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Paramount Pictures and Sega have released a new title treatment teaser for Sonic the Hedgehog 4 (which we now know is the official title) alongside news that Jim Carrey and Keanu Reeves are returning as Dr. Robotnik and Shadow the Hedgehog, respectively. They'll rejoin regular cast members like Ben Schwartz as Sonic, Idris Elba as Knuckles, and Colleen O'Shaughnessy as Tails. Plus, Ben Kingsley (Iron Man 3, Wonder Man) and Nick Offerman (Parks & Recreation, The Last of Us) join newcomer Kristen Bell (Frozen, Nobody Wants This), who will voice Amy Rose, in undisclosed roles. The new title reveal teaser doesn't do much more than highlight the cast, but at the very end, we get a quick glimpse at Metal Sonic. We won't spoil how he might be involved in the movie beyond being the probable antagonist, but if you know, you know. Check it out for yourself in the Sonic the Hedgehog 4 title reveal below: Sonic the Hedgehog 4 recently started shooting on March 2 and is slated to hit theaters on March 19, 2027. The series' cast includes Ben Schwartz, Jim Carrey, Kristen Bell, James Marsden, Idris Elba, Colleen O'Shaughnessey, Keanu Reeves, Tika Sumpter, Krysten Ritter, Adam Pally, Lee Majdoub, and now, Ben Kingsley and Nick Offerman. What roles do you think Ben Kingsley and Nick Offerman will play in the movie? Let us know in the comments below! View the full article

Bungie's first-person extraction shooter, Marathon, launched earlier this month on March 5, and since then, players have been killing each other, looting Tau Ceti IV, and, for the most committed, attempting to solve a massive ARG puzzle. After weeks of work, which included killing 500 million UESC enemies, the puzzle is complete and the Marathon ship floating in the sky is ready to board. With its doors open, players can finally partake in the Cryo Archive, an endgame map that seems to be Bungie's extraction spin on its Destiny raids. The Cryo Archive will officially go live in Marathon tomorrow, on Friday, March 20, and will see players race through its seemingly haunted corridors to take down UESC, other Runners, and maybe even a Compiler, a classic S'pht enemy from Bungie's original Marathon trilogy. In the Cryo Archive launch trailer that Bungie released today, we get a glimpse of a Compiler (in the image above) at the end of it, indicating players will likely have to fight this enemy to complete the run and exfil out of the Marathon. Check it out for yourself below in the Marathon Cryo Archive launch trailer: Game Informer published its Marathon review-in-progress yesterday, and we expect to attach a final score to the game after playing the Cryo Archive-related content in order to give our readers a complete look at all the content in Marathon. In the meantime, read our breakdown of everything you need to know about Marathon Season 1. Are you hopping into Marathon's Cryo Archive tomorrow? Let us know in the comments below! View the full article

Ubisoft has announced it is ceasing game development operations at Red Storm Entertainment, the studio behind various Ghost Recon games and other Tom Clancy titles. Although the studio will remain operational, its duties have shifted, resulting in over 100 layoffs. GameIndustry.biz reports that Ubisoft will permanently shift the North Carolina studio to behind-the-scenes support work, such as working on the Snowdrop Engine and other duties like IT and customer relations. This downsizing will result in the loss of 105 jobs. Red Storm was founded in 1996 and became one of the most prolific developers of Tom Clancy games, namely Ghost Recon. It made the first Ghost Recon and many sequels throughout the 2000s; the last entry it developed was 2012’s Ghost Recon: Future Soldier. Red Storm also developed the original Rainbow Six and created the VR games Werewolves Within (later adapted into a 2021 comedy horror film) and Star Trek: Bridge Crew. Its final shipped game was Assassin's Creed Nexus VR in 2023. However, Red Storm’s last two projects were cancelled during development. First was an untitled Splinter Cell VR game, which was canned in 2022. Most recently, Red Storm worked on The Division Heartland, a free-to-play version of the popular loot shooter that was cancelled in 2024. This downsizing comes after Ubisoft announced a massive organizational restructure in January. This kicked off an ongoing cost-cutting program that has led to several other layoffs and project cancellations, including its long-awaited remake of The Prince of Persia: The Sands of Time. In an effort to bounce back after a rough last few years, Ubisoft has formed a new operating model around five "creative houses", each responsible for developing titles for Ubisoft properties; Tom Clancy IPs like Ghost Recon, Splinter Cell, and The Division fall under "Creative House 2", for example. According to the publisher, the structure was created to facilitate an increased focus on open-world games and games-as-a-service, while accelerating its investment in "player-facing generative AI." View the full article

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The nominations for the sixth annual Gayming Awards have been announced, with Hades 2 and Date Everything each receiving three nominations across 14 categories. Read more View the full article

This week, the Epic Games Store is giving away Electrician Simulator, an immersive sim game where you take on the ... View the full article

A source at Ubisoft has informed GamesIndustry.biz that game development at the long-running North Carolina studio Red Storm Entertainment will cease, with the loss of 105 jobs. Read more View the full article

More than 85% of the games published by indie label Playstack generate a positive return on its external development investment. Read more View the full article

Score free Steam keys for Police Stories via Fanatical! Police Stories is a top-down shooter with an emphasis on tactics ... View the full article

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Finnish games studio Remedy Entertainment has released its last major content update for the troubled multiplayer title FBC: Firebreak. Read more View the full article

The organiser of Develop:Brighton, Tandem Events, has revealed the first speakers for this year's show. Read more View the full article

The CEO of Take-Two Interactive, Strauss Zelnick, has said that it would be "unfair" to have in-game adverts within premium titles. Read more View the full article

Meta is shutting down the VR version of Horizon Worlds this June as it moves to a mobile-only platform. Read more View the full article

Tomb Raider developer Crystal Dynamics has announced further workforce reductions, affecting 20 employees in its development and central operations departments. Read more View the full article

Reviewed on: PC Platform: PlayStation 5, Xbox Series X/S, PC, Mac Publisher: Pearl Abyss Developer: Pearl Abyss Release: March 19, 2026 Rating: Mature The first meal you learn to cook in Crimson Desert is Clear Soup, a brothy mixture of simply water, meat, and lentils. It looks nice and is probably filling, but would no doubt be a bit simple and leave you wanting something with a little more depth of flavor. As it turns out, it’s the perfect allegory for Crimson Desert at large: a beautiful, exploration-rich open-world game that’s a clear technological achievement, hampered by a cornucopia of little frustrations and a stark lack of narrative depth. In Crimson Desert, you follow the exploits of Kliff, the leader of a sort of fantasy peacekeeping corps known as the Greymanes, who help with the safety of the country of Pailune. But after an ambush, the company is scattered, and Kliff is killed, only for him to be revived by supernatural beings and set on a path to save the world from dark forces. There’s a grand fantasy world to explore in Crimson Desert, filled with fascinating little cultures and wondrous sights – from a clockwork city where machine beings tend nearby farms, to a labyrinth of esoteric ruins floating in the sky. Crimson Desert is a visual and technical marvel at every turn, a beautifully realized world from a pure aesthetic standpoint. The entire world is rendered as one location, and you can, quite literally, see every inch of it from any high point. It’s breathtaking. But the first major downside that becomes quite apparent early on is that the game doesn’t have much of a story to tell or any major themes to impart. I can’t think of a better way to describe Crimson Desert’s main story, other than it’s simply a mess. The plot fluctuates from hard to follow to downright nonsensical at times, more focused on delivering a sense of spectacle and bombast than anything. But it also clearly wants to have these big emotional moments that are supposed to have some kind of payoff that just isn’t there. The best way to describe it is if you looked up a compilation of “Game of Thrones’ best moments” on YouTube. So you get all these admittedly cool sequences and big fantasy set pieces, but without any of the backing of real character growth and depth. That even applies to the main character, Kliff himself, who feels just one step removed from a silent protagonist. This means that despite the beauty of the world, there’s nothing to ground you in it or make you truly care about the things you’re doing. The one exception here is reuniting all of the Greymanes, where the game’s sole emotional core lies. Seeing your camp come together and grow is undeniably satisfying, and there are some meaningful moments of bonding between Kliff and his allies. But the game makes all of this optional about a third of the way through – meaning you might miss most of it. You’ll likely see a lot of comparisons between Crimson Desert, Breath of the Wild, and Dragon’s Dogma. The inspiration from those two titans of open-world games is clear, as Crimson Desert similarly has a minimalistic approach to everything. There are very few tutorials, requiring you to learn everything through experimentation and practice. The game doesn’t have any immediately available fast travel, instead requiring you to discover fast travel points through exploration. And there’s a heavy focus on puzzle-solving, using your myriad skills. There are so many different features and mechanics in Crimson Desert that there’s no way I can properly describe everything. This is a game that wants to be everything, the textbook definition of an open-world. You have base building and soldier management as you rebuild the Greymanes. There’s crunchy melee combat that even integrates absurd wrestling moves. Realistic physics and complex Zelda-esque puzzles are scattered throughout the world. One encounters hundreds of little sidequests and contained stories to discover. Uncover dynamic relationship systems where you can bond with animals and NPCs. And there’s even dragon riding. The number of things to see and do in Crimson Desert is utterly overwhelming. But there’s a real sense of discovery baked into the fabric of the world that’s unbelievably compelling. The quiet moments as I roamed the lands of Pywel were, by far, my favorite. Discovering a sentient tree with a hat I needed to steal for some magical beings. Or stumbling onto a Spirit Knight boss that, when defeated, unlocked a wild new weapon ability that drastically altered my playstyle. It’s these moments of surprise and wonder that make Crimson Desert shine. But outside of that, unfortunately, the game often feels like it’s simply stretched too thin trying to do too many things and not really refining any singular idea. Take combat, for example. The game’s action combat initially feels frenetic and intense, in line with a straight-up action game, getting drastically more interesting in the late-game when you’ve unlocked a wide array of skills. But before you reach that point where everything’s unlocked, it’s surprisingly tedious. Each enemy you kill typically has a short execution animation that plays out, something that’s not bothersome against a few enemies, but becomes aggravating when you’re trying to take over an area and fighting off 40 enemies. This makes taking over bases a slog. And while there are a handful of enjoyably challenging boss battles, there are just as many, if not more, that are miserable affairs. Bosses have huge, wide-reaching attacks and very short windows for when you can cause damage, compounded by small arenas that plaster a big “return to the battle area” warning if you stray an inch or two in the wrong direction. Crimson Desert really wants you to explore and find Abyss artifacts to upgrade Kliff’s stats and buy new combat abilities, as well as gather resources through mining, woodcutting, and more. And if you aren’t upgrading everything accordingly, you’ll get easily beaten into the ground by bosses, but without a tangible stat or levelling system, it’s hard to tell if you’re actually prepared enough for a given mission or boss. I can confidently say Crimson Desert has some of the most nauseatingly frustrating boss battles I’ve ever encountered, except for the handful that bizarrely can be beaten immediately with very specific gimmicks. The more abilities you unlock, the messier combat can get, too, as you have over a dozen different button presses to keep track of for specific attacks. Then there’s the healing system, as the only way Kliff can heal is with food in his inventory, or meals you’ve cooked at bonfires. But bosses make you blow through your food items, meaning you’re constantly on the hunt for new food, spending hours gathering items and cooking them up. And therein lies the crux of my major issue with Crimson Desert – how much of the game feels like it’s simply wasting your time. It’s a game I played for 100 hours that probably should have been more like 50 to 60. That’s largely because, like with the cooking, nearly every facet of the game feels intentionally designed to drag things out in a way that’s not enjoyable in the slightest. I appreciate the emphasis on exploration, but that lack of easy fast travel gets truly aggravating when you’re spending 20 to 30 minutes riding between quests. Locations where you solve puzzles to unveil Abyss artifacts can also be used as fast travel, but only if they’ve been solved. This means if you can’t figure out a puzzle and need to come back later, you won’t get a fast travel point. Similarly, if you want to upgrade your gear, you need to spend time grinding out materials, cutting down trees, hunting for ore, etc. Even the very design of quests feels needlessly drawn out. For example, early in the game, you take a quest to learn how to dye clothes, following an ally to the shop, and then learning that they moved the cauldron you need to the city. You go to the city and use the cauldron, but then have to travel all the way back to the shop to use the dye. A quest that could have quickly been over in a matter of minutes ended up taking me 15, and that’s not an isolated incident – as that kind of design is spread across the entire game. I might not have as much of a problem with it if there were an interesting narrative component, but as I said earlier, there’s nothing truly compelling happening with most of the game’s storytelling. Most of these sidequests you're doing for the tangible items and equipment, or the reward of adding another inventory slot. The limited inventory and management are other issues you constantly have to grapple with, like making frequent trips to towns or camps to unload items. These little frustrations and issues with Crimson Desert quickly start to pile on and add up into something that becomes aggravating. Crimson Desert’s true problem is that it’s simply overdesigned – there are too many moving pieces. Even as in-depth as I’ve gone, there’s still a half-dozen systems I haven’t touched on, like trading and banking. And perhaps most crucially of all, not all of that is fun. I adored running around Pywel and poking my head in ancient ruins, but that enjoyment was constantly brought to a grinding halt by an oppressive boss battle that took me two hours, an inscrutable puzzle with a solution that required an ability I didn’t yet have, or wonky controls that would send me careening off the side of a cliff to my doom, forcing a respawn. And while I didn’t find Crimson Desert to be an overly buggy experience, especially for a game this size, I did have five hard crashes in my time and a handful of bugs, like my wagon getting completely stuck in a building, forcing me to go back to camp and pick the option to retrieve it, then do the mission all over again. I wish Crimson Desert had stripped away some of its superfluous systems, simplified the combat, and really honed in on exploration and puzzle-solving. The quiet moments atop mountain peaks and wandering through bustling city streets, with the little stories therein, are truly something special. However, the game’s lack of a meaningful main narrative and overreliance on padding things out undoubtedly hurt it. But, more than anything, there’s a foundation with Crimson Desert that I hope can be built upon, and considering this is Pearl Abyss’s first single-player game, I wonder how much of this can be chalked up to growing pains. The studio clearly took liberal inspiration from other games, but I hope that there can be something more looking toward the future. Crimson Desert has something special buried beneath its surface, if all those unneeded layers can be cut out. Score: 7 About Game Informer's review system View the full article

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Sony has commenced refunding Highguard payments to PlayStation 5 players. Read more View the full article

I didn’t expect Marathon to leave as large of an impact on me as it has. While I’ve loved Bungie games in the past, including hundreds of hours spent in Destiny 2, from the outside looking in I didn’t anticipate that the extraction-shooter loop of impermanent loot would be for me. Load into a map with a preset objective, loot everything not stapled to the ground and then some, all the while avoiding – or shooting – all of the enemies in your way. [Editor's Note: To ensure we are evaluating the full Marathon launch experience, we made the decision to hold our final verdict until our reviewer can experience the Cryo Archive, the culmination of the launch-window experience. Check back in the coming days for our full, scored review.] For anyone not already familiar with extraction shooters, Marathon is much like its peers in the genre wherein death means losing whatever equipment and items you choose to spawn into a map with. Marathon, like other extraction shooters, is a game about choice and consequence. It’s at its best when it pushes those ideals to the absolute limit. On the most basic level, Marathon’s core gameplay is best-in-class. Bungie has always excelled at gunplay, and the same rings true here. Each and every weapon currently in the game comes with a distinct feel and sound profile to accompany their unique characteristics. The same can be said for the game’s Runner shells; Marathon’s “hero-shooter” take on how a player opts to confront the mysteries of Tau Ceti IV. Marathon is a systems-heavy game that rewards players who can make the most out of everything it has to offer, and Runner's kits are no different. Thief’s kit feels like the perfect example of this; I liked using their drone to be a real nuisance to players. Maybe you mess with a group of enemy Runners by opening up a door to guide them into an ambush. If you’re feeling adventurous, wait at an exfiltration site and poke at a group right as they’re about to leave the match, helping yourself to their pilfered spoils. Much of Marathon’s gameplay focuses on understanding the world around you. Since sound travels far, picking fights with NPC enemies can be a risk. Maybe you run past some birds, startling them, or a UESC Turret spots you. Perhaps your contract forces the issue, and you have no choice but to make some noise – and prepare for the consequences. It didn’t take long for me to get into the mindset of using my gear when needed, because sooner or later, that favorite gun of yours will end up in another Runner’s backpack. Making too much noise will merely expedite matters if you aren’t prepared. The sounds and sights of Tau Ceti IV have captivated me in a way even beyond some of the most iconic areas in Destiny 2. Marathon is a strikingly beautiful game, but it's the synthesis of how gorgeous these areas look while danger is always lurking just below the surface that makes them stick with me. Before long, each landmark will have a story to tell - and stories you'll be able to tell about your experiences there. Outside of the stress of runs, the codex offers insights into the lives lost on Tau Ceti IV. Many times, these codex entries are locked behind successfully exfiltrating with a rare piece of loot multiple times, slowly unfolding a specific element of the story. It’s impossible to have seen and read everything at this point; many key codex entries are currently redacted, pointing to some major events aboard the Cryo Archive. If it wasn’t already clear, I think Marathon is something truly special. However, there are still a few lingering questions I have before settling on a final score. The escalation across the game’s currently accessible maps – Perimeter, Dire Marsh, and Outpost – leads me to believe that whatever awaits in Cryo Archive will be something compelling. It feels like the true scope of the story is still lurking just under the surface, and I can't help but wonder exactly what that will mean in the end. View the full article

Kiln, revealed during Xbox's recent developer direct stream, is an upcoming game from Psychonauts developer Double Fine, and like everything out of that studio, it's whimsical, colorful, and full of personality. Unlike Double Fine's last few games, this one is multiplayer-focused; players sculpt pottery, glaze it, fire it, and send their creations into battle in a violent, clay-shattering showdown. It's an interesting concept, and we'll get to see more of it very soon – today, the developer announced the game launches on April 23, with an open beta coming to Steam earlier in that same month. The open beta will run from Thursday, April 9 to Saturday, April 11. As with most open betas, it will be free to download, and players will receive an in-game participation trophy for booting it up during the testing period. In order to join, however, you'll have to sign up. At the time of writing, the sign-up isn't live yet, but it will eventually appear as a button on the game's Steam page. According to a recent Xbox Wire post, Kiln community manager Rocia Salas had the following to say about Double Fine's goals for the beta period: We’re taking this open beta as an opportunity to not only test out our servers, but to see what resonates with players and what the Kiln team should be prioritizing next. We have a lot of possibilities with a game like Kiln—more customization, more maps, more modes—and, as much as we want to add everything we can to the game, we want to see what you, the players want the most. Kiln will cost $19.99 in the US, with a deluxe "Fired Up" edition, which includes cosmetics and in-game currency, going for $29.99. You can see everything the Fired Up edition includes in the image below. Kiln launches on PS5, Xbox Series X/S, and PC on April 23. For more Double Fine, check out our review of the studio's last game, Keeper. View the full article

Sony's first PS3 software update in a year brings "additional features, improved usability, and enhanced security" | News-in-briefView the full article

Shinobi: Art of Vengeance was one of 2025’s best action games, and it’s getting new DLC next month that will bolster the adventure. The Sega Villains Stage update will pit Joe Musashi against iconic Sega adversaries while adding several more updates. The Sega Villains Stage DLC centers on the addition of three new bosses: Dr. Eggman from Sonic the Hedgehog, Death Adder from Golden Axe, and Goro Majima from Like A Dragon/Yakuza. Rendered in Art of Vengeance's signature art style, you can watch these antagonists in action in the trailer below. The DLC also features five new stages inspired by Sega franchises, two new Boss Rush modes, three new ninpo, three new outfits, and six new music tracks. Additionally, a free update is releasing alongside the DLC that adds a Hardcore Mode, combat system adjustments, and tweaks to character outlines, map, and tutorial display features. The Sega Villains DLC will launch on April 3 for all versions of Shinobi: Art of Vengeance. It will cost $9.99, but owners of the Digital Deluxe Edition will have access to it instantly. For more on Shinobi: Art of Vengeance, check out where it ranked on our Top 10 Games of 2025. View the full article

Publisher: ProbablyMonsters Developer: ProbablyMonsters Nazi-killing stories used to be as common in video games as revenge stories are today. As the name of ProbablyMonsters’ third-person action game implies, Nekome: Nazi Hunter brings the Nazi killing back into the forefront, but retains the vengeance aspect; it’s right in the name, as “Nekome” means “revenge” or “vengeance” in Yiddish. While at Game Developers Conference last week, I met with the team at ProbablyMonsters to get a hands-off demo of Nekome: Nazi Hunter. In Nekome, you play as Vano Nastasu, a young Romani man whose entire family was murdered by Nazi soldiers. Consumed by grief and rage, Vano vows to take down the vile creatures who did this to his family. Nekome: Nazi Hunter is a linear, narrative-driven experience with an emphasis on hand-to-hand combat. Using gutter fighting, a win-at-all-costs close-quarters style developed in the early 1900s, Vano delivers brutal blows to his deserving adversaries. Vano brandishes a knife for much of the game, but he can also find others, including firearms and other melee weapons. Watching the developer play through various sequences in a very early build of Nekome: Nazi Hunter, I’m struck by how responsive the combat looks. In one curated sequence, Vano thins the herd using bloody stealth takedowns before confronting the remaining officer. Officers are resistant to stealth takedowns, but Vano can overcome that through the skill tree, which consists of three paths: The Knife (for damage and combat), The Man (for character-specific upgrades, like the ability to perform stealth takedowns on officers or upgrading Vano’s focus bar), and The Tool (for improvised weapons you pick up). ProbablyMonsters approached designing much of Nekome: Nazi Hunter as a way to tell emergent stories. That is most aptly shown in the second sequence I witness, which is more of a sandbox design. Using Vano’s focus, he can gain abilities like being able to spot enemies through walls, or one that I can’t wait to use: Focus Strike. Vano’s Focus Strike lets him stop time as he marks multiple targets’ body parts, then attacks them all in rapid succession, leaving the Nazis dead or debilitated. In a game where Vano is almost always outnumbered, this seems like one of the most useful tools in his toolbelt. After taking out a room of enemies, Vano moves on to an outdoor area, with a sniper stationed on the roof. The developer charts a path to that sniper, since having armed Nazi eyes in the sky would probably make his life miserable, and if the gunman spots Vano and fires his rifle, his hopes of stealthily evening the odds goes out the window. En route to the lookout position, Vano burns various propaganda posters – a side-objective tracker pops in the upper part of the screen showing how much hate imagery and propaganda remains to destroy. After reaching the sniper’s position, Vano brutally takes him out and assumes control of the rifle. Having access to a sniper rifle is obviously a powerful upgrade to Vano’s typical knife, but it comes with risk: Firing that gun will alert everyone of Vano’s presence, and Vano has no idea how many shots he has, a deliberate choice by the developers to really lean into the risk/reward aspect of picking up someone else’s weapons. The dev demoing the game decides it’s worth it, so he targets an officer and pops his head from afar; it turns out there was only one bullet in that rifle, but Vano used it effectively. Normally, if you’re discovered, the troops will go into high alert and search everywhere, even calling reinforcements if you don’t take them out in time. However, in this scenario, Vano’s notoriety is high, and ushering that officer into a blood-soaked grave pushed Vano over the top, so several soldiers cower as they try and escape what seems like a certain fate. Some will run, others will hide, some will even beg for mercy. In my demo, they found no mercy, and I anticipate the results will be the same when I get my hands on the title. Nekome: Nazi Hunter is still quite early in development, to the point that the developers assured me that the U.I. is still very likely to change before even the next time I see it. But even in this early stage, everything I saw told me this is a game I should keep my eyes on. We don’t know when Nekome: Nazi Hunter is set to come out, but it is currently planned to arrive on PS5, Xbox Series X/S, and PC. View the full article

In case you missed it, Pokémon Pokopia received a new update yesterday that fixes several progression-halting bugs. Now, rebuilding the world and befriending new Pokémon should be a lot easier. Update Ver. 1.0.2 is now live and fixes several issues hampering progress for certain quests. Some of these bugs were triggered via very specific actions, like placing the different blocks in certain spots during a quest. Other issues saw Pokémon positioning themselves in spots that make them impossible to interact with. Here is the full list of patch notes, per Nintendo: During the request “Rock Smash your way to treasure!” in Withered Wasteland, if the player places other blocks over the cracked blocks near Hitmonchan, it becomes difficult to understand how to progress the request.During the request “To Snorlax!” in Bleak Beach, if the player places other blocks over the cracked blocks near Snorlax, it becomes difficult to understand how to progress the request.Additionally, the following issues have been fixed. If these issues have already occurred in your game, applying this update will resolve them. During the request “Help make a home!” in Withered Wasteland, Squirtle may move on top of a tree and become impossible to talk to, preventing progress.During the request “Find the Pokémon Center!” in Bleak Beach, if the cracked blocks on the bridge are broken before Professor Tangrowth crosses the bridge, it will become difficult to make progress on the request.During the request “Find the Pokémon Center!” in Bleak Beach, a specific sequence of actions may prevent Professor Tangrowth’s bridge repair request from triggering, preventing progress.In Rocky Ridges, a specific sequence of actions may prevent the event in which the player meets Rotom from occurring.During the request “Clear off the path!” in Rocky Ridges, if the request is triggered under certain conditions, it will become difficult to make progress on the request.Spinarak’s type is listed incorrectly in the Pokédex.Make sure you're playing the latest version of Pokopia before diving back in. In the meantime, check out our very positive review of Pokémon Pokopia here and listen to us discuss our time with the game in this episode of The Game Informer Show podcast. View the full article

Nvidia CEO Jensen Huang responded to backlash over DLSS 5 upscaling technology, saying critics are "completely wrong" and that it "doesn't change artistic control." Read more View the full article