Game News

Popular Call Of Duty Warzone Theory Debunked

An enduring fan theory about Call of Duty: Warzone is that the battle royale mode is populated in part by bots. However, Activision has now come out to say this is a bunch of baloney.

In a blog post, the company set the record straight. The only bots in Warzone are in the Bootcamp training mode, which goes live with the Season 3 launch in April. Activision said Bootcamp is Warzone’s only mode that has bots. If the company does decide to add bots to other Warzone modes, it’ll only be after informing fans of this.

“We’ll ensure the community is informed ahead of time,” Activision said.

Fans have long theorized that both Warzone and Modern Warfare III include AI bots in some instances, but this is the first time Activision is debunking that rumor for Warzone specifically. The belief amongst fans is that bots are infiltrating matches so players can easily pound them and have a better experience that encourages them to come back and play more.

Not every Warzone match begins with a full roster of players, and some fans have suggested it would be nice to see bots added to matches in these instances to round things out. Whether or not Warzone ever officially adds bots to the main modes remains to be seen.

Epic’s battle royale game Fortnite features bots in its standard modes, and has for years.

For more, check out GameSpot’s rundown of everything coming to Call of Duty in the Season 3 update, including a bunch of 4/20-themed content, a mode that turns fallen foes into mines, and the newest BlackCell DLC.

Take-Two Buys Gearbox Entertainment From Embracer For $460M

After months of rumors that Embracer Group was looking for buyers for Borderlands developer Gearbox Entertainment, the studio is now officially being sold to 2K parent company Take-Two Interactive in a deal worth $460 million.

Gearbox was one of Embracer Group’s biggest acquisitions when it bought the company in 2021, in a deal worth up to $1.3 billion. As the deal was based on Gearbox reaching certain milestones, it’s unclear how much of that $1.3 billion Embracer ended up paying out beyond $363 million in guaranteed upfront payments.

Now, as reported by Brian Crecente on X, Take-Two Interactive has purchased Gearbox for $460 million, which will be paid out in Take-Two shares. The purchase includes Gearbox Software in Texas, Gearbox Montreal, and Gearbox Studio Quebec, and will cover Gearbox IP including Borderlands and Tiny Tina’s Wonderlands, Risk of Rain, Brothers in Arms, and Duke Nukem.

The sale doesn’t include Gearbox’s publishing arm in San Francisco, which published Remnant 2, and has publishing rights to the upcoming Hyper Light Breaker and other upcoming titles. The sale also excludes a number of studios purchased by Embracer through Gearbox Software, including Cryptic Studios, Lost Boys Interactive, and Captured Dimensions.

Take-Two has said that Gearbox will operate as a studio within 2K, which has a long history of partnering with Gearbox on the Borderlands series. Gearbox will continue to be led by its founder and CEO Randy Pitchford and his management team.

“My primary interest is always Gearbox, including our talent and our customers,” Pitchford said in a statement. “I want to personally ensure fans of our games that this arrangement will ensure that the experiences we have in development at Gearbox will be the best it can possibly be.”

“We are thrilled to welcome Randy Pitchford and his team of passionate, talented developers to 2K and we look forward to releasing numerous projects in the future as colleagues,” said David Ismailer, president of 2K. “We have loved partnering with Gearbox on every iteration of the Borderlands franchise and are excited to be in active development on the next installment in the series.”

In its own statement, Embracer co-founder and CEO Lars Wingefors refers to the divestment as part of a “transition to becoming a leaner and more focused company,” saying the transaction will “lower business risk and improve profitability.”

After a spree of large-scale acquisitions in the last few years, Embracer has now started downsizing, resulting in company-wide layoffs, cancelled games, and divestment of some of its assets. Last month it was revealed that Saber Interactive, which is currently working on the Star Wars: KOTOR remake, would split off to become an independent company, following a sale to private investors worth $500 million.

Dragon’s Dogma 2 Buying Guide: All Editions, Delivery Estimates, And More

Dragon’s Dogma 2 is finally here, and it’s living up to the lofty expectations set by its predecessor. If you’re a fan of open-world RPGs, Dragon’s Dogma 2 offers a wonderful sense of adventure and a deep combat system that improves on the original. Before you pick up a copy, it is worth noting that the PC version has technical issues that Capcom is working on fixing, including steep drops in frame rate. With that in mind, we put together a roundup of where to buy physical and digital versions of Dragon’s Dogma 2, including details on shipping times, pickup in store options, and more. It’s also possible to get the game for less than retail price, if you know where to shop.

If you want to read more about the game before you buy, check out our Dragon’s Dogma 2 review, which awarded Capcom’s new RPG a 9/10.

Disclosure: GameSpot and Fanatical are both owned by Fandom.

Some Of Samsung’s Most Popular Monitors Get Big Price Cuts In Amazon’s Big Spring Sale

A bunch of great computer monitors are on sale during Amazon’s Big Spring Sale, including 20 monitors from Samsung’s impressive catalog. Whether you’re shopping for a monitor for your home office, gaming PC., or anything in between, there’s a good chance it’s currently discounted at Amazon.

If you’re just looking for a nice all-around monitor for general productivity, the Samsung 23.5-Inch Curved Gaming Monitor, which boasts a 1080p resolution and 60Hz refresh rate, is now just $110. Typically sold for $140, that’s the lowest price ever for the popular monitor at Amazon. Along with its curved display, it gets you a fast 4ms response time and ultra slim design that’s great for even the most crowded desktop.

Gallery

Looking for something more premium? Consider the Samsung 27-Inch ViewFinity S80PB Series Monitor (4K, 60Hz) for $400 (down from $580) or the Samsung 34-Inch ViewFinity S65TC Series Ultra-Wide Monitor (2K, 100Hz) for $450 (down from $800). Both get you a great refresh rate that’s ideal for gaming, while the S65TC gets you a nice 2K resolution.

There are plenty of other Samsung monitors on sale, including the Samsung 49-Inch Odyssey G9 Series Curved Gaming Monitor (2K, 240Hz), which is getting a big $500 price cut. So if you’re not sold on anything above, you’ll find even more options below.

Amazon Big Spring Sale – Samsung monitor deals

Game Reviews

Open Roads Review – Quick Trip

I once read in a very profound article published in a very prestigious magazine (okay, it was a TikTok) that “daddy issues” make artists while “mommy issues” make writers. I can’t attest to the science–or lack thereof–behind this statement, but as a writer born into a long line of guarded women who wielded pens as weapons, I can absolutely relate.

As such, I have a particular fondness for mother-daughter stories and the catharsis they can offer. When I heard the team behind Gone Home would be tackling the subject in their upcoming game Open Roads, I braced for a beautiful cross-country journey that would inevitably hit too close to home. However, while Open Roads has moments of relatability that are powered by solid dialogue, charming characters, and nostalgia, I was ultimately left underwhelmed by the walk-and-click exploration game. With a runtime too short to truly pull players in and an abrupt ending that leaves things feeling hastily resolved, Open Roads feels more like a pit stop than an adventure.

That’s not to say the game’s premise isn’t interesting. Open Roads begins shortly after the death of the Devine family matriarch, Helen, and follows her daughter Opal and her granddaughter Tess as they cope with loss and what to do next. Throughout the entirety of the game, we play as Tess, a 16-year-old high school student who is every bit as strong-willed, cheeky, and hopeful as most 16-year-old girls are. On top of her grandmother’s death, Tess is also processing her parents’ recent separation and the loss of her home, as she and her mother lived with Helen but were not given the house upon her death.

While cleaning out her grandmother’s home, Tess and Opal stumble upon a suitcase buried within the attic walls and find what appears to be evidence of Helen’s secret life and a passionate love affair. With a week to go until the house is sold and an empty agenda, the pair set off on a series of short trips to get to the bottom of Helen’s mysterious life.

At each of the game’s handful of locations, you walk around as Tess and interact with objects from different time periods ranging primarily from the late ’60s to the early 2000s–the time the game is set in–that are sure to be familiar to many American millennials. Occasionally you’ll be able to pocket the items to use later, adding a slight puzzle element to what is otherwise a game driven by simple exploration, though these moments are few and far between. Certain items will also prompt you to call for your mom, who will chime in, add context, or mull over your findings with you. All this makes for straight-forward gameplay that can, unfortunately, start to feel a bit dull as the game goes on.

Outside of exploring the game’s dusty abodes and dimly lit motels, Tess spends most of her time riding shotgun in her mom’s late-’90s sedan. There, she’ll have the chance to cycle through mostly static-filled radio stations, chat with her mom, or use her trusty flip phone to text her father or best friend. Yet for a game titled Open Roads, your time spent on the road is extremely brief and only happens a handful of times, which ultimately takes away from the road-trip experience and doesn’t help to break up its repetitive gameplay.

This is a recurring issue, as the game in its entirety is too brief to effectively address everything it sets up or fully establish a deep sense of relatability and emotional connection. This is a shame considering the underlying plot is interesting and the game’s characters are very endearing. Though Kaitlyn Dever and Keri Russell might be known for their live-action careers, the pair bring a lot of personality to Tess and Opal respectively. Even Helen, who has no speaking parts and appears in the game only through grainy photographs, has a lot of personality. In fact, her vivaciousness is a frequent subject of discussion between Tess and Opal, who both exhibit her more free-spirited behavior, albeit in different ways. This is another aspect of the game I really enjoyed, as it’s all too often that mothers are written as protective, worrisome, uptight, and relatively flat–Open Roads avoids falling into that trap.

However, I also think Open Roads pivots a bit too far away from this mother-daughter tension. Sure, Tess and Opal do have their spats and Opal frequently expresses frustration towards some of her late mother’s actions, but for a pair going through grief, divorce, major life transitions, and betrayal, there’s a lack of drama that turns into a lack of evolution and catharsis. Between its overall brevity and hesitation to dig into messiness–humanness, even–Open Roads puts up a bit of a wall between the player and its story. As a result, I found I liked its characters, but I didn’t feel much towards them. While they were relatable enough, I didn’t find myself in them.

Sure, not all mother-daughter relationships are contentious or imitate Lady Bird, but in shying away from the emotional, you lose, well, emotions. For example, even with all the big plot points unraveling around them, the most impactful conversation in the game, to me, was the one Tess and Opal have after Tess accidentally leaves her phone at the hotel and demands they go back. As an adult, you’re able to see the situation rationally: It makes sense to finish up the drive and grab the phone on the way back–it’ll only be a night without it, after all. But Tess’s dialogue options are limited and a bit more intense than usual–she needs her phone. And despite being 30 years old, I still felt that desperation.

It’s clear that Open Roads wants to have meaningful conversations about generational trauma, the oft-dismissed complexity of mothers, and how humans have different ways of showing love, a fact that can lead to pain when misunderstood, and I wanted to have them too. Yet it doesn’t offer the time or vulnerability to dig into these interesting topics. And while some of its story beats are unique, or offer at least a slight variation on ones we’ve perhaps seen before, all of these stories end somewhat abruptly and without much fanfare or introspection.

Where the game does succeed in storytelling, however, is in its environments. Presumably thanks to the studio’s pedigree and history of working on exploration games like Gone Home and Tacoma, you can tell there is an understanding of how to make locations nostalgic without pandering, interesting but not overwhelming, and immersive but not disjointed. Though I’m slowly discovering that a lot of first-person exploration games make me a bit nauseous (definitely a “me” problem here, so I don’t fault Open Roads), I really enjoyed walking around the environments the studio created. There were so many objects and pieces of decor that reminded me of the ones I grew up with, and it was interesting to note how these objects–and the memories attached to them–moved me more deeply than a lot of the game’s conversations.

At every location, there were little reminders–be it newspaper clippings, a Blockbuster copy of Clueless, or a CorningWare-style casserole dish–of the time that had passed. Sure, this sense of place is aided by some of Tess and Opal’s conversations–I particularly loved the one in which Tess admits to her less-computer-inclined mother that her idea of a wild Friday night consists of pizza rolls and The Sims, because same–but a heavy amount of lifting is done by the artistry and detail put into creating these locations.

I also really enjoyed Open Roads’ character art, which feels inspired by the animated films ’90s kids grew up watching. The style stands out against the more realistic-looking environments and works well with the game’s voice acting, though the lack of proper lip-syncing did feel awkward at times. More awkward, however, was the game’s sound, which felt almost incomplete. I had expected to hear songs and sounds that would take me back to 2003, yet they were noticeably absent. While I wasn’t expecting to hear “Stacy’s Mom” or “Hey Ya!” pop on the radio, having multiple radios and TVs that you could interact with that did effectively nothing was a bit of a letdown.

It’s unfortunate that “letdown” and “underwhelmed” are words I’ve used multiple times when talking about Open Roads because there’s still so much about the game that works. The overall narrative touches on some meaningful topics, there’s a fair amount of intrigue, plenty of well-crafted dialogue, some interesting characters, and a lot of heart. Yet most things fall frustratingly short or are cut off far too early, making the whole experience slightly lackluster. Despite being a game about a mother-daughter road trip, the game doesn’t go too far and that relationship is left only slightly altered rather than meaningfully examined and changed.

Pepper Grinder Review – Short And Spicy

It only takes a glance to understand Pepper Grinder’s inventive gimmick. A small girl named Pepper–a pirate by trade–wields a drill named Grinder that’s roughly the size of her entire body. The gear allows her to grind through soft surfaces with ease, complete with the ability to launch out of the surface with a leap. That might have been enough to carry the game by itself, but what’s most surprising about Pepper Grinder is its sheer variety. Though it’s short, that brevity helps to make the campaign a no-filler thrill ride that continuously pushes the boundaries of its central mechanic.

It turns out Grinder is a pretty versatile tool, even regarding its most basic function. You can burrow through the ground, which immediately feels natural and smooth. At the same time, you can’t simply turn on a dime with an instant about-face like a typical platformer–you have to handle turns by curving an arc out of your drilling path. Additionally, when you pop out of the surface of the dirt, you won’t gain much distance unless you jump just before breaking through. Those little touches give the core mechanic a sense of finesse, imitating the feeling of a playful dolphin–or at least, a dolphin video game like the classic Ecco.

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Now Playing: Pepper Grinder GameSpot Video Review

Once you get the hang of it, drilling through soil and leaping out of the surface in a perfect arc, only to catch another piece of soft ground in the distance and continue your digging, feels thrilling and acrobatic. The drillable surfaces are nicely differentiated from hard environmental pieces, so you quickly learn to read a level and see the path through it, evoking a feeling similar to performing a great run in Tony Hawk. Collectibles like gems are scattered strategically throughout the stages to both subtly guide your eye along the path, while also sometimes setting traps for your greed.

Aside from being a traversal tool, Grinder is also your primary and often only weapon. It’s not enough to simply run into most enemies with a spinning drill, though–they often have their own specific approach to defeat them, like beetles with a hard upper carapace who need to be stabbed from the underside by burrowing underground. The main enemies, a breed of vicious narwhal-like creatures with horns on their head, are just as capable of hurting you with a head-on collision as you are of hurting them. None of the regular enemies are terribly tough by themselves, but they introduce new ways of approaching stages and obstacles as you need to get around them or through them to continue on your path.

A platformer with a standout hook like this one probably could have coasted on it, but Pepper Grinder doesn’t rest on its laurels. Instead, it consistently introduces new elements to master. These either integrate with your balletic burrowing or provide a change of pace from it. Grabbing a key with your drill will make it turn a lock, and you can use the kinetic energy to power machines. You’ll also shoot from cannons, drill holes into the bottoms of ships to make them take on water, carve through skyscrapers to make them collapse as you traverse through, and even pilot a giant mech. What appears at first to be a simple tool gives way to constant delightful little surprises.

A series of boss battles ramp up the difficulty nicely, taking the skills you’ve learned and putting them to the test. The first is relatively straightforward, as you dodge projectiles by moving through the soil and wait for the opportune moment to attack from the underside, while the second severely limits the amount of soft ground available and challenges you to leap high into the air to do damage. They progress from there, including one tough encounter with another human-like character that has roughly your size and agility. All this leads to a final boss encounter that is one of the most tense and difficult retro platformer bosses I’ve seen in a long time, which felt satisfying to overcome.

And on top of all this, Pepper Grinder carries itself with a cute, pixel-punk personality. Pepper’s diminutive sprite artwork has a charm to it, like how she revs up her trusty drill threateningly when coming face-to-face with a boss, or how she raises her pirate flag to declare victory in an area. The enemies can sometimes be seen doing their own pirate duties before you crash their party. And though story sequences are few and far between, they were just enough to explain what was going on with mimed, dialogue-free action. A short story sequence just before the final boss even made me laugh out loud.

This gentle giant is one of the fantastical creatures in Pepper Grinder.

Gallery

At such a breakneck pace of new ideas, Pepper Grinder doesn’t last very long, which is to its credit. I finished the campaign in roughly four hours, which is a relatively short playtime. Every stage also has a time-trial option, and there are still collectibles and cosmetics to unlock like stickers and hairstyles. The most important collectibles are Skull Coins, a limited resource–five per stage–that can be used to unlock special bonus stages in each of the four worlds. These are used to further explore gameplay concepts that had been introduced in the main stages. The first one, for example, takes the cannon mechanic to its logical conclusion with an entire stage built around ping-ponging from cannon to cannon, which felt pleasanlty reminiscent of Donkey Kong Country’s famous barrel stages.

Perhaps because of its brevity, I enjoyed every minute, and I appreciate the rare instance of a game that doesn’t overstay its welcome. Rather than slog through filler stages to pad its length, Pepper Grinder is bursting with new ideas for exactly as long as it can sustain that momentum. There’s something admirable about approaching its length with that level of confidence. I would have loved to play even more, if it could have sustained that pace, but this felt like a conscious choice to let the best ideas shine.

Pepper Grinder is here for a good time, not for a long time. Every piece, from the core drilling mechanic itself to the various ways it manifests with cannons and mechs and more, feels meticulously engineered to teach you a new concept, wring the fun out of it, and then move on to the next. That sense of propulsion makes every moment fun and engaging. It’s a great little gem of a game which, like its heroine, may be small in size but makes every bit count.

MLB The Show 24 Review – Base Hit

A lot of people will tell you that Hank Aaron is the greatest to ever play the game of baseball. Bob Kendrick, President of the Negro Leagues Baseball Museum, is one of those people, and it’s easy to see why. You only have to look at Hammerin’ Hank’s stats–755 home runs and 3,771 hits in Major League Baseball–his outstanding consistency across 23 big league seasons, or the fact that he achieved all of this after such humble beginnings. Growing up, Aaron had few opportunities to play organized baseball. In fact, he had few opportunities to even use the right equipment. Instead, a young Henry Aaron would take his mom’s broomstick and use it as a makeshift bat to hit bottlecaps–it’s no wonder he ended up being so good.

I knew of Hank Aaron’s incredible career, but supplemental details like this are part of what makes Storylines such a captivating and enlightening experience. If last year’s game was all about introducing this brilliant and groundbreaking new mode, then MLB The Show 24 is more about fine-tuning the existing framework. This isn’t an uncommon approach for annual sports games, and while Sony San Diego’s latest baseball sim might not seem as fresh or exciting as last year’s offering, it still plays an excellent game of baseball while possessing a tangible reverence for the sport’s rich history and inherent romanticism. Players are more than just stats and numbers, after all.

This is where Storylines comes in, and it’s once again the highlight of the whole package. Like any good TV series, MLB The Show 24 returns with a second season of The Negro Leagues, exploring an era of baseball that has often been overlooked and forgotten. At launch, there are four stories to play through, shining a spotlight on the aforementioned Henry “Hank” Aaron, as well as Josh Gibson, Walter “Buck” Leonard, and Toni Stone, with more set to arrive in forthcoming updates.

MLB The Show 24

Bob Kendrick’s charismatic and insightful narration brings these tales to life, aided by slickly produced videos that weave in historical photographs, original artwork, and archival footage to paint a portrait of these players and their profound impact on baseball and American culture. In between these video packages, you’ll play through pivotal moments from each player’s career, from Aaron’s first hit as a member of the Milwaukee Braves to Josh Gibson’s decimation of MLB pitching in exhibition games–where he batted a ridiculous .426. Perhaps the most interesting collection of episodes focuses on the career of Toni Stone, a true trailblazer who became the first woman to play for a professional baseball team when she took Hank Aaron’s roster spot after he departed the Negro Leagues for the MLB.

Alongside these eye-opening tales, MLB The Show 24 also expands on the Storylines concept by adding a series on legendary New York Yankees shortstop Derek Jeter. By using a New York subway motif as the backdrop for Jeter’s story, the former captain recounts important moments from the first few years of his storied career as you travel along the tracks from 1996 to 2000. Starting with his first steps as an unheralded rookie to achieving legendary status as the Yankees won three consecutive World Series titles, Jeter gives you an insight into his and the team’s mindset during this monumental run. There are also three side stories that center on the other members of the Yankees’ Core Four: Mariano Rivera, Jorge Posada, and Andy Pettitte. These stories are brief, consisting of a single video package, but completing each additional mission unlocks their player cards for use in Diamond Dynasty.

As a Yankees fan, I enjoyed Jeter’s retelling of the era’s events, along with being able to recreate moments like his iconic jump-throw and a number of his clutch hits. Admittedly, however, it’s not the most interesting collection of stories. This is a team and player that won four championships in five years with little to no adversity, while Jeter himself was relatively drama-free off the field. It doesn’t make for the most compelling narrative, but the inclusion of Jeter’s Storylines does at least set a precedent for the series where we’ll hopefully see more engrossing tales in the future, whether the focal point is on a single Hall of Fame player or an entire team.

MLB The Show 24

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Road to the Show, meanwhile, lets you create and play as a woman for the first time. There are specific video packages that differ from those in the male career, with MLB Network analysts embracing the historical significance of a woman being drafted by an MLB team. A separate narrative based around you getting drafted alongside a childhood friend also differentiates the female career from the male side–which lacks any kind of story–while considerations like a private dressing room add an element of authenticity. The majority of cutscenes play out via text message, however, replacing the series’ previous narration with a hackneyed alternative.

The only other new addition to Road to the Show is the return of the Draft Combine, which gives you three games to improve your draft ranking by playing well against other prospects. While it’s good to see the combine back, it’s a fairly superfluous addition for those who simply want to choose which team to play for rather than leaving it up to fate. It also doesn’t take into account starting pitchers, dropping your draft stock because you’re only able to play in one of the three available games. The inclusion of women is a positive one, but Road to the Show is still in desperate need of an overhaul to its tired loadout system and bland presentation.

Franchise remains mostly the same, aside from one new addition with the potential to completely alter how you engage with the mode. Custom Game Entry Conditions is a setting that lets you simulate games until certain conditions are met, at which point you’re able to take control. You can customize these conditions based on how critical the situation is by tinkering with a situation-importance slider that ranges from low to very high.

You’re able to pick the earliest inning you’re willing to enter games, and can also ensure that you’ll always jump into player-highlight moments, such as finishing off a potential no-hitter or extending a batter’s hitting streak. With this setting, you might decide you only want to enter games during high-leverage situations in the ninth inning or play from the seventh inning onwards in tight games. This alleviates the grind of a full 162-game season while keeping you invested and making sure you have an impact on games that might mean the difference between making the playoffs or missing out on October baseball. The one side-effect of this addition is that Road to October and its truncated seasons now feel obsolete, but improving Franchise makes this a worthy trade-off.

Diamond Dynasty, the card-collecting and squad-building mode, is also not too dissimilar from last year’s game. The implementation of Sets and Seasons has been tweaked, with longer seasons giving you more playing time with season-limited cards. The amount of top-rated cards attainable at the beginning of a season has also been reduced to give you something to build towards.

Cards will now gradually escalate in power over the course of a single season so you won’t be rocking a 99-rated team after a single week. These are positive changes in what remains the most approachable of the many card-collecting modes in sports games, such is the ease with which you’re able to acquire great players without spending a dime. The plethora of single and multiplayer modes is also a feather in its cap.

MLB The Show 24’s on-field action remains stellar. For the first time, new rules like the pitch clock, slightly larger bases, and limited pick-off attempts have been implemented. Impact Plays, a new addition that emphasizes great defense, are also new, reinforcing the impact of spectacular diving catches and difficult throws. Impact Plays are possible anytime you’re player-locked, such as in Road to the Show. If there’s a possibility for a highlight-reel play, the game will slow down and task you with completing a quick-time event. How you perform here determines how successful the play will be. It feels great each time you’re able to rob a batter of a base hit by plucking the ball out of the air moments before it touches the ground or firing a laser beam to first base to beat a runner. I only wish Impact Plays were more frequent and were included as an option when controlling a full team.

The continued absence of an online Franchise mode and the stale nature of Road to the Show are disappointing aspects of this release, but MLB The Show 24 still maintains the series’ commendable output with fantastic gameplay and another collection of fascinating stories exploring The Negro Leagues and its players. A journey through the exalted career of Derek Jeter might not be quite as gripping, but it builds on Storyline’s established framework and lays down an exciting blueprint for the mode’s future. The addition of women in Road to the Show is another positive step, further reinforcing the overarching theme that baseball is for everyone, while the ability to customize how you play Franchise mode makes it a much more palatable proposition for those embarking on a 162-game season. MLB The Show 24 might not swing for the fences, but it’s still a great way to spend the looming summer months.

Princess Peach Showtime Review – Drama Teacher

Princess Peach, the prototypical video game damsel in distress, has had limited success with her own solo adventures. On the rare occasion that she’s playable, she has typically been a sidekick in a larger adventure, like Super Mario RPG. Though she did land a starring role in Super Princess Peach, the game and its core mechanic—in which her powers were defined by wild mood swings—were a miss. Princess Peach Showtime is the latest attempt to make her own story, with nary a Mario or Luigi in sight, and this time she has come more into her own as an adventurer. More importantly, this solo outing seems primed at introducing new players to a wide variety of game genres. While veteran gamers will likely find the pacing too lethargic, it’s nice that Nintendo is making such a clear overture to welcome new players.

And when I say that there’s no Mario or Luigi, I mean at all. Nintendo’s most iconic characters aren’t even present in the intro, when Peach receives an invitation to come see the Sparkle Theater in a land occupied by Theets, little yellow creatures with bulbous noses. Upon arrival, the theater is taken over by a sorceress named Grape and her Sour Bunch goons, who kick out Peach’s loyal Toad companions, misplacing her crown in the process, and proceed to corrupt all the plays. Peach finds a guardian of the playhouse, a fairy named Stella, who accompanies peach by taking the form of a ribbon in her hair. (When Peach puts her hair up into a ponytail, you know it’s getting serious.) Stella is Peach’s default weapon, letting you use a whip-like motion to magically change objects and enemies in the environment, and it’s also the enabler for Peach’s various transformations.

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Now Playing: Princess Peach: Showtime! – Transformation Trailer

When Peach steps into a corrupted play, she finds a spark that lets her take on the role of its hero. These are broad archetypes like Swordfighter, Cowgirl, and Detective, and the 10 costume types allow for a broad range of different gameplay types. Once you’ve found your costumes in the first version of a stage, future stages of that type will start you with it already equipped. Each floor has four plays to conquer, after which you’ll fight a boss and gain access to the next floor. It’s all very easily understandable and flows nicely.

Since every stage is a sidescroller, I found that the plays felt most natural and familiar when they hewed closest to familiar sidescrolling action game mechanics. But even within those, there was some variety at play. The Swordfighter plays are modeled after a very traditional action game, light parry system included. The Cowgirl, on the other hand, is focused more on ranged attacks with your lasso, and the Kung-Fu stages included some lightly rhythmic fighting game mechanics. My personal favorite was Mighty Peach, a cute take on the henshin hero genre like Ultraman, in which Peach gets a robotic-looking power suit that she uses to fly through the air, take out invading UFOs, and lift buses over her head to throw at enemies or use as makeshift bridges. Those stages played almost like a shoot-em-up, with a unique focus on ricocheting ships and aliens into each other.

Some stages are less combat-focused but still handle like simplified platformers. The Ninja stages are centered on stealth, letting you hold up set dressing to blend in with the grass, or duck underwater and breathe through a reed while sneaking up on enemies. The Dashing Thief is focused mostly on a grappling hook as you run across rooftops. Other stages stray further from the platformer formula, like the Figure Skater stages that let you glide gracefully across the ice as you hit icon-coded stunt points to grab collectibles and ultimately defeat the evil Sour Bunch figure skater rival. The Mermaid stages take place almost entirely underwater and consist mostly of directing your siren singing voice–either to direct a group of fish where to go for solving puzzles, Pikmin-style, or to collect special singing-note fish to compose a song. They’re all variations on a theme to some extent, but they have enough slight differences to act as a rudimentary introduction to disparate game genres.

Then there are the costumes that stray furthest from traditional platforming mechanics, to mixed results. The Patissiere (pastry chef) stages are modeled after timing-based cooking games, as you bake batches of cookies or carefully apply frosting to cakes. These are a nice change of pace that really show the flexibility of the concept. The same can’t be said for the Detective stages, which are the weakest of the bunch. These consist almost entirely of walking around, talking to Theets, and then holding a button to point out an inconsistency with some object in the relatively small room. Even keeping in mind that these mysteries are aimed at younger children, the pace of these segments is particularly dull. From your movement speed to tracking something with your magnifying glass to holding the button to call out an inconsistency, everything feels just a little slower than it should be.

That said, the Detective stages, like all of the stages, carry an excellent eye for set design. Princess Peach Showtime works on two levels, as you have to both visually understand the goals and mechanics of the stage itself, while also taking notice that these are ultimately supposed to be stage plays. Many of the props and backgrounds are designed to look like stagecraft, and moving parts like Mighty Peach’s alien enemies or your Cowgirl’s trusty steed are made to look like puppetry, with seams and barely-visible strings. It’s a lovely, subtle touch that really sells the worldbuilding of the Sparkle Theater. The boss designs are equally inventive, as they’re built to look like pieces of behind-the-scenes stage pieces that have been cursed into fearsome beasts, like a massive snake made out lighting rigging to make up its segmented body.

Purrjector Cat is one of the stylized bosses based on stagecraft.

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As you proceed through each stage, you’ll find coins, as well as sparks that are ultimately used to gate access to each boss. These are plentiful enough that I never had to backtrack for more, which is a welcome change from other recent Nintendo games with similar gating structures. Your coins, meanwhile, can be used to purchase additional dress designs for Peach and ribbon colors for Stella. This isn’t very impactful, given that most of your time is spent in plays where Peach will be changed into her stage-appropriate costume, but it’s nice to see your customized Peach when she’s exploring the main floors of the theater at least. As you progress, you’ll also unlock special stages to rescue Sparklas, the Theet embodiment of each of the play’s characters, as well as elements like timed challenge stages. These serve as the culmination of the individual stories, and while they still aren’t very difficult, they are among the most challenging parts of the game. That should be enough to give the target audience the sense of a difficulty ramp. Plus, all of these collectibles means there’s plenty to do for completionists, but the gating isn’t so aggressive that it’s likely to frustrate players–especially the younger players who seem to be the target.

And just as Mario games have never been known for their strong stories, Princess Peach doesn’t escape that issue in her own solo outing. Grape is a typical evil cackling villain with a barely-stated plan or motivations. We never even get a clear idea of whether she intended to attack the theater while Peach was there, or if that was happenstance. This is too bad because the final confrontation is a gameplay highlight, ending on a high note that would be even better if we’d been given a more compelling villain to defeat. If anything, the stories in the individual plays themselves are often more interesting, thanks in part to some great, so-goofy-it’s-fun writing and animation work.

Princess Peach Showtime is a friendly, inviting game that’s made to be easy to digest. Some of the genres work better than others in this format, but none of them are too tricky or off-putting, and most of it will come down to personal taste. None of these stages are fleshed out enough to support their own game, but they’re an invitation for novice gamers to explore a bunch of different game types, with a charming (and apparently polymath) princess offering her gloved hand to welcome them in.

Rise Of The Ronin Review – Long-Term Investment

If someone tells me a game takes several hours to “get good,” my immediate feeling is that I will never play that game. Who has hours to waste waiting for the good part of anything when there are so many other games to play? But my opinion of Rise of the Ronin changed drastically over the course of my 50 hours of playtime–in the first five or 10 hours, I didn’t really like it. By the end, I was planning to dive back in to clear out side quests and replay key moments to see how the story might change. It’s a game that takes its time getting good, but once it finds its footing in samurai-sword duels and character-focused missions, your investment pays off.

The thing that turned the tide for me is the way Rise of the Ronin focuses on telling small, character-driven stories that weave together into a large, history-shaping narrative. The entire game is built on its “Bond” system, where doing side quests big and small builds your relationships with everyone, from the different provinces of Ronin’s massive open-world Japan, to the many characters you meet throughout the course of the game.

Though the Bond system isn’t particularly different from building up faction reputation, liberating map segments, or growing relationship stats with characters like you might see in other games, the focus on investing in all those things and people is illustrative of Team Ninja’s approach to the entire game. Your personal connection to everything in Rise of the Ronin is what makes it work, and the reason it’s worth it to power through its learning curve and less remarkable opening hours.

Rise of the Ronin puts you into the role of a samurai trained alongside another warrior from childhood to be an unstoppable, sword-wielding fighting duo for a group called the Veiled Edge. It’s the 1860s and Japan is opening itself to foreign powers, including the United States and England, creating political strife. On a mission to assassinate a powerful American, your “blade twin” sacrifices themselves so you can escape. Soon after, the rest of the Veiled Edge is wiped out for rebelling against Japan’s government, the shogunate. You set out alone, a ronin warrior without a clan, but soon discover your blade twin is rumored to have survived. What ensues is a lot of politics, intrigue, and adventure.

With no clan to serve, you essentially become a sword for hire and lots of people want your help, which you exchange for leads in finding your blade twin. The main part of Rise of the Ronin’s gameplay is stealthily sneaking up on enemies to assassinate them, and fighting duels. Combat has a similar fast-paced feel to games like Sekiro: Shadows Die Twice and Ghost of Tsushima, with an emphasis on parrying enemies at the right moment and using different fighting styles to counter your opponents. Fights are frenetic, but for that early portion, they’re also frustrating thanks to a combination of weird controls and enemies who will often deploy intense, overwhelming force against you.

Rise of the Ronin

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You and every fighter you come across have both a health bar and a Ki gauge, which is akin to a stamina meter. Ki powers every blow, dodge, and block, and if you run out of Ki and are struck while blocking, you’ll be dazed for a few seconds, opening you up to more punishment. Your goal in every fight–especially with tougher opponents–is to strike blows while parrying their attacks, breaking their rhythm and whittling down their Ki to stagger them. When staggered, most normal enemies can be executed, while tougher foes and bosses take a big hit, then get their Ki back to go another round. It sounds pretty standard, especially with the ubiquity of Souls-likes and similar styles of swordplay focused on parrying, stamina, and breaking an enemy’s posture. Rise of the Ronin has its own take on the approach, though, and it took me a while to build up the skill to actually enjoy it.

The main two elements of sword fights are Martial attacks, which are powerful special moves, and Countersparks, which are flowery parry moves. Like Sekiro and its posture system, your main goal in Rise of the Ronin is to parry enemy blows until you can stagger them. But Countersparks are kind of weird, especially at first. They’re not just straight parries; they’re fast, short-range attacks with their own forward momentum. Missing the timing on a parry usually means you still hit the opponent and the opponent hits you, but there are plenty of times when a Counterspark can move you past the enemy altogether. It creates a strange flow to your fight movements that takes a lot of getting used to.

Rise of the Ronin borrows a bit from Souls-like combat in that enemies will sometimes power through your strikes with their own attack animations, so you need to recognize when to attack and when to hold back. Yet Ronin wants fights to be fast and aggressive, so if you Counterspark certain attacks, you’ll knock the enemy off-balance and open up a brief counter-strike opportunity. This also creates an unusual rhythm–you can Counterspark most of a combo chain from an enemy to no benefit, because the only attack that truly matters for parrying is the last or strongest in the chain. That means your strategy should actually be to safely block your way through a series of attacks, and Counterspark only the final move.

That requirement makes Countersparks unintuitive because the urge to parry has to be strategically resisted. Sometimes you can skillfully parry a bunch of moves in a row and wind up being punished for it anyway; other times, you may be rewarded just for hammering the button against a tough opponent. Mostly, though, you’re spending the first few battles against any tough enemy trying to figure out when the correct time to parry is and getting demolished by quick, relentless strikes in the meantime. It’s not a bad parry system–I came to enjoy Rise of the Ronin’s approach quite a bit once I understood how it worked and could start to read its enemies and their attacks–but the extra motion and timing are at odds with similar games, so you’ll have to unlearn a few things to acclimate yourself.

Enemy Martial attacks are marked by a red glow that indicates you can’t just block them like you can with normal strikes. That means you have to avoid them with a well-timed dodge, or knock them down with a perfectly timed Counterspark for big Ki damage. You have Martial attacks of your own that are great as counterattacks when you successfully knock an enemy off-balance, but they’re not unblockable like enemy ones are and cost extra Ki to execute.

Martial attacks are cool additions to your repertoire, but in enemy hands, they add to the learning curve and pile on some frustration in the early game, as fighting in Rise of the Ronin is usually very fast. You’ll often get hit with a series of attacks you have to block your way through, taking a ton of damage to your Ki, only to get blasted by a devastating Martial attack that cuts your defenses and hurts you even more. Then you get staggered, leaving you open to further walloping, or knocked off your feet and subject to a standing-up animation that lasts just long enough for the enemy to lay into you again with no defenses. One screw-up can lead to a beatdown that’s tough to recover from.

Especially early on, this combat pacing is annoyingly brutal–one particular early boss fight had a massive difficulty spike that held me up for a couple hours. For a game that easily lasts more than 50 hours and has a similar fight at the end of every single mission, being stuck on the same boss for that long was grueling. Fortunately, Rise of the Ronin lets you change the difficulty whenever you want, so you can drop to its easier mode if a fight is giving you trouble, then increase the challenge once you’re over the hump.

It was only later that I started to appreciate the combat system’s combination of elements. That includes the timing of Countersparks, as well as things like the ability to change your fighting style on the fly once you’ve learned new ones. When you approach an enemy, an icon will appear next to their name that indicates both how tough a fight they’ll be and whether their fighting style is strong or weak to your own. You can have two main weapons equipped at any time–which include katanas, odachis, European-style sabers and greatswords, and spears–and three styles for each one, which can be quickly swapped to deal with just about any opponent. Picking the right style to deal with an enemy greatly enhances the effectiveness of your Counterspark, so once I got the hang of parrying and using the right styles and weapons for certain enemies, battles started to click, becoming intense, hard-fought duels that also made me feel like a legendary swordsman.

Rise of the Ronin

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Against the toughest of enemies, it also pays to make use of your allies. You’ll meander through the open world alone, but just about every major story mission or side quest is an instanced level where you have one or two computer-controlled allies backing you up, playing into the Twin Blade concept. You can play cooperatively with other humans in the place of AI buddies, but when you play alone, you’re able to swap between characters on the fly. The AI characters all have their own styles and moves that you can learn and take advantage of, but the best part is the way they enable you to overwhelm an enemy, quickly swapping around to get behind their guard and take advantage of their divided attention. It’s another aspect that takes a while to get good at using, but which sets apart Rise of the Ronin’s combat and makes it intense and chaotic in a good way–most of the time.

What makes fighting a bit wonky is Rise of the Ronin’s control scheme, which is convoluted and unintuitive. Blocking attacks is done by holding the left bumper, but parrying is done with the triangle button. The separation of your defensive moves requires specific training for your brain: Hold this button for this kind of attack, tap this other button for another kind, but mix the two together as well. It’s enough to jumble you up until you’ve spent time getting used to this specific approach.

The same is true of the swapping controls, which require various bumper holds combined with control stick movements or d-pad presses. Changing between loadout items, like healing pills and status-removing salves, is done while holding the left bumper, and so is swapping between characters. Holding the right bumper, on the other hand, lets you change your main weapons, your sub-weapons (like pistols, bows, and rifles), and your fighting styles. Again, it’s just a lot of really specific, esoteric controls to hold in your mind at once, and tough to mentally page through while a guy with a sword is slicing away at your face. Eventually all these controls became natural for me–but it took a while to get there.

The blade twin story isn’t a particularly compelling one, and while it’s the framing device that’s supposed to drive your character, it doesn’t get a lot of screen time. But Rise of the Ronin picks up quite a bit as your investigation pushes you to start making friends with various people, who either support the stability of the shogunate or think the country needs a new government. As time goes on, those different people develop into separate factions that will require your help, and which you can choose to aid.

However, it all leads to an open-world setup that’s somewhat unremarkable. A lot of the open-world content in Rise of the Ronin feels set to the standard of 2010s-era games, with some repetitive activities that will pop up randomly in front of you, some collectibles to chase down, and some side quests to complete that tend to end up with you killing some random baddies.

The more minor activities you do and collectibles you find in each of the small provinces in an area, the higher your bond with that location, which unlocks various minor bonuses. Later, completing these same activities will increase or decrease a faction’s hold on that location, which can have a bearing on story missions as you take them on–although that exact effect is somewhat opaque, especially because you change allegiances multiple times through the course of the story. Generally, though, the open-world activities of Rise of the Ronin are somewhat uninspired. It’s not particularly engaging to clear out yet another group of five bandits, two of which are mini-boss-like “formidable opponents,” to lower a faction’s hold on a province, but Rise of the Ronin will give you a ton of these activities to knock down, alongside small side missions and random activities like muggings. It’s a lot of stuff that seems like filler content in a game that’s already brimming with things to do.

Story missions and side quests are more interesting and involved, although they also get repetitive. Most of these put you into a level where you infiltrate a location, sneak around assassinating rank-and-file soldiers, get seen and fight some guys, and then defeat a boss. These missions suffer in part because Rise of the Ronin’s stealth is a bit undercooked. It can be unreliable, with enemies sometimes spotting you from far off with little issue, and other times being totally oblivious as you fight pitched, protracted battles with their friends 10 feet behind them.

Missions always end with excellent, challenging boss fights, though, and once you get good at Rise of the Ronin’s dueling system, every fight becomes a combat puzzle mixing twitch-reactions and strategic responses that continually make them exciting. Stealth breaks up the fighting just enough to help mission pacing, while rewarding you for analyzing the environment and planning your approach, even if it’ll sometimes annoy you by failing at key moments. Stealth is more a nice-to-have addition than essential to the formula.

The best of Rise of the Ronin’s levels are its Bond missions. You’ll meet a ton of samurai and join many of them in missions as allies, creating ongoing relationships. You can then enhance your friendship with those folks by completing side missions that flesh out their stories and engaging in conversations or giving them gifts. Building stronger Bonds unlocks new fighting styles as well as passive bonuses when you bring them on missions, but the most interesting part is the way each character’s individual stories expand across missions and add to the overall narrative. The characters are all well-drawn, dealing with their own principles and motivations, and their stories are worth experiencing on their own.

Having personal ties to all these characters makes the overall story a lot deeper. Rise of the Ronin tells a fictionalized version of the historical end of the shogunate and the samurai lifestyle in the 1860s, with the characters and events you’re engaged with eventually pushing Japan toward civil war, and your own principles and relationships causing you to switch sides numerous times. That means a character you brought as an ally on one mission might be a boss you have to face down in another, and your connection to all Rise of the Ronin’s characters does a lot to raise the stakes and make the entire narrative feel personally important.

So while Rise of the Ronin has some elements that can frustrate or require some investment to make sense of, and weaker elements like some open-world design that comes off as dated or some repetition in level design, it does a great job of getting you invested in what’s going on and the people involved. Bond missions in particular are a standout, but a mix of personal stakes and large-scale politics make the historical story compelling all the way through. The longer you play Rise of the Ronin, the more characters you meet and spend time with, and the more you learn about its combat and its world, the better it becomes.

It’s not without some flaws, but I finished Rise of the Ronin with much more left to do, and even after 50 hours, I want to head back in to see what I’d missed and attempt to change history. The parts of the game that work more than balance out its weaker elements. And while it took a while to find the rhythm of Rise of the Ronin’s combat, its speed, complexity, and intensity make for some phenomenal fights that always feel great to win. Rise of the Ronin is a game that might take a bit to get good, but the commitment is worth it.

Dragon’s Dogma 2 Review – Pawn Stars

Dragon’s Dogma 2 doesn’t have a traditional fast-travel system. For most open-world games, this would be a death sentence–an affront to the player’s valuable time. Yet somehow, Capcom has turned the absence of this quality-of-life feature into a resounding strength. It’s the game’s tremendous sense of adventure and discovery that accomplishes this. Every time you leave the relative safety of a village or city, there’s no telling what will happen; you just know it has the potential to be spellbinding and will be well worth your time.

As a sequel, Dragon’s Dogma 2 is an extension of everything the first game achieved 12 years ago. It’s an enchanting open-world RPG with varied, exciting combat and a player-created companion system that’s still unlike anything else. It doesn’t do much beyond what the original did, but advancements in technology have enhanced its anomalous strengths, breathing new life into its massive open world and the ways in which you and everything around you can interact with it. New ideas and innovation might not be at the forefront, but the things it does are still relatively distinct.

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Now Playing: Dragon’s Dogma 2 GameSpot Video Review

After a brief but intriguing prologue, your adventure begins in the country of Vermund, a land of lush green forests, alpine peaks, and the flowing currents of its many winding rivers. The royalty and noblemen of Vermund reside behind the fortified walls of its capital city, and it’s from this bustling location that you can board an oxcart to a small village in the north or a checkpoint city in the west. The latter sits on the border with Battahl, an arid land, home to the humanoid cat-like beastren, where gondolas provide an occasional route over the craggy canyons below. Beyond traveling via oxcart or climbing aboard one of these sky lifts, you’re left to explore this sprawling world on foot, traversing dense forests blanketed by canopies that blot out the sun, elven ruins carved into the sides of mountains, and shifting sands bathed in harsh sunlight and circled by deadly harpies.

There is a method of instant fast travel available, but it works in much the same way as it did in the first game. You can exhaust a costly resource known as Ferrystones to travel to any Portcrystal in the world, but these fast-travel points are few and far between–either as a permanent fixture or an item you can pick up and place anywhere you desire. You’ll use them sparingly and spend the vast majority of your time covering large swathes of land on your own two feet. Considering the 12-year gap between the original game and its sequel, this approach to fast travel and seamless exploration feels like an even bolder decision now than it did in 2012. The open-world genre has become more codified in the interim, yet Dragon’s Dogma 2 makes a concerted effort to ensure that the journey is just as important as the destination.

This is a game defined as much by the trek through an undulating gorge as it is the battle you encounter when you reach the bottom. The quests you embark on are diverse, tasking you with venturing off to rescue a boy who’s been taken by a pack of wolves or accompanying an elf on their rite of passage. These quests are sometimes generic but the way they play out is anything but. You’re never just engaging with one singular objective at a time; Dragon’s Dogma 2 is filled to the brim with emergent moments that consistently dazzle and surprise. I could regale you with myriad tales from my 40-hour adventure without even mentioning an actual scripted questline. Defined objectives might give you the impetus to head in a particular direction, but this then unravels a thread of distinct events that occur naturally, challenging you with enormous beasts to topple or piquing your curiosity with a cave tucked away to the side of the main pathway.

I once embarked on a lengthy journey that began with the usual ambushes from resourceful goblins and roadside bandits. I thought a first encounter with the three-headed, magic-wielding chimera would be the most noteworthy part of this venture, only for a monstrous griffin to swoop down and introduce an entirely new set of problems. After hacking at the chimera’s wailing goat head until it eventually collapsed in defeat, I focused all of my attention on the fearsome griffin. The immense force of this mighty creature made the nearby foliage rustle and shake every time it reared back and flapped its wings, but I managed to clamber on top of the beast and dig my sword into the back of its skull before it launched into the air and sent me spiraling to the floor.

After a time, the griffin made its escape, retreating back to the skies above, so I spent the night camping to recuperate my depleted health bar. I set out again in the morning, only to be interrupted by the same griffin, presumably with a newly formed vendetta against me. This time, after much hardship, I defeated the mythical creature before it could flee again, yet my journey was far from over. A pair of colossi sprang an unpredictable attack in the tight confines between two rocky outcrops, while the next night brought about a horde of undead skeletons whose glowing blue eyes pierced the suffocating darkness.

[Dragon’s Dogma 2 is] an enchanting open-world RPG with varied, exciting combat and a player-created companion system that’s still unlike anything else

None of these encounters related to one another or pertained to the quest I initially set out on, but that’s the magic of Dragon’s Dogma 2’s open world. You’re constantly pulled in numerous directions at once and it’s up to you to decide which avenues to pursue. It might be a quest given to you by a villager in need, an enticing structure looming on the horizon, or a locked gate and the potential to find an alternative way inside. Backtracking is fairly common, but no one journey is exactly the same as another, so it never feels like a chore when you’re retreading familiar ground.

Of course, none of this would work nearly as well if the game’s other elements weren’t up to snuff. Fortunately, combat is excellent across the board, providing you with a variety of unique vocations to choose from. These classes range from the sword and shield-wielding Fighter and long-range Archer, to new additions like the Mystic Spearhand–a melee/magic combo build–and the jack-of-all-trades Warfarer. It’s entirely viable to pick a vocation and play the entire game as that class, but you’re also rewarded for experimenting. Each vocation has special Augmentations to unlock which grant passive buffs that you can apply regardless of what class you’re currently using. This means you can make a Mage sturdier, or give a Warrior greater stamina usually reserved for the Thief.

Whichever vocation you choose, there’s a fantastic sense of impact behind your attacks. Axes and greatswords meet flesh with a glorious crunch–the game slowing down to let you bask in your most impactful strikes–while enemies burst into flames and tumble off cliffsides behind the power of a Sorcerer’s stave. There’s a hint of Devil May Cry to its most stylish and over-the-top moves, and hacking away at colossal beasts with slow but purposeful blows can’t help but bring to mind the protracted battles of Monster Hunter.

Even when you’re swirling through the air and conjuring piercing ice shards, the combat still feels grounded thanks to the world reacting realistically to everything that occurs within it. When I toppled a colossus and it stumbled towards a small chasm, it didn’t just fall down the gap, but grabbed onto the other side, creating a desperate, makeshift bridge. Only after hacking at its fingers did it lose its grip and tumble to its demise. The camera sometimes has trouble keeping up with all of this explosive action, usually because a mage has filled the screen with fire or ice. In that sense, it’s a somewhat acceptable trade-off. What’s not quite as forgivable is when the camera becomes unwieldy in tight interiors or when you’re clinging to the back of a terrifying beast, but at least these instances aren’t too frequent and are only a minor inconvenience when you consider the ensuing thrills of Dragon’s Dogma 2’s fantastic combat.

In terms of story, you’re once again cast as the Arisen, repeating a cycle that has occurred for generations. A fearsome dragon rules over the land and chooses you as a worthy challenger to its reign by plucking out your still-beating heart and consuming it. Your ultimate goal is to take up arms and slay the dragon, but before that can happen you need to build up your strength and contend with the disparate politics of both Vermund and Battahl. In Vermund, the Arisen is revered as a sovereign and champion of the people, tasked with protecting the land from the ominous shadow of the dragon. An imposter sits on your throne, however: a False Arisen, put in place by a queen who doesn’t want to lose her power. In attempting to claim what’s rightfully yours, you’ll gradually unravel a mystery that threatens to impact the fate of the whole world.

It’s a decent tale that propels your adventure forward, although it’s light on characterization, which contributes to a persistent feeling of detachment. This makes it difficult to care about the overarching narrative, aside from an interest in unraveling the core mystery. The awe-inspiring scale of its later moments somewhat makes up for its shortcomings, while exploring the differences between the cultures of Vermund and Battahl is also compelling. The beastren nation casts the Arisen as an outsider, fearful as they are of your entourage of pawns and the misfortune they portend.

Much like the first game, these user-created companions are the game’s most exceptional feature. Up to three pawns can join you on your journey, though one is a permanent fixture and your own creation. You can set their vocation and change it as you see fit, equipping skills and upgrades for them just as you would your own character. The other two members of your party are hirelings you can recruit and replace on a whim and are typically created by other players. Choosing which pawns to hire primarily comes down to a matter of party composition. Whether they’re leading from the front, imbuing your weapon with magic, or blanketing the battlefield in meteors, it’s hard not to love the impact they have on combat. But there’s also more to them than simply being hired guns.

The time a pawn spends with other players is retained in their memory. They might recall a treasure chest they opened in another Arisen’s world and then lead you to it, and they do the same when it comes to navigating quests as well. If you prioritize an objective and one of your pawns has completed it before, they’ll offer to lead you to wherever it is you need to go. Rather than being weighed down by having to constantly revisit the map, you can let a pawn naturally guide you, creating an ebb and flow to your adventure that removes the need for menu screens and waypoints. They can sometimes lose their way when you’re interrupted by combat, but I found that hitting the “Go” command would reset them back on the right path.

Pawns perform a similar function after defeating a certain number of a particular enemy type, too. If a pawn has sufficient experience beating, say, an ogre, they’ll relay pertinent information on weak points and the nature of their attacks. You can also find and then equip different specializations for your pawn, maybe granting them the ability to translate Elvish, or forage for materials so you don’t have to bother. They can still be overly loquacious at times, expressing child-like wonder at the world with a barrage of Ye Olde English dialogue. Their remarks are nowhere near as repetitive as before, though, and they’re much more personable this time around, chatting among themselves about other players they’ve traveled with and creating a palpable sense of teamwork and camaraderie.

Gallery

The most noticeable misstep derives from Dragon’s Dogma 2’s performance on PC. My current rig exceeds the recommended specifications (aside from the CPU), and the game generally runs at around 60fps using the game’s “High” preset. Sometimes it dips into the 40s and drops even lower inside villages and cities, but it’s certainly playable, if a little unstable. The problem is that this performance is consistent across all visual settings, which leads me to believe it’s a matter of poor optimization. I could’ve used the performance bump from lowering shadow quality and the like, but doing so has no effect. Ideally, this will be rectified with a day-one patch and driver updates, but it’s not ideal at the time of writing.

Even so, these performance issues did little to deter my love for this game. It’s not often that a cult classic gets the green light for a sequel, especially 12 years after the original game was released. Capcom hasn’t tried to make Dragon’s Dogma 2 more palatable to potentially attract a wider audience, either. It stuck to the first game’s core values and expanded upon them to create a bigger and better game that consistently delights in its approach to seamless exploration and the thrill of adventure. This means it feels very familiar in a lot of ways, but it’s a game for those who fell in love with the original, despite its flaws, and will hopefully find an entirely new audience who perhaps never gave the first game a chance. Even after 40 hours, my heart continues to grow fonder for this special game. It’s an exceptional achievement that’s quite unlike anything else, and I wouldn’t hesitate to place it amongst the pantheon of Capcom’s very best.

Anime News

The Witcher Book Deals: Save On Novel Box Sets, Graphic Novels, And More

Before it was a video game or Netflix series, The Witcher was a book series penned by Andrzej Sapkowski, and if you’ve only played the games or seen the TV show, you’re missing out on some of the most iconic fantasy novels in recent memory. Catching up will require you to flip through thousands of pages of action, but at least you can do it for cheap, as several of the original books, along with spin-off comics and manga, are currently discounted at Amazon.

The Complete Witcher Saga

New readers will want to start with The Complete Witcher Saga 5-novel box set, as it covers the vast majority of Geralt’s journey. It’s also close to its lowest-ever price, at $39.50 (down from $90). The collection includes updated cover designs and a sleeve to store the volumes when you’re not reading them. Despite the collection’s name, it’s not the full series, but you’re still getting five great books. This box set includes:

  • Blood of Elves
  • The Time of Contempt
  • Baptism of Fire
  • The Tower of Swallows
  • Lady of the Lake

For something smaller, you can check out The Witcher Stories Box Set, which gets you two more books, The Last Wish and Sword of Destiny. It’s down to $20 (was $35). To round out these collections, you can grab Season of Storms, the eighth book in Geralt’s journey. Consider picking it up now even if you won’t get to it for a while, as it’s discounted to $12.49 (down from $18).

Beyond books, you’ll find a nice collection of comics and manga on sale, including the 440-page Witcher Omnibus Comic Series for $18 (down from $30) and The Witcher: Ronin for $12 (down from $20). Plenty of other great books are on sale, and you’ll even find a hilarious Witcher 3 statuette on sale that depicts Geralt relaxing in a tub with his rubber ducky. Consider picking up your own rubber duck, along with a book, to unwind like the world’s most famous witcher.

Best Witcher Book Deals

This Indie Game Has You Control A 2D And 3D Character At The Same Time

Indie game developer and publisher Crescent Moon Games and Those Dang Games recently revealed its latest game, Screenbound. What’s especially unique about this game is that it’s played in both 2D and 3D.

A video posted to X/Twitter by @ JakeSucky showcases firsthand how the game runs. Players control a person playing a Game Boy-like system while running around certain obstacles. But the catch is that whenever the player moves, their Game Boy character will also move, and on top of that, the handheld character will also have to fight monsters to progress forward.

It’s clear that the game is making fun of how some people may be glued to their devices. The developers are clearly self-aware because, on the game’s Steam page description, it reads, “Screenbound is a game about being distracted, but totally in control.”

The Steam page goes on to explain that the combat will be in the 2D world, and players will be able to collect their rewards in the 3D world. Screenbound will also have tons of hidden items scattered across the world for players to find.

It’s unclear when the game will be released, but we do know that it will support Xbox controllers.

Universal Reveals Epic Universe’s How To Train Your Dragon Land

Although Universal Orlando already has three theme parks in the resort, the fourth park, Epic Universe, has grand plans for the future including lands built around Universal’s Dark Universe, Super Nintendo World, and The Wizarding World of Harry Potter – Ministry of Magic. Today, Universal Orlando shared the first look at the fourth major land in Epic Universe: How To Train Your Dragon – Isle of Berk.

Set between the second and third movies in the How to Train Your Dragon series, Isle of Berk will be an immersive experience that allows visitors to go through Viking Training Camp and even lets fans meet and greet Hiccup and his iconic dragon, Toothless.

Universal’s announcement video included an early look at several of the attractions in Isle of Berk, including the family coaster, Hiccup’s Wing Gliders, and Dragon Racer’s Rally, which puts guests in control of how fast they’re going to spin and how long they’re going to be upside down.

Additionally, there is a water-based attraction called Fyre Drill, in which guests will ride in boats armed with water cannons to practice putting out fires. Beyond the rides, perhaps the most intriguing addition is the live-action stage show, The Untrainable Dragon, which is being adapted from a similar play that originated at Universal Beijing Resort. The Untrainable Dragon will feature the characters from the films and elaborate fire-breathing dragons on stage.

Universal Orlando hasn’t set a specific date for Epic Universe yet, but the new theme park is expected to open in 2025.

Disney Villainous Board Games Are Up To 50% Off – Star Wars, Marvel, And More

What started as a single board game that lets you take control of iconic Disney villains, Villainous now has multiple expansions and spin-offs. From Star Wars and Marvel to Toy Story and the Incredibles, a lot of high-profile bad guys from popular franchises have found their way into this board game universe. If you haven’t checked it out, now is a good time to finally pull the trigger–a bunch of Villainous games are on sale at Amazon, some of which are seeing a nice 50% discount.

Star Wars Villainous

Gallery

The best deal is for Star Wars Villainous: Power of the Dark Side, as it’s listed for $20 (down from $40). It includes everything you need to start playing Villainous, allowing you to jump into the shoes of Darth Vader, Kylo Ren, General Grievous, Asajj Ventress, and Moff Gideon. The game also comes with five sculpted villain pieces, over 200 illustrated cards, and all the other tokens and trackers you need to effectively play the game.

For more Star Wars fun, you’ll find the Scum and Villainy set discounted to $25 (down from $30). Ravensburger bills this as an “expandalone” pack, as it works with other Star Wars Villainous games or can be played on its own with the need for other packs.

Villainous games typically support up to four players and run for less than an hour, making them a great option for family game nights.

Aside from Star Wars, you’ll find a nice variety of other Villainous games on sale that let you play as Thanos, Ultron, Doctor Octopus, Venom, Gaston, Syndrome, and several other iconic faces. You’ll find all the best Villainous deals below.

Best Villainous Deals

Nintendo Switch Joy-Con And Pro Controllers Get Rare Discounts At Walmart

First-party Nintendo Switch controllers aren’t cheap, and they don’t commonly receive meaningful discounts. The Switch Pro Controller clocks in at $70 and a pair of Joy-Con are more expensive at $80. Things are a bit better today, however, as several great Switch controllers are discounted at Walmart, including a nice $10 discount on the Switch Pro Controller and a massive $16 discount (very rare) on the Pastel Purple/Green and Pastel Pink/Yellow controllers.

Best Nintendo Switch Joy-Con and Pro Controller deals

Before going any further, it’s worth noting that these products are being sold by third-party retailers via the Walmart website. The orders are fulfilled by Walmart and all of the sellers have high ratings–one of the main sellers is rated by Walmart as a “Pro Seller,” which indicates they have a history of selling quality gear and creating an overall positive shopping experience. Since they are fulfilled by Walmart, they also come with a free 30-day return policy–which should give you peace of mind.

Pastel Nintendo Switch Joy-Con controllers

Nabbing a Switch Pro Controller for $60 is a pretty great deal, as it rarely drops below its standard $70 price tag. With motion controls, HD rumble, amiibo support, and a great ergonomic design, it’s ideal for pretty much every game in the Switch library. For a Switch Pro Controller alternative, be sure to check out the 8BitDo Pro 2, which is also on sale right now for $40.

If you need a new set of Joy-Con, the Pastel Purple + Pastel Green and Pastel Pink + Pastel Yellow pairings are on sale for $64 each (down from $80). Additionally, you can pick between three different neon Joy-Con models for $67 each, including Neon Purple + Neon Orange, Neon Blue + Neon Yellow, and Neon Green + Neon Pink.

Godzilla x Kong: The New Empire Review Roundup–Here’s What The Critics Think

Legendary’s Godzilla x Kong: The New Empire arrives in theaters on March 29, and reviews for the monster brawl film have begun to appear online. We’re rounding up review excerpts below to help you get an idea for if the film is worth your time and money.

GameSpot gave the film an 8/10 in our review. Reviewer Phil Owen wrote, “Godzilla x Kong is instead just a sleek and very well made action movie with a coherent story that wraps itself up well before you’ll get the chance to be tired of it, and yet never feels like it had half its plot removed the way most Marvel movies do in recent years.”

Godzilla x Kong: The New Empire is directed by Adam Wingard, who had directed the previous installment Godzilla vs Kong. The film stars Rebecca Hall, Brian Tyree Henry, Dan Stevens, Kaylee Hottle, Alex Ferns, Fala Chen, and Rachel House.

You can see a sampling of review scores and excerpts below and more critical consensus here at GameSpot’s sister site Metacritic.

Godzilla x Kong: The New Empire

  • Directed by: Adam Wingard
  • Written by: Terry Rossio, Simon Barrett, Jeremy Slater
  • Starring: Rebecca Hall, Brian Tyree Henry, Dan Stevens, Kaylee Hottle, Alex Ferns, Fala Chen, Rachel House
  • Release Date: March 29

GameSpot — 8/10

“Just as it was last time with Godzilla vs. Kong, director Adam Wingard has delivered a rather lore-heavy movie with a running time under two hours, which is pretty unusual in the current landscape of blockbusters that frequently last more than 150 minutes, like the recent Dune Part Two. Wingard seems to have a knack for streamlining his movies down to their essential story beats while still keeping them coherent.” — Phil Owen [Full review]

RogerEbert.com — 2.5/5

“If you love the ‘what the hell, let’s try it’ sensibility that the Legendary Pictures monster franchise has embraced thus far, you’ll still find plenty here to enjoy. But it shouldn’t have been necessary to go looking for it.” — Matt Zoller Seitz [Full review]

Variety — No Score

“The director, Adam Wingard (who made Godzilla vs. Kong), knows how to choreograph a beastie battle so that it does maximum damage in a way that appeals to your inner toy-smashing seven-year-old. In an early sequence where Godzilla ravages Rome (before curling up and going to sleep in the Colosseum), I actually winced at the image of all those gorgeous old buildings–all that history– reduced to rubble.” — Owen Gleiberman [Full review]

Chicago Sun-Times — 2/4

“Godzilla x King Kong: The New Empire is the definition of an old-fashioned (with new technology) popcorn movie and there’s certainly no harm in that, but at the end of the day, it feels like the stakes have never been more medium.” — Richard Roeper [Full review]

Washington Post — No Score

“Wingard’s not a sentimentalist, and Godzilla x Kong stumbles whenever he tries to slap phony emotions onto the film to make it more like a generic crowd-pleaser.” — Amy Nicholson [Full review]

IGN — 6/10

“Godzilla x Kong: The New Empire serves up a berserk dreamscape with plenty of payoff to please the Monsterverse faithful. Shame about the human stuff, though.” — D. Hood [Full review]

The Hollywood Reporter — No Score

“Director Adam Wingard (reuniting with Stevens after the terrific 2014 thriller The Guest) orchestrates the monster madness with impressive visual flair even if he relies on an excessive number of ‘80s-era pop song needle drops to make things seem more exciting than they actually are.” — Frank Scheck [Full review]

Predator: Hunting Grounds Is Being Resurrected For PS5 And Xbox With New Content

IllFonic, the new publisher of Predator: Hunting Grounds, has announced that the 1v4 asymmetrical multiplayer game will be coming to the Xbox Series X|S and PlayStation 5. The publisher has also announced a year-long road map, which includes new playable predators.

The first update players can expect is the 2.49 patch, which will be released sometime in April. This update will focus on quality-of-life fixes, including balance changes, player movement, and more. Later in the year, Predator: Hunting Grounds will be ported to modern consoles. Both a standard and digital deluxe edition of the game will be offered, although there was no word on what will be included in the latter.

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Now Playing: Predator: Hunting Grounds – Official “The Hunt Begins Again” Reveal Trailer

Sometime this winter, new predators will be released, with more to follow in Spring 2025. No specifics about the new predators were shared or what other new content is on the way.

Predator: Hunting Grounds was initially released in 2020 for PlayStation 4 and PC. As the name suggests, one person plays as the Predator hunting humans, while four others play as soldiers, completing various tasks in the jungle. For those unaware when the game was originally released Sony was the publisher at the time. But now IllFonic is both the publisher and developer for Predator: Hunting Grounds.

Open Roads Review – Quick Trip

I once read in a very profound article published in a very prestigious magazine (okay, it was a TikTok) that “daddy issues” make artists while “mommy issues” make writers. I can’t attest to the science–or lack thereof–behind this statement, but as a writer born into a long line of guarded women who wielded pens as weapons, I can absolutely relate.

As such, I have a particular fondness for mother-daughter stories and the catharsis they can offer. When I heard the team behind Gone Home would be tackling the subject in their upcoming game Open Roads, I braced for a beautiful cross-country journey that would inevitably hit too close to home. However, while Open Roads has moments of relatability that are powered by solid dialogue, charming characters, and nostalgia, I was ultimately left underwhelmed by the walk-and-click exploration game. With a runtime too short to truly pull players in and an abrupt ending that leaves things feeling hastily resolved, Open Roads feels more like a pit stop than an adventure.

That’s not to say the game’s premise isn’t interesting. Open Roads begins shortly after the death of the Devine family matriarch, Helen, and follows her daughter Opal and her granddaughter Tess as they cope with loss and what to do next. Throughout the entirety of the game, we play as Tess, a 16-year-old high school student who is every bit as strong-willed, cheeky, and hopeful as most 16-year-old girls are. On top of her grandmother’s death, Tess is also processing her parents’ recent separation and the loss of her home, as she and her mother lived with Helen but were not given the house upon her death.

While cleaning out her grandmother’s home, Tess and Opal stumble upon a suitcase buried within the attic walls and find what appears to be evidence of Helen’s secret life and a passionate love affair. With a week to go until the house is sold and an empty agenda, the pair set off on a series of short trips to get to the bottom of Helen’s mysterious life.

At each of the game’s handful of locations, you walk around as Tess and interact with objects from different time periods ranging primarily from the late ’60s to the early 2000s–the time the game is set in–that are sure to be familiar to many American millennials. Occasionally you’ll be able to pocket the items to use later, adding a slight puzzle element to what is otherwise a game driven by simple exploration, though these moments are few and far between. Certain items will also prompt you to call for your mom, who will chime in, add context, or mull over your findings with you. All this makes for straight-forward gameplay that can, unfortunately, start to feel a bit dull as the game goes on.

Outside of exploring the game’s dusty abodes and dimly lit motels, Tess spends most of her time riding shotgun in her mom’s late-’90s sedan. There, she’ll have the chance to cycle through mostly static-filled radio stations, chat with her mom, or use her trusty flip phone to text her father or best friend. Yet for a game titled Open Roads, your time spent on the road is extremely brief and only happens a handful of times, which ultimately takes away from the road-trip experience and doesn’t help to break up its repetitive gameplay.

This is a recurring issue, as the game in its entirety is too brief to effectively address everything it sets up or fully establish a deep sense of relatability and emotional connection. This is a shame considering the underlying plot is interesting and the game’s characters are very endearing. Though Kaitlyn Dever and Keri Russell might be known for their live-action careers, the pair bring a lot of personality to Tess and Opal respectively. Even Helen, who has no speaking parts and appears in the game only through grainy photographs, has a lot of personality. In fact, her vivaciousness is a frequent subject of discussion between Tess and Opal, who both exhibit her more free-spirited behavior, albeit in different ways. This is another aspect of the game I really enjoyed, as it’s all too often that mothers are written as protective, worrisome, uptight, and relatively flat–Open Roads avoids falling into that trap.

However, I also think Open Roads pivots a bit too far away from this mother-daughter tension. Sure, Tess and Opal do have their spats and Opal frequently expresses frustration towards some of her late mother’s actions, but for a pair going through grief, divorce, major life transitions, and betrayal, there’s a lack of drama that turns into a lack of evolution and catharsis. Between its overall brevity and hesitation to dig into messiness–humanness, even–Open Roads puts up a bit of a wall between the player and its story. As a result, I found I liked its characters, but I didn’t feel much towards them. While they were relatable enough, I didn’t find myself in them.

Sure, not all mother-daughter relationships are contentious or imitate Lady Bird, but in shying away from the emotional, you lose, well, emotions. For example, even with all the big plot points unraveling around them, the most impactful conversation in the game, to me, was the one Tess and Opal have after Tess accidentally leaves her phone at the hotel and demands they go back. As an adult, you’re able to see the situation rationally: It makes sense to finish up the drive and grab the phone on the way back–it’ll only be a night without it, after all. But Tess’s dialogue options are limited and a bit more intense than usual–she needs her phone. And despite being 30 years old, I still felt that desperation.

It’s clear that Open Roads wants to have meaningful conversations about generational trauma, the oft-dismissed complexity of mothers, and how humans have different ways of showing love, a fact that can lead to pain when misunderstood, and I wanted to have them too. Yet it doesn’t offer the time or vulnerability to dig into these interesting topics. And while some of its story beats are unique, or offer at least a slight variation on ones we’ve perhaps seen before, all of these stories end somewhat abruptly and without much fanfare or introspection.

Where the game does succeed in storytelling, however, is in its environments. Presumably thanks to the studio’s pedigree and history of working on exploration games like Gone Home and Tacoma, you can tell there is an understanding of how to make locations nostalgic without pandering, interesting but not overwhelming, and immersive but not disjointed. Though I’m slowly discovering that a lot of first-person exploration games make me a bit nauseous (definitely a “me” problem here, so I don’t fault Open Roads), I really enjoyed walking around the environments the studio created. There were so many objects and pieces of decor that reminded me of the ones I grew up with, and it was interesting to note how these objects–and the memories attached to them–moved me more deeply than a lot of the game’s conversations.

At every location, there were little reminders–be it newspaper clippings, a Blockbuster copy of Clueless, or a CorningWare-style casserole dish–of the time that had passed. Sure, this sense of place is aided by some of Tess and Opal’s conversations–I particularly loved the one in which Tess admits to her less-computer-inclined mother that her idea of a wild Friday night consists of pizza rolls and The Sims, because same–but a heavy amount of lifting is done by the artistry and detail put into creating these locations.

I also really enjoyed Open Roads’ character art, which feels inspired by the animated films ’90s kids grew up watching. The style stands out against the more realistic-looking environments and works well with the game’s voice acting, though the lack of proper lip-syncing did feel awkward at times. More awkward, however, was the game’s sound, which felt almost incomplete. I had expected to hear songs and sounds that would take me back to 2003, yet they were noticeably absent. While I wasn’t expecting to hear “Stacy’s Mom” or “Hey Ya!” pop on the radio, having multiple radios and TVs that you could interact with that did effectively nothing was a bit of a letdown.

It’s unfortunate that “letdown” and “underwhelmed” are words I’ve used multiple times when talking about Open Roads because there’s still so much about the game that works. The overall narrative touches on some meaningful topics, there’s a fair amount of intrigue, plenty of well-crafted dialogue, some interesting characters, and a lot of heart. Yet most things fall frustratingly short or are cut off far too early, making the whole experience slightly lackluster. Despite being a game about a mother-daughter road trip, the game doesn’t go too far and that relationship is left only slightly altered rather than meaningfully examined and changed.

How To Watch The New Fallout TV Show: Platform, Release Date, Subscription Info

The next big video game adaptation for TV is Fallout, and it’s coming soon. Westworld’s Jonathan Nolan and Lisa Joy are adapting the Bethesda game for TV.

But where can you watch the show when it releases in April? For anyone needing to know, the Fallout show will stream on Prime Video beginning April 11.

All Amazon Prime members get access to Prime Video as part of their subscription at $15/month or $140/year. Alternatively, people can sign up for Prime Video alone for $9/month. Note that these are the prices for the standard service. To skip ads you need to pay $3/more per month.

If you’ve never had Prime before, new subscribers can sign up for a free 30-day trial. You can use the links below to sign up for Amazon Prime and Prime Video’s standalone subscription specifically.

The Fallout TV series doesn’t adapt the story of any game in particular, and doing that would be difficult anyway since the games are known for their open-ended structure where you can go anywhere and do anything. Instead, the Fallout series tells its own original story following members of Vault 33 who emerge into the nuclear apocalypse to find new horrors.

Bethesda’s own Todd Howard is an executive producer on the series. He said he informed the show’s creative leads to avoid certain subjects because they could be featured in Fallout 5.

Fallout stars Ella Purnell, Aaron Moten, Walton Goggins, and Kyle MacLachlan. The series debuts on April 11, and all episodes will be available from the get-go. Nolan is the director of the first three episodes and executive producer.

It’s Prime Video’s first video game TV series but it won’t be the last. Prime Video is also producing a God of War TV series, though not much is known about it right now.

Here’s How Much Cyberpunk 2077 Has Earned So Far

CD Projekt’s RPG Cyberpunk 2077 got off to a challenging start in 2020 due to its many issues, but the game has rebounded since then and has now brought in more than 3 billion zloty ($752 million USD) since release. CD Projekt disclosed this in its latest earnings briefing.

A graph shows that Cyberpunk 2077’s best year was 2020, when it earned $1.4 billion zloty ($351 million USD). Sales dropped off in 2021, but improved in 2022 and again in 2023. It’s worth noting, too, that despite the game’s issues, Cyberpunk 2077 sold 13 million copies right out of the gate in December 2020 to quickly become one of the best-selling RPGs in history. Thousands of people got refunds, but the game still started with a bang from a commercial perspective, and CD Projekt’s executives were rewarded with big bonuses.

Of note, the 3 billion zloty figure includes sales of the game and its Phantom Liberty expansion. Like other studios, CD Projekt does not disclose game or marketing budgets. So while $750 million in sales sounds like a lot, there is no way to know how profitable the game is without accounting for what it cost to develop and market. Given that the game was in development for a very long time, it’s a safe assumption that it carried a substantial development cost. Not only that, but CD Projekt’s effort to turn things around after launch surely carried a not-insignificant cost.

What we do know is Cyberpunk 2077 sold more than 25 million copies and its Phantom Liberty expansion shifted more than 4.3 million copies as of the end of 2023.

For context, 2023’s best-selling game, Hogwarts Legacy, made more than $850 million in just two weeks. 2022’s Call of Duty: Modern Warfare II needed just 10 days on the market to cross $1 billion in revenue. Grand Theft Auto V, meanwhile, made $1 billion in three days.

Cyberpunk 2077’s turnaround has been quite the story

After its buggy launch, CD Projekt vowed to continually update, support, and improve the game to help get it into a better state. The company has done just that, and many said the 2.0 release at the end of 2023 marked a new era for the game and helped bring in new players.

An ultimate edition of Cyberpunk 2077 was released in December 2023, featuring the base game and the Phantom Liberty expansion.

Given the huge success of Cyberpunk 2077, it’s no surprise that CD Projekt is now working on a sequel at its new office in Boston. This game, codenamed Orion, remains in the “concept” phase and is not expected to debut anytime soon.

Beyond the game, CD Projekt has partnered with Anonymous Content to create a live-action Cyberpunk project. Anonymous Content has an impressive track record–the studio produced Oscar-winning films like The Revenant and Spotlight, and has also succeeded in the television industry, helping to create popular series like Mr. Robot and True Detective.