powering down something else. In an early example this involved turning off an elevator I no longer needed, but in chapter three I was confronted with a much more intriguing sacrifice: to power up a refuel station I had to divert energy away from either the engineering deck’s lights or life support systems. It was a choice: should I stumble onwards in pitch-darkness and risk being ambushed by unseen threats, or navigate well-lit corridors while my air supply rapidly ran dry? It’s a smart way to combine challenge with player choice, and I hope this example is the first of many fiendish scenarios rather than a one-off occurrence.

There’s the sense that elements of Dead Space 2 are being retrofitted into the original.

Graphics aside, the most notable change right from minute one is the alterations to the script and storytelling. Once-silent protagonist Isaac can now speak, and while I do think this is largely unnecessary, he thankfully hasn’t been turned into an overly-chatty Sony character. Rather than quipping at everything, Isaac’s ability to respond anchors him into the horrifying situation in a realistic manner. Gunner Wright, the voice actor who brought Isaac to life in the sequels, reprises the role, and so once again there’s the sense that elements of Dead Space 2 are being retrofitted into the original.

Isaac’s new scripting is pretty good, but the best changes have been made to Kendra Daniels. Once an incredibly thorny character, she’s been transformed into a much more empathetic, friendly colleague for Isaac. For anyone who knows the final direction of Dead Space’s story, I think Daniels’ revised personality will work much better with her character arc (provided, of course, the story’s main plot beats remain intact.)

Talking of the story’s pathway, the church of Unitology – a religious sect and major player in the Dead Space universe – is introduced much earlier in this remake and in a far more organic manner. These characters know the church’s reputation and casually discuss it, even before they are aware that it will change their lives forever. It’s an approach I really appreciate, and I think the eventual plot reveals will be much more meaningful because of it.

Motive has made many smart changes to Dead Space, but it never shakes things up to the point of being unrecognisable. The result, at least across the first several chapters, is something that feels similar in philosophy to a director’s cut (albeit a director’s cut that’s completely re-filmed on brand new sets). This experience appears largely the same as the 2008 original, but honed and polished to a beautiful, gory finish. As such, this remake will likely work best for brand new players or the most dedicated Dead Space fans. As someone who loves the original game, I found what I played an absolute thrill. But for less invested fans the value is of a more questionable quantity, since even with the changes this is an incredibly similar experience. As such I don’t think Dead Space will be as essential and transformative as the Resident Evil 2 remake was. As the best possible way to play this landmark survival horror, though? I have near enough no doubt that Dead Space will succeed in that mission.

Matt Purslow is IGN’s UK News and Features Editor.