With Black Myth Wukong now out in the wild and breaking records left and right on Steam, players are finally getting to grips with its sort of soulslike gameplay, and running up against its spectacular and often tough boss fights.
While Black Myth Wukong is more easy-going than FromSoftware’s games, for example, with no meaningful punishment upon death, there’s one mini-boss encountered very early in the game that’s ripping unsuspecting players to shreds.
Warning! Black Myth Wukong spoilers follow:
In the Outside the Forest area of the Forest of the Wolves, which you’ll get to about half an hour or so into the game, you’ll hear an odd noise coming from across the way. It’s an extremely tough and, we must stress very optional, mini-boss with a giant head.
This is the Wandering Wight, which Black Myth Wukong players are already singling out as one of the toughest mini-bosses in Chapter One. Some fans have already given it various nicknames (‘Blue Bobblehead Thanos’ made me laugh).
Across Discords, subreddits, and social media, Black Myth Wukong players are reporting that they have spent or are still spending hours dying to the Wandering Wight before they either emerged victorious or moved on. And here’s something I can relate to: some are saying they’re too stubborn to move on until they’ve defeated the Wandering Wight, even though it’s entirely optional, encountered very early in the game, and would be a much easier fight later on once you’ve improved your character’s abilities and stats a bit.
How is it I beaten most of the bosses in Black Myth Wukong 1 to 2 tries yet this mf “Wandering Wight” kicked my ass from all different angles?!?! pic.twitter.com/dphRVl85rO
— The Mad ArchFiend of Shimano (@6ShubNiggurath6) August 20, 2024
The Wandering Wight is causing so much trouble because its fast, hard to avoid attacks do a huge amount of damage to early game players who are yet to increase their health pool. Similarly, it has loads of health itself, making it a bruising fight to take on.
Meanwhile, developer Game Science has apologized for any tech or performance issues players have encountered since the game went on sale earlier this week. Game Science took to Black Myth: Wukong’s Steam page to issue a statement promising patches aimed at these performance issues.
IGN’s Black Myth: Wukong review returned an 8/10. We said: “Despite some frustrating technical issues, Black Myth: Wukong is a great action game with fantastic combat, exciting bosses, tantalizing secrets, and a beautiful world.”
This week, IGN verified an email sent from the Black Myth: Wukong marketing team that told content creators who were granted a Steam key that they must not include “feminist propaganda” or use what are called “trigger words” such as COVID-19 in their coverage.
Chinese studio Game Science has yet to respond to IGN’s previous report compiling numerous sexist comments made by the studio’s founders and other developers spanning the last decade.
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.
The first thing that jumped out to me as I began Monster Hunter Wilds’ introductory mission was how quickly I got invested in its story now that both my character and my Palico companion had voice acting of their own. The second thing, sadly, was how poorly this early preview build ran once I took control. Wilds is exceptionally exciting to me, recapturing what I love about Monster Hunter World while learning from the joy that came from Monster Hunter Rise’s enhanced mobility, finding a balance of both that felt great across the handful of missions I tried. It’s unfortunate that its rough, in-development performance put a little bit of a damper on my demo time, but if Capcom can sort those issues out by launch next year, Wilds could be exactly what I was dreaming of from the next Monster Hunter.
What’s immediately clear is that Wilds has continued to put a priority on smoothing out some of the traditionally rougher edges of this series. For instance, rideable monster mounts make a return after first being introduced as an automated option in World’s Iceborne expansion and then expanded into full control in Rise. This iteration leans more toward the latter, defaulting to follow a target but allowing you to take the reins directly anytime. Your dino-bird, called a Seikret, can scamper across special paths, glide, and give you time to use or collect items, which makes travel engaging in a way that feels less artificial than Rise’s Spiribird busywork.
But it’s not just a matter of convenience, as your mount also stores a second weapon option that you can swap to while riding. As a lifelong Insect Glaive main, this didn’t really appeal to me at first… until I realized that you can also use ranged weapons like Bowguns while mounted. That fully recontextualized this system, letting me pepper a retreating monster with bullets while my Seikret automatically chased it down, then swap back to my Glaive when it was time to hop off. I guess we’re all learning ranged weapons now, and I am very okay with that added flexibility.
I can only really speak to my experience with the Insect Glaive when it comes to how weapons have changed, but I was surprised by the adjustments I saw there – most of which seem to be in service of the new Focus Mode option that lets you more precisely aim your attacks at specific monster parts and special weak points. I found myself with a lot more options to sidestep or make micro-adjustments while attacking, with seemingly fewer combos that would end with a move that killed my momentum and more opportunities to really control how I was laying down the hurt. Again, I didn’t play enough to have the clearest sense of that shift just yet, but it feels like that Rise philosophy of speeding up some of the clunkier parts of combat is alive and well, even if you aren’t flying around on a Wirebug this time.
Wilds has continued to put a priority on smoothing out rough edges.
And if you’ll indulge some Glaive-specific gushing, there are two massive changes that radically changed the combat pattern I was used to. First, landing your aerial attack no longer bounces you back into the air for a chain of helicopter-blade slicing, which was admittedly a huge drag to discover. But the loss of that goofy fun is at least partly made up for by more convenience tweaks, as hitting a weak point with a special Focus Strike move will not only deal tons of damage, it also immediately collects all three Kinsect essences at once, massively speeding up that process in the mid-to-late part of a hunt. (Your aiming reticle now also has a helpful indicator that tells you which essence the monster part you are aiming will provide, and managing that system feels like less of a hassle all around.)
Even in my short playtime, I saw so many little examples of things like this – stuff that doesn’t undermine the challenge and deliberate pace that makes Monster Hunter what it is but does make the experience that much smoother. There’s a quick option to use whatever recovery items you have that will minimize waste, your hook can grab most items from afar (even while mounted), collecting at gathering points moves just a bit quicker, you can finally pick up bomb barrels after placing them, and firing an SOS flare will even fill your team with AI hunters if you’re offline or until real people online are able to join. It’s a laundry list of tweaks that aren’t necessarily revolutionary, but all make so much sense you wonder why it wasn’t like this before.
Of course, the big, buggy Gammoth in the room is how it all ran. I am willing to give Capcom the benefit of the doubt to a pretty substantial degree here given Wilds doesn’t even have a release date beyond “2025” yet – there is presumably a lot of time left to polish things up – but it’s still worth mentioning that this demo ran badly. Like, really distractingly badly. During busy moments, the framerate dropped to a degree that almost made it hard to play, and the group I was playing with saw multiple hard crashes. Again, this in-development build is by no means the final version of Wilds, but it is the version Capcom chose to show us, and I can’t help but be just a touch concerned that maybe that’s an indication that, at best, Wilds might drop later in 2025 than I was expecting, or at worst, that Capcom bit off a little more than it will ultimately be able to chew.
That’s partly because the ambitious scope here is truly impressive, seemingly hoping to keep hunters out in the field longer. Rather than kicking you back to town after a successful hunt, the second mission I did was structured more like Iceborne’s Guiding Lands, where you could stick around after to explore or immediately take on a new one, with world events and other dynamic things coming and going around you. Rather than starting from a single tent, there was even a surprisingly large outpost on the map I saw, complete with NPCs to talk to. I didn’t really get to see much of this side of Wilds in my demo, but it could add up to a very different feel between fights.
From what I did see, Wilds is shaping up to be pretty much what I hoped for: a Monster Hunter that embraces the parts of Rise that made it so much more inviting, but also doesn’t shy away from the larger scale and spectacle that helped make World the more enduring entry for me. It’s hard to tell exactly which way that needle will point after just a few missions (or if these structural changes will swing it somewhere else entirely), but I certainly can’t wait to play more so I can find out.
Tom Marks is IGN’s Executive Reviews Editor. He loves puzzles, platformers, puzzle-platformers, and lots more.
Civilization fans will know the in-game narrator plays a huge part in the strategy series. For a start, you hear their voice a lot as they impart wisdom about humanity itself throughout the course of the game. And the Civilization games have had some high-profile actors play the role over the years. The late and great Star Trek legend Leonard Nimoy voiced Civilization 4, William Morgan Sheppard voiced Civilization 5, and Ned Stark himself, Sean Bean, voiced Civilization 6.
Now, Civilization developer Firaxis has maintained the Game of Thrones line of succession by drafting Gwendoline Christie to play the in-game narrator in Civilization 7. Fresh from a gameplay reveal at Opening Night Live, Firaxis announced Christie’s role in the game with a new trailer, below, that offers a glimpse at what to expect when Civilization 7 releases early next year.
Just revealed! Your in-game narrator for Civilization VII is… Gwendoline Christie!
Christie, like Sean Bean, is a Game of Thrones alum, having exploded into the mainstream by playing Brienne of Tarth in the HBO fantasy-drama series. Here, Christie seems a little more relaxed than the overcharged Brienne, setting the scene for perfectly for Civilization 7.
IGN went hands-on with Civilization 7 ahead of its Opening Night Live reveal and came away impressed. Civilization 7 launches February 11, 2025, on PlayStation 5, PlayStation 4, Xbox Series X and S, Xbox One, Nintendo Switch, PC via Steam and Epic Games Store, and Mac and Linux via Steam.
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.
It’s about to kick off in the centre of Kuttenberg, the sprawling medieval city at the heart of Kingdom Come: Deliverance 2. Menhard the sword master has offered to teach protagonist Henry of Skalitz a few tricks with the blade, but the lesson has been interrupted by Kuttenberg’s official fencing guild. They won’t let Menhard teach so much as a pommel strike, despite him having a charter from King Wenceslas to do just that. Moreover, they’re going to fine the old Fechtmeister for breaching their rules.
Things are getting heated, with the chance of a real swordfight breaking out growing by the second. But Henry has an idea. “Menhard wasn’t teaching me anything,” he blurts out. “We were duelling because I insulted his honour!”
Unconvinced, the guild master asks what the duel was about, at which point I’m given an array of choices for Henry to respond with. Reacting quickly, I decide to have Henry say that he slept with Menhard’s daughter. I don’t know whether Menhard has a daughter, but it seems like the sort of thing medieval people would get into a duel over, so I roll with it.
The guild master buys my bald-faced lie and waives the fine…
It works. The guild master buys my bald-faced lie and waives the fine, though Menhard is still prohibited from teaching longsword in the city. With a fight avoided, I turn to Menhard expecting him to be grateful. Instead, he’s furious. It seems Menhard really does have a daughter, and the very idea of Henry sleeping with her has genuinely insulted his honour. Oops. With their relationship damaged, Henry must desperately placate the raging swordmaster before they can focus on more important matters, like plotting how to get back at Kuttenberg’s fencing guild.
Kingdom Come: Deliverance 2 is shaping up to be an even bigger RPG than the original, a 100+ hour epic featuring massive battles, sweeping Bohemian landscapes, and a fully simulated medieval metropolis. But at Warhorse Studios’ preview event hosted in the real-life city of Kutná Hora (the modern Czech name for Kuttenberg) it was this throwaway detail that stuck with me the most. Warhorse claims every choice the player makes in its RPG will feel like it matters, and this dramatic response to a decision I barely thought about was the first (but not the last) indicator that KCD2 could well deliver on this promise.
It’ll be several hours before KCD 2 opens-up to you in this way, however. Warhorse provided access to two separate chunks of the game, the first of which took place right at the beginning. Kingdom Come: Deliverance 2 opens in medias res, with an explosive castle siege where you defend the ramparts with crossbow and longsword. Warhorse says KCD 2 will feature substantially larger battles than the previous game, and this initial sequence was an impressive taster of playing at a larger scale, from booting down siege ladders from the castle wall, to firing crossbow bolts into a crush of enemy soldiers as they come barrelling through the gate.
Following this exciting opening, KCD 2 rewinds to connect with the end of the first game, as we rejoin Henry and his friend and liege lord Sir Hans Capon on a mission to deliver a letter to neighbouring lord Otto von Bergow. This initial hour is strictly linear and heavy on cutscenes, but it keeps you engaged through the feelgood vibes of Henry and Hans’ friendship. Like the first Kingdom Come, the sequel is written in a very humanistic style. Henry remains a deeply affable, fish-out-of-water protagonist, while his position as Sir Hans’ squire leads to an interesting blend of camaraderie and tension between the two.
Together, the pair have big “lads on tour” energy, clearly revelling in the rare freedom their position and assignment affords them in medieval society. It isn’t all fun and games, however. An encounter with a retinue of Bergow’s knights emphasises the danger that lurks around every corner, as the two have to convince the armed horsemen that they aren’t bandits. It’s the first of many elaborate dialogue sequences, with numerous player choices and a lot of exposition. Indeed, while KCD’s conversations are generally interesting, I did wonder if they might benefit from some sterner editing at times.
KCD2 is built to be played with no foreknowledge of the original. As such, the opening hours fold in several refresher tutorials, such as Henry and Hans having a friendly duel that reintroduces you to KCD’s unique swordfighting system. This has been refined for the sequel, reducing the number of directions you can swing your sword from five to four, and making actions like parrying and riposting easier to pull off. While it’s been years since I played the first game, I was nonetheless able to hold my own against Sir Hans after a few minutes of instruction, suggesting that Warhorse’s changes have indeed made the system easier to grapple with. The sequel also introduces bespoke fighting systems for certain non-sword weapons like maces, letting players who don’t fancy mastering the blade to adopt the simpler approach of cracking skulls.
KCD2 is built to be played with no foreknowledge of the original.
The introduction culminates in Henry and Hans taking a bath in the river, followed by a goofy scene where they sneak through the reeds along the riverbank, drawn by the sound of peasant women singing nearby. The scene quickly takes a darker turn, however, as the pair’s camp is attacked by bandits, whereupon they’re forced to flee into the woods wearing nothing but their pants. It’s a sequence that shifts between dramatic and comedic multiple times, and the game handles those tonal changes well.
Through a series of unfortunate events, Henry and Hans end up in the care of a local peasant woman, where we get a chance to see the quieter side of KCD2. One of the original’s strengths was how it strived to immerse players in moment-to-moment play, and KCD2 seems just as indulgent in this regard. Simple actions like eating stew from a pot and picking herbs to make potions are depicted with intensely detailed first-person animations, while the Bohemian forests you explore are verdant and alive with birdsong. There’s a chance to experiment with the updated alchemy system, which is even more tactile and involved than the first game, with you sprinkling ingredients into a big cauldron, before adjusting its height with a lever to change the heat level. Later, when Henry has to fight and kill a couple of bandits who come looking for him, an optional objective unlocks to bury the bodies away from the peasant woman’s home, and you can go through the entire process of putting these wayward souls to rest.
Everything in this initial demo suggests KCD 2 will retain the original’s capacity for letting players steep in its medieval setting. What it didn’t show was anything wildly new. For this, the second demo was more promising. This fast-forwarded the campaign to the 50-hour mark, where Henry arrives in Kuttenberg. This medieval metropolis is the largest urban space seen in the series yet, a bustling environment where every NPC has their own daily routines and behaviours.
It’s here where Henry encounters the swordmaster Menhard and becomes embroiled in the dispute over who has the rights to teach longsword in the city. To settle the disagreement, Menhard hatches a plan, and asks Henry to steal the fencing guild’s official sword and hang it on the wall of the Rathaus (the town hall). This, Menhard explains, is the formal way of issuing a challenge of arms to the town, a challenge which Menhard could then accept to prove his martial superiority.
Of course, this means sneaking into a guildhall filled with master swordsmen, which Menhard wisely suggests you do at night (though you are free to try it in the daytime if you wish). Yet even in darkness, clandestine activities are a risky business in Kuttenberg. Anyone walking around at night is expected to carry a torch, and not doing so will get you in trouble with the guards. Having successfully evaded the city watch, I then have to climb over the wall of the guild house, pick the lock on one of several potential entrances, find the sword, and escape.
Here, the open-ended nature of KCD 2 becomes much more apparent, with the quest feeling closer in spirit to a game like Dishonored than the more directed sequences of the early game. The first time I attempt the theft, things go south quickly. I pick the lock but attract the attention of one of the nightwatchmen, who relocks the door after searching for me. I pick the lock again, and proceed three steps into the building before I’m rumbled. I try to fight my way out with fisticuffs, managing to knock out one of the nightwatchmen, but another has roused the town guard, who come barrelling in with swords drawn to quickly cut me down.
The quest can alter in multiple ways depending on your actions, both in narrative choices and general play.
In my second attempt, I’m more careful, and succeed in lifting the sword unnoticed and hanging it on the wall of the Rathaus. This would be a natural endpoint for the quest, but it proves to be far from over. Succeeding in the theft leads to a multi-stage longsword tournament between Menhard and the swordmasters’ guild, and you can choose to be sworn in under Menhard’s stewardship and fight for his honour and right to teach longsword in the city. Moreover, the quest can alter in multiple ways depending on your actions, both in narrative choices and general play. If you steal the sword but are spotted doing so, for example, the guild will accuse you of the theft when Menhard accepts their challenge. Consequently, the swordmasters’ guild is given heavier armour during the tournament, making the fight more difficult on your end.
This elaborate structure isn’t entirely surprising; quest design was one of the first game’s strengths too. Nonetheless, it certainly feels like the sequel is operating at a higher level amid the busy streets of Kuttenberg. And if Menhard’s quest is reflective of the sequel’s 100+ hour total, then Kingdom Come: Deliverance 2 could end up being something rather special indeed.
Earlier today, Bethesda announced that in the lead-up to Starfield’s upcoming Shattered Space DLC, players would be treated to the game’s first land vehicle, the Rev-8, in an update coming later tonight. Well, it’s now later tonight, and Starfield’s 1.13.61 update is now live.
The big centerpiece of this patch is, of course, the Rev-8. It’s the game’s first land vehicle, and we got our first look at it earlier today in a trailer. It’s kinda cute, bouncing around craters and things with its little hover jets and turret. Take a look:
The update isn’t just car-centric, though the Rev-8 is a pretty big deal. There are a number of new settings being added such as a frame rate target setting allowing players to pick between 30, 40, 60, or uncapped on VRR displays. Non-VRR displays will still be able to select between 30 and 60, though players are warned screen tearing may occur on non-VRR displays if 60 is selected. There’s also a new setting allowing you to prioritize between visuals and performance, and toggling Vsync on and off. And there are new Xbox Series S performance options added as well.
Gameplay-wise, the majority of the changes appear to be fixing various bugs or minor other adjustments to make gameplay a bit smoother. You can read the full patch notes here.
Today’s update comes ahead of a much larger DLC expansion entitled Shattered Space, which we learned today would be releasing on September 30. Shattered Space was first revealed back in June at the Xbox Games Showcase and is the game’s first story expansion. It takes place on the homeworld of House Va’Ruun and includes a new planet, weapons, spacesuits, gear, and more.
We gave Starfield a 7/10 in our launch review, saying that it “has a lot of forces working against it, but eventually the allure of its expansive roleplaying quests and respectable combat make its gravitational pull difficult to resist.”
Rebekah Valentine is a senior reporter for IGN. Got a story tip? Send it to rvalentine@ign.com.
There’s nothing quite like the moment right before sitting down to see a new Civilization game for the first time – particularly since this is the longest we’ve ever had to wait for a new one – and I’m happy to say I came away with a pretty positive outlook on Civilization VII. It’s a more daring, risky take on the formula than any of the past few iterations have been, and I think that’s definitely the way to go, considering those older games aren’t going anywhere and are still quite playable. From Ages that completely transform your chosen civ, to a bold, readable, but grounded new art style, Firaxis is already putting their best foot forward.
The historical 4X space has gotten a lot more crowded since Civ 6, and it seems apparent Firaxis has been paying attention to what others dipping a toe into the genre have been doing. That leads us to the biggest single change Civ 7 is introducing: like in 2020’s Humankind, you won’t be playing a single civilization for your entire campaign.
There are three distinct Ages: Antiquity, Exploration, and Modern. The devs were quick to point out that Ages aren’t exactly equivalent to Eras in past Civ games, since they’re quite a bit longer and more distinct. By turn 125 on Standard speed, I was still in 1150 BCE according to the RP clock, for instance. A campaign should take about the same amount of time as in past Civ games. You’ll pick a new civ to play for each Age, with its own bonuses, units, and map graphics. The thing that will stay with you is your initial choice of leader, a 3D avatar for your entire campaign that comes with their own set of permanent bonuses.
The leaders themselves remain visually consistent through the ages – you won’t see Hatshepsut in a pant suit in modern times, for instance. And they’re all civilization agnostic. Hatshepsut’s bonuses synergize well with those of the ancient Egyptian civ, so you’ll have some incentive to match a leader to their historical people if you’re min-maxing. But you can play her as the leader of any civ. After all, you might be finishing the campaign as the United States, so there will be some mixing and matching regardless.
HEAD OF STATE
Firaxis is also taking the opportunity to include some leaders who weren’t necessarily top-level political figures this time, so we don’t just end up with the exact same cast. Ben Franklin was specifically called out, though we haven’t seen him fully animated yet.
What isn’t totally agnostic is your choice of a new civ in the coming age, addressing one of my gripes with Humankind – that you could go from Celts to Chinese with little or no narrative context. Every starting civ will have at least one “natural” path that’s always available to them. Egypt can naturally transition into Songhai, and then Buganda. But everyone can also potentially earn access to certain later-age civs that are unlocked by gameplay choices. For example, cultivating several horse resources in Antiquity can allow you to become the Mongols for the Exploration Age. Other interesting progression paths mentioned included starting as Rome, then becoming the Normans, and finally the England.
Transitioning between Ages will come with a period of Crisis, and I got to see just the beginning of one of them for Antiquity: The Rising Storm. Depicting the fall of the great empires of old, it required me to take one Crisis policy card (similar to Civ 6’s Dark Ages), where all of them were bad, so it was kind of a “pick your poison” moment. At the same time, new groups of independent people – who have completely replaced barbarians, and can be dealt with militarily or diplomatically – started spawning around my hinterlands.
LONE AND LEVEL SANDS
Transitioning to a new Age doesn’t only give you new mechanical bonuses, though. Lead designer Ed Beach used the city of London as an example of how you build cities in Civ 7. Comparing maps of Roman London to medieval London, very little of the former city is left standing. And the same is true if you compare medieval London to modern London. New civilizations are built over the ruins of the past. And through a concept called “overbuilding,” that’s literally what we’ll be doing in the later ages of Civ 7.
Cities are still sprawled across multiple tiles like in Civ 6, but there are now only two types of districts: Urban and Rural. Urban districts can hold up to two buildings at the start of Antiquity, increasing over time, and might gain special meta attributes based on what you build there. For Egypt, I was able to establish a unique funerary district by building both of their civ unique buildings in the same place. So a “science district” isn’t a thing you plop down that is going to start out being focused entirely on science. It’s just an urban district that you chose to specialize toward science with synergistic buildings.
Rural districts are more or less what used to be called tile improvements. Remember builders? They’re gone! Moving citizens around between tiles? Also gone! Instead, what now happens is, when you would gain a new citizen through population growth, you immediately plop down a new district (which will be empty if it’s urban – you still need to spend production on city buildings), or possibly add a specialist to an existing one if you have unlocked the civics for it.
In the build I played, you could only place districts adjacent to existing ones, which on the one hand creates tighter and more believable urban cores. I didn’t really think this restriction made sense for rural districts, though. I’d like to be able to place those a bit further out, since the look of outlying mines and farms, I think, creates a really nice scene. And the way it is currently, you can’t really save room for future urban sprawl, so I ended up with kind of a weird-looking checkerboard of urban and rural, which doesn’t feel especially authentic.
Settling new cities also now starts them out as a Town, which doesn’t have a production queue and instead turns all of its production into gold. You can still buy things in a town directly with gold, and the cost of upgrading it to a city will be reduced by how much you’ve built it up this way already. I found this to be a nice option, since I don’t really like managing 15 different production queues.
AMBER WAVES OF GRAIN
Overall, Civ 7 looks great so far. Civ 6’s art style was, shall we say, divisive, and I was more on the negative side, for sure. All these years later, I still think Civ 5 looks better than its direct successor. Civ 7 has taken another stylized, but much more grounded and tactile, approach. The main influences on the art style were painted miniatures, model trains, dioramas, and museum displays. And everything on the map is great to look at. I really did feel like I could reach down and pick these little guys up to get a closer look at them.
It’s the first Civ game in a while that really feels “next gen” in a visual sense. The mountains look a bit less… mountain-y? More like isolated peaks than the nice, realistic ranges you’d get in previous games. But that’s my only gripe so far.
The leaders, continuing on the tradition of Civ 6, are rendered with tons of detail and personality. We got a look at Hatshepsut of Egypt, Amina of Zazzau (the “natural” leader for Aksum), Augustus of Rome, and Ashoka of the Maurya. On the diplomatic screen, both of the negotiating leaders are now shown interacting, which adds a nice bit of extra dramatic flair.
Diplomacy has also been greatly reworked from Civ 6.
Diplomacy has also been greatly reworked from Civ 6. Influence is now a baseline currency produced by certain buildings, and you spend it on direct actions that target another civ. Firaxis wants to reduce the emphasis on transactional horse trading, so every time you do something diplomatically, it’s more of a specific jab or handshake. Influence also has a fairly low cap, and is use it or lose it, encouraging you to engage in diplomacy regularly.
One really interesting example of this was a treaty Amina kept hitting me with when we were on less than great terms, which would cause my relationship with my BFF Augustus to deteriorate unless I spent a larger ante of influence to counter it. This presents some diabolical ways you can play other civs against each other.
The other really great twist with Influence is that you can spend it during a war to increase your side’s War Support, which works like a diplomatic tug-of-war. If one side has invested a lot more influence than the other, the side with less war support will suffer scaling penalties to combat effectiveness and happiness in their cities. So diplomacy is now key to the military game as well, which I love.
AD ASTRA
Even with only three hours of hands-on time, I could probably talk for six or more about Civilization 7. There’s so much I haven’t even touched on yet, from commanders that can “pack up” entire armies for easier transport across the map, to Culture and Leader-specific perk trees. So keep an eye out for much, much more about Civilization 7 between now and release.
The last time the developers at MachineGames made an Xbox-exclusive first-person action-adventure based on a movie character, it turned out to be one of the best experiences of the entire original Xbox/PS2 console generation. That game was The Chronicles of Riddick: Escape from Butcher Bay, back when the core of MachineGames was still at Starbreeze. I bring this up because after I got to see an extended demo of the studio’s newest project, the also-Xbox-exclusive Indiana Jones and the Great Circle, I couldn’t help but be strongly – and I do mean strongly – reminded of the Vin Diesel-starring original-Xbox classic, in the very best of ways. Indy absolutely screams Riddick, and because of that, The Great Circle went from something on my most-anticipated list to being far and away the game I’m most looking forward to playing this year.
My hands-off demo began in (where else?) a huge underground temple, with the sun shining down onto a small figurine. Indy picks it up and the door closes behind him. He cracks the figurine open with a rock. Inside is a small block of some sort – a key, perhaps? Naturally, this triggers a cave-in, with our hero remarking, “Oh, you gotta be kidding me.”
The player takes over as the camera shifts to first-person (though it will go third-person for platforming sequences). As sand fills the room, Indy shuffles over to a window that’s suddenly become reachable thanks to all the sand. He tumbles into a stand and then a run, a stamina bar showing how much longer Jones can keep sprinting. He uses his trusty whip to make a leap across a chasm as the temple conditions grow more lethal by the second. He goes into a slide to exit the temple just in the nick of time.
MachineGames promises plenty of these kinds of exhilarating action sequences in The Great Circle, which notably – just like in Riddick – rarely involves the use of a gun. Sure, Dr. Jones has his trademark revolver, but, as creative director Axel Torvenius explained, “The key to the combat is to carefully decide your approach,” and added, “It’s very dangerous in this game to fire a gun.” It won’t be done particularly often, and it shouldn’t be taken lightly when the moment comes. “You should firstmost try to use your wits and your whip,” he continued. “To understand that there are optional ways to solve [problems].” Don’t, then, call this Indy game a first-person shooter. It’s a very first-person game, alright, but it’s decidedly not a shooter. It’s a mix of puzzle solving, platforming, stealth, and combat. Just like this team’s first game that starred a certain bald convict who can see really well in the dark…
“The focus for this game is adventure,” said director Jerk Gustaffson. “We want exploration to feel truly rewarding.” As such, one of your primary tools is Indy’s journal. It starts blank but quickly becomes a jam-packed archive of your travels, which will include visits to Egypt and the Himalayas, among several other locales. Furthering the spirit of adventure, there will be times where you’ll wear disguises in order to fit in, like one scene I saw where our favorite professor of archaeology dresses up like a priest in order to infiltrate a heavily guarded area. The adventure focus will even reflect in the gameplay structure of The Great Circle, with MachineGames revealing that the campaign will consist of a mix of linear areas and more open areas that you’re free to wander in.
Meanwhile, you’ll earn Adventure Points by finding journal entry-worthy items and secrets – as well as by taking pictures of key items with your camera – and those points can be spent to upgrade your Indiana Jones to play more like you prefer, be it upping your stealth abilities, combat abilities (like True Grit, which essentially lets you survive an otherwise-fatal blow to get back in the fight), or other skills. MachineGames says there are “dozens” of upgrades to choose from. You can also buy items from shopkeepers, like one I saw that had a monkey beside him at his booth. What these are, though, I have not yet seen.
Much of the combat looks like it’ll involve your fists, but like in Riddick, your foes won’t go down with a simple press of the punch button. You’ll have to skillfully parry, block, and combo your way to victory in hand-to-hand combat. And don’t be afraid to get your whip involved too, by lashing it at opponents’ feet to knock them down, as one example of what it can do for you in gameplay. But your dukes aren’t always going to be your go-to weapons. I saw Indy use a rolling pin in a kitchen to bash a Nazi’s face in. I also watched him pick up a shovel, sneak up behind a Nazi, and whack him on the back of the head. In fact, sneaking looks to be a big part of The Great Circle, with stealth emphasized as a core tenet of gameplay – as it was in Escape from Butcher Bay.
Sneaking looks to be a big part of The Great Circle, with stealth emphasized as a core tenet of gameplay – as it was in Escape from Butcher Bay.
Something Richard B. Riddick didn’t do, though, was bring any friends along with him for the ride. Indiana Jones, on the other hand, will welcome help along the way. I saw a couple of companions at his side throughout my demo across numerous scenes in the game. They’re not always around, but when they’re by your side, I didn’t see enough to know exactly what they’ll be capable of? Are they solely to help advance the plot and allow for more Indy quips? Or will they also offer an Elizabeth-in-BioShock-Infinite-like assistance in combat?
That remains to be seen, but my demo ended with a sequence that showed off a lot of what The Great Circle is going to be all about: adventuring, avoiding traps, and solving puzzles! To find a key that would unlock a temple, Indy needed to sneak into enemy territory disguised as a regular worker. After snooping around for a while, he finds the golden medallion he’s after and takes it quietly (banking +5 Adventure Points). He encounters four bad guys at a table and, this time, walks out of the tent without incident. Upon returning to the nearby temple’s hidden door and inserting the medallion, the door opens. Indy and his accompanying ally go deeper into darkness, using a lighter to illuminate the way. “This hasn’t been disturbed for thousands of years,” the professor remarks. They slowly explore the dark temple before lighting up a torch. At the end of a narrow hallway stands an ornate iron gate. Pulling the lever causes the floor to give way – revealing spikes underneath! The companion saves Indy from being impaled. Indy then uses his whip to hook onto a bar above and then lower himself down to a newly revealed crawl space underneath the floor. He shuffles through, finds a pull chain, yanks it, and the gate opens. Both Dr. Jones and his ally find a mural and take a photo of it (for 10 more Adventure Points).
They come to a sunlit room with a half-obelisk, half-throne in the back of the room, bathed in sunlight. Sunbeams point at a golden mask. The puzzle here is to redirect the sunbeams by tilting the mirrors adjacent to the throne. Your companion grabs the mask after the mirrors are aligned properly. And in a moment of overexcitement, she sits in the throne with the mask and the seat of the throne gives way! As Indy reaches to save her, both end up dragged down to a darkened pit below, where the light of the torch reveals a floor covered in…scorpions. (You thought I was going to say snakes, didn’t you?)
The fact is, this core group of developers at MachineGames – many of whom have been together for two decades – have never missed. From Riddick to The Darkness to the modern Wolfenstein games, this is an incredibly successful team. And now, Indiana Jones and the Great Circle is a playable Indiana Jones adventure being built using the best parts of the template that this development team used to make its first – and in my humble opinion, best – game of all. I absolutely can’t wait to play it.
Ryan McCaffrey is IGN’s executive editor of previews and host of both IGN’s weekly Xbox show, Podcast Unlocked, as well as our monthly(-ish) interview show, IGN Unfiltered. He’s a North Jersey guy, so it’s “Taylor ham,” not “pork roll.” Debate it with him on Twitter at @DMC_Ryan.
Back in 2022, ARC Raiders revealed itself as a co-op shooter with stylishly post-apocalyptic guerillas fighting robotic attackers that rained from the sky onto their ruined world. We haven’t heard much since. Now, developer Embark Studios is back, telling us that two years of development have refined its free to play co-op shooter into a PvPvE extraction shooter instead. It’s still a game where teams of scavengers hit the surface world hunting for the things their underground colonies need amid robotic occupation… but now they’re competing with any other scavengers that get in their way.
Also new: ARC Raiders will release in 2025 with a $40 price tag.
“Years back we announced [ARC Raiders] as a co-op only game,” said executive producer Aleksander Grondal. “But since, through extensive playtesting and internal evaluation, we evolved it into a PvPvE action survival shooter, an evolution that for us surfaced the best version of what this game could become.”
That seemed clear from the way the developers spoke about it, and from internal playtest videos that I saw during a live event. Machines were an omnipresent threat to a roving trio of raiders. Some could be taken out by quick coordinated attacks, like flocks of smaller drones, or were best avoided, like heavier fliers armed with rockets. Others were larger, more vicious multi-limbed crawlers that groaned out mechanical roars and which we only saw attacked via ambush tactics. Other teams of scavengers were the truly surprising threat—either glimpsed briefly in the distance, encountered in an interior where both parties were surprised, or spotted as an ambush at an extraction point.
Listen to the world around you in moments of silence.
“This is a game that lives on tension,” said chief creative officer Stefan Strandberg, “where you have to be on your toes. Listen to the world around you in moments of silence.” Strandberg’s statement really hit home with what I saw of ARC Raiders, which was very distinctly lacking in heavy background music, instead favoring environmental noises like wind, trees, water, footsteps, and the noises of characters cracking open boxes with tools.
There was space for all that noise, too, and fights between both players and machines are intended to be spaced out. “The game needs to have the room to build tension properly,” said Grondal, “and that means the pacing between interactions of other players and the AI needs to have enough space for you to feel that.”
The enemies previewed had very distinct sounds to them as well: Fliers had a precise quadcopter buzzing and signal beeping, while rolling explosive bombs had a rotary whine and four-legged hunting walkers had a grinding groan and whir. If the ARC Raiders delivers on this promise, it’s definitely the kind of experience where veterans will recognize and hunt enemies based on the sounds of individual weapons and the weight of footsteps.
It will at least make ARC Raiders stand out when compared to many other modern multiplayer shooters, which are often going louder, faster, and more in sync with a musical score. Strandberg and Grondal were clear that Embark wants ARC Raiders to be a slower and more decisive game – one with consequential choices in how you play and what your setup was beyond the precise details of your gun mods. (Though, I have to say, there was definitely a big page full of gun mods.)
Strandberg in particular said that the studio’s goal was to make it a “rich sandbox of gadgets and tools beyond your military shooter” while still being “grounded” and “tactile.” That seemed at least partially evident in how characters jogged around the world and did heavy vaults over obstacles while laden with equipment. It was also clear in the gadgets they used in footage: One clip showed a player with a kind of grappling gun that pulled them to the upper window of a building, while another showed a player hooking to some kind of stationary zipline.
In another fight a player first deployed a smoke grenade to put cover between himself and an ARC machine walker, then placed a land mine nearby before continuing to run… only to throw a “lure grenade” to the mine’s location once a little further away. The robots are clearly tough, though—only after repeating the trick a second time did it go down, and that was all the grenades the player seemed to have.
The players of the brief gameplay demo escaped their jaunt to the surface via a subway stop—after some tense cat-and-mouse gunplay with another team camping the extraction site. Their “time on surface” clocks read 11 minutes, 39 seconds as the loot screen rolled. They didn’t yet know exactly how many people would be in a match, but they did say that crossplay was intended and that ongoing matches currently backfilled new teams as older ones extracted.
ARC Raiders should release with a “robust” live service experience, including regular free updates post-launch.
Grondal said that ARC Raiders should release with a “robust” live service experience, including regular free updates post-launch.
As to how the team felt about the switch from a focus on co-op to the PvP element being front and center? “We kept the good parts, and that was 100% the right decision,” said Grondal, “and the game is so much better for it.”
Walmart is offering a 20% discount on the professional-grade Xbox Series X Elite Series 2 Wireless Controller. Right now you can grab it for only $142.33 shipped (normally $180). This is the original Black model that includes the component pack. The newer Elite Series 2 Core controllers in White, Blue, and Red do not include the component pack and they normally retail for $140. The component pack retails for $59.99.
Xbox Elite Wireless Controller Series 2 for $142.33
Includes component pack
The Xbox Elite Series 2 Core controller features better build quality and lots more customizability than the stock controller that comes with the Xbox Series X console. Some of the pro gaming features include adjustable-tension thumbsticks, wrap-around rubberized grip, and shorter hair trigger locks. The component pack, which is bundled with this controller, includes an extra sets of paddles, thumbsticks, D-pad, and case.
Woot! (which is owned by Amazon) is offering the best deal on Xbox Game Pass Ultimate. Right now you can get a 3 month code for only $36.49. Microsoft recently raised the price of Xbox Game Pass Ultimate to $19.99 per month, so now you’re saving 40% off a 3 month membership. Note that you can purchase multiple codes and apply them to your account, up to a maximum of 36 months. This deal was supposed to expire last week, but Woot! has extended the deadline to August 23.
Note: There is a coupon code “VIDEOGAMES” that takes $3 off one order. If you purchase multiple gift cards, this code will only work on a single gift card.
3 Months of Xbox Game Pass Ultimate for $33.49
Xbox Game Pass Ultimate gives you access to a library of hundreds of Xbox games, including day one releases. You can play them for the entirety of your membership without any restrictions. You do lose access to them once your membership is over, but if you ever decide to renew, all your past achievements and progress will be saved. You’ll also have access to Xbox Game Pass for PC. Although there aren’t nearly as many games as there are on Xbox, there are still plenty of AAA titles to keep you sated. Other perks include exclusive membership discounts, the ability to play your games across multiple devices with cloud gaming, free access to EA Play membership, as well as bonus in-game content and rewards. It is an exceptionally good – almost essential – membership for Xbox gamers. New release games are not cheap, and being able to play them without buying them will save you a lot of money and easily recoup the cost of the membership.
