The way we meet this moment will be the rising action. Rugby at large must learn how to truly welcome their women as we enter the second act.
World Rugby knows this and just this week has released a 78-page report they are naming a Blueprint for Growth. The findings are echoes of the five-year plan for growth that was written in the wake of the 1998 World Cup.
The challenges and opportunities hinge on the same reckoning: rugby needs to get serious about the women’s game.
Black Ferns legend Portia Woodman-Wickliffe scores against Wales at the last Rugby World Cup. Photo Photosport
The report backs up what we have long known as women’s rugby fans. That we are a unique demographic which is currently underserved within the wider rugby audience. About half of us may have come over from the men’s game but we do not carry with us the same type of tribal allegiances.
This report has found that 41% of women’s rugby fans are club-agnostic. They support the game, not teams, and those that do are likely to support more than one.
This is not a weakness, rather an opportunity for rugby teams to grow their fanbase beyond geographic ties. I am one data point but I am living proof of this research.
On the opening weekend, I’m travelling to Sunderland, Manchester and York. To witness the spectacle of the opening match between England and the USA, and the rivalry of Wales and Scotland; to cheer on not just our Black Ferns but also our neighbours, Australia and Samoa. Like the 47% of respondents in the World Rugby research, that’s because my reason for attending is tied to showing support of not just women’s rugby but women’s sport as a whole.
As the women’s game enters its second act, this is what rugby must reckon with. This tournament will be the catalyst for many fans to join. Bridges must be built beyond this moment, to enable these newbies to follow their favourite players back to their domestic competitions.
The women at the centre of the action are doing everything they can. Alongside the physical prep, they are flooding our timelines with behind-the-scenes action to connect in the exact way this report recommends.
It’s rugby administrators who need to step up. The game itself needs to gain a higher sense of who we are and what we are capable of if we are ever to transition to act three. If we are to reach any type of resolution, we need to not be surprised when the upcoming wave hits. The ticket sales alone should be the tsunami warning.
Meanwhile, I will keep my seatbelt fastened, ensure my seat is upright and the tray table is folded away, ready for this reckoning to land.
Alice Soper is a sports columnist for the Herald on Sunday. A former provincial rugby player and current club coach, she has a particular interest in telling stories of the emerging world of women’s sports.
“The final we are very confident will be the most attended women’s rugby match in history, easily surpassing the 66,000 crowd that we saw in Paris 2024. I can confirm today that the final at the Allianz [Twickenham] Stadium will be sold out,” Women’s RWC 2025 chair Gill Whitehead told reporters.
Whitehead, recalling the last time England hosted the event in 2010, when the final was staged at the nearby Twickenham Stoop, the home of London club Harlequins, added: “The last time England hosted the Women’s Rugby World Cup, the girls played [the final] at the Stoop around the corner to a crowd of 13,000.
“I started playing women’s rugby 30 years ago and the prospect of girls running out of the tunnel, playing to the three tiers of the Allianz packed to the rafters is something perhaps I never hoped or thought I would see and it’s certainly what girls’ dreams are made of.”
England’s Red Roses have lost only once in their past 58 matches – a defeat by New Zealand in the Covid-delayed 2022 World Cup final.
Yet they have lost five of the past six World Cup finals to New Zealand, with 2014 – when England beat Canada in the showpiece match – their most recent global 15-a-side title.
Even though New Zealand and England have monopolised the final in recent editions, tournament managing director Sarah Massey said the tournament would be “unmissable” for fans of the sport.
“We’re ready to break records in attendances, viewership and engagement. This is going to be the biggest global celebration of women’s rugby that we have ever seen.
“We’re really pleased today to be able to announce that we’ve now sold 375,000 tickets across all those matches, surpassing all our initial ticket targets and really showing what this tournament is going to bring.
“That’s three times the number of tickets that were sold for the last Women’s Rugby World Cup. Our message to fans is, don’t miss out. This is going to be unmissable.”
Matches will also be held in Brighton, Bristol, Exeter, Northampton, Salford and York.
As the organization plays its opening season in the newly completed Intuit Dome, a new complication has arisen: A lawsuit filed Thursday by a former trainer alleges unsafe treatment of the franchise’s star player.
Randy Shelton was the strength and conditioning coach at San Diego State and worked closely with Leonard during the player’s time with the Aztecs. The lawsuit says the Clippers began their pursuit of Leonard — using Shelton as an intermediary — in 2017, two years before Leonard joined the team.
Following a devastating ankle injury for Leonard during the Western Conference finals in 2016, Clippers assistant general manager Mark Hughes emphasized discretion as he sought out the San Antonio Spurs star’s private health information through Shelton, the lawsuit states.
Hughes and Shelton spoke around 15 times by phone and seven times in person, Shelton says. The offer: a job as the Clippers’ strength and conditioning coach if the team could persuade Leonard to join.
The team got its wish, with Leonard and Shelton joining in the 2019 offseason. From there, Shelton was relegated to the sidelines as a new assistant coach, Todd Wright, took over his responsibilities, the lawsuit says.
Shelton’s remaining job was to take care of Leonard, a task that the suit claims deliberately was made more difficult as the team excluded Shelton from meetings and “withheld necessary medical treatment and information that impacted Leonard’s training and health.”
Leonard’s health woes continued. He suffered a torn anterior cruciate ligament in the 2021 playoffs, and Shelton set a recovery target of two years — a timetable the Clippers were unwilling to accept, he says.
Upon Leonard’s return for the 2022-23 season, the team promised a minutes restriction and that the forward would not play back-to-back games but failed to uphold that promise, Shelton claims. After the first two games, Leonard complained of knee swelling and inflammation, and an MRI revealed cartilage damage.
The lawsuit says Leonard was “given biologics to band-aid the problem” instead of allowing the player the necessary time to heal. Less than a month later, in November 2022, Leonard returned to play and suffered two ruptured ligaments in his ankle within a week.
Again, Shelton claims, the team demanded productivity, circumventing Shelton’s advice and withholding information from him. Shelton says the team began to force him out shortly thereafter.
As Leonard battled through these injuries and the team’s record suffered, his minutes per game increased from 32 in December 2022 to 35 in January and 38 in February.
This heavier load, which included one set of back-to-back games in March and April 2023, helped lead the team to a playoff berth. In the first round against Phoenix, Leonard tore his meniscus and suffered cartilage damage on his repaired ACL, requiring another surgery.
After the injury, Shelton complained to the team. He said, according to the lawsuit, that “the mishandling of Kawhi Leonard’s injury and return-to-play protocol has been mind-blowing,” and that “the disregard for his recovery process is unacceptable.”
The Clippers conducted an internal investigation, which concluded in June 2023 and found no wrongdoing. In July, President Lawrence Frank fired Shelton without cause, according to Shelton.
Last season, Leonard again suffered a breakdown that necessitated another surgery. Shelton blames the team for pushing Leonard too hard.
“The Clippers place revenue and winning above all else, even the health and safety of their ‘franchise’ player in Leonard,” the lawsuit says.
Leonard missed the Olympics and is out to start the season. His return date is unclear.
The Clippers did not immediately respond to requests for comment.
In a statement provided to Chris Haynes, the NBA reporter who first reported on the lawsuit, the Clippers said: “Mr. Shelton’s claims were investigated and found to be without merit. We honored Mr. Shelton’s employment contract and paid him in full. This lawsuit is a belated attempt to shake down the Clippers based on accusations that Mr. Shelton should know are false.”
The Florida Lottery recently announced that Dianna Baker, of Inglis, claimed a $2?million?top prize from the FLORIDA 100X THE CASH?scratch-off game.
The Levy County woman chose to receive her winnings as a one-time, lump-sum payment of $1,390,000.00.
Baker purchased her winning ticket from Kwik Stop, located at 529 US Highway 40 West in Inglis. The retailer received a $4,000 bonus commission for selling the winning scratch-off ticket.
She claimed the Florida 100X The Cash top prize?at the Lottery’s Gainesville District Office.
Scratch-off games are an important part of the Lottery’s portfolio of games, comprising approximately 74 percent of ticket sales in fiscal year 2023-2024. Additionally, since inception, scratch-off games have awarded more than $63.1 billion in prizes, created 2,175 millionaires, and generated more than $19.24 billion for the state’s Educational Enhancement Trust Fund (EETF).
The Florida Lottery is responsible for contributing more than $46 billion to enhance education and sending more than 983,000 students to college through the Bright Futures Scholarship Program. The Florida Lottery reinvests 99 percent of its revenue into Florida’s economy through prize payouts, commissions to more than 13,600 Lottery retailers, and transfers to education. Since 1988, Florida Lottery games have paid more than $95.7 billion in prizes and made more than 4,000 people millionaires.
The Florida Lottery recently announced that Nancy Rinehart, of Englewood, claimed a $1 million prize from?the $20 Gold Rush Limited scratch-off game.
The Charlotte County woman chose to receive her winnings as a one-time, lump-sum payment of $795,200.00.
The Florida woman purchased her winning ticket from Englewood Food Store, located at 2680 Placida Road in Englewood. The retailer received a $2,000 bonus commission for selling the winning scratch-off ticket.
She claimed the winning prize at the Lottery’s Fort Myers District Office.
The $20 scratch-off game, GOLD RUSH LIMITED, features 32 top prizes of $5 million and 100 prizes of $1 million. Additionally, this ticket is filled with more than 33,000 prizes of $1,000 to $100,00.
The game’s overall odds of winning are 1-in-2.65.
Scratch-off games are an important part of the Lottery’s portfolio of games, comprising approximately 74 percent of ticket sales in fiscal year 2023-2024. Additionally, since inception, scratch-off games have awarded more than $63.1 billion in prizes, created 2,175 millionaires, and generated more than $19.24 billion for the state’s Educational Enhancement Trust Fund (EETF).
The Florida Lottery is responsible for contributing more than $46 billion to enhance education and sending more than 983,000 students to college through the Bright Futures Scholarship Program. The Florida Lottery reinvests 99 percent of its revenue into Florida’s economy through prize payouts, commissions to more than 13,600 Lottery retailers, and transfers to education. Since 1988, Florida Lottery games have paid more than $95.7 billion in prizes and made more than 4,000 people millionaires.
A Central Florida man won the top prize playing the $50,000 A Year For Life scratch-off game.
The Florida Lottery announced that Edin Galindo, of Tampa, claimed the top prize from the $50,000 A YEAR FOR LIFE scratch-off game at Lottery Headquarters in Tallahassee.
The Hillsborough County winner chose to receive his winnings as a one-time, lump-sum payment of $815,000.00.
“I was very excited and shocked that I won,” Galindo said.
He purchased his winning ticket from Quick Mart, located at 2209 East Bearss Avenue in Tampa. The retailer received a $2,000 bonus commission for selling the winning scratch-off ticket.
Turn $2 into a lifetime of adventures with the $50,000 A Year For Life game. This scratch-off game features more than 8.4 million winning tickets and over $52 million in cash prizes, including eight top prizes of $50,000 a year for life.
The overall odds are 1-in-4.43.
Scratch-off games are an important part of the Lottery’s portfolio of games, comprising approximately 74 percent of ticket sales in fiscal year 2023-2024. Additionally, since inception, scratch-off games have awarded more than $63.1 billion in prizes, created 2,175 millionaires, and generated more than $19.24 billion for the state’s Educational Enhancement Trust Fund (EETF).
The Florida Lottery is responsible for contributing more than $46 billion to enhance education and sending more than 983,000 students to college through the Bright Futures Scholarship Program. The Florida Lottery reinvests 99 percent of its revenue into Florida’s economy through prize payouts, commissions to more than 13,600 Lottery retailers, and transfers to education. Since 1988, Florida Lottery games have paid more than $95.7 billion in prizes and made more than 4,000 people millionaires.
The Florida Lottery recently announced that Soignese Youte, of Miramar, claimed a $1 million top prize from the $5 MONOPOLY DOUBLER scratch-off game at the Lottery’s Miami District Office.
The Broward County winner chose to receive her winnings as a one-time, lump-sum payment of $798,985.00.
The South Florida woman purchased her winning ticket from Le Phare Food Market, located at 16784 Northeast 2nd Avenue in North Miami Beach. The retailer received a $2,000 bonus commission for selling the winning scratch-off ticket.
The $5 Monopoly Doubler scratch-off game features more than 9.4 million winning tickets and over $132.6 million in cash prizes, including 12 top prizes of $1 million.
The game’s overall odds of winning are 1-in-3.98.
Scratch-off games are an important part of the Lottery’s portfolio of games, comprising approximately 74 percent of ticket sales in fiscal year 2023-2024. Additionally, since inception, scratch-off games have awarded more than $63.1 billion in prizes, created 2,175 millionaires, and generated more than $18.95 billion for the state’s Educational Enhancement Trust Fund (EETF).
The Florida Lottery is responsible for contributing more than $46 billion to enhance education and sending more than 983,000 students to college through the Bright Futures Scholarship Program. The Florida Lottery reinvests 99 percent of its revenue into Florida’s economy through prize payouts, commissions to more than 13,600 Lottery retailers, and transfers to education. Since 1988, Florida Lottery games have paid more than $95.7 billion in prizes and made more than 4,000 people millionaires.
A Central Florida man won $50,000 a Year for Life scratch-off game from the Florida Lottery.
41-year-old Edin Galindo chose to receive his winnings as a one-time, lump-sum payment of $815,000. He claimed his winning ticket at Lottery Headquarters in Tallahassee.
The Tampa winner bought the winning ticket at a Quick Mart located at 2209 East Bearss Avenue. The store will receive a $2,000 bonus commission for selling the ticket.
According to the Florida Lottery, the $2 scratch-off game offers over $52 million in cash prizes. There are a total of eight top prizes of $50,000 a year for life.
The overall odds of winning are 1-in-4.43.
Scratch-off games are an important part of the Florida Lottery’s portfolio of games, comprising approximately 72 percent of ticket sales in fiscal year 2022-2023. Additionally, since inception, scratch-off games have awarded more than $61.9 billion in prizes, created 2,103 millionaires, and generated more than $18.95 billion for the state’s Educational Enhancement Trust Fund (EETF).
The Florida Lottery is responsible for contributing more than $46 billion to enhance education and sending more than 983,000 students to college through the Bright Futures Scholarship Program. The Florida Lottery reinvests 99 percent of its revenue into Florida’s economy through prize payouts, commissions to more than 13,500 Lottery retailers, and transfers to education. Since 1988, Florida Lottery games have paid more than $94.2 billion in prizes and made more than 4,000 people millionaires.
Sometimes, turning a linear game into an open world just makes sense. Whether it’s Elden Ring or Breath of the Wild, plenty of franchises have found that their core gameplay loops map well to an open world iteration. With Elden Ring, you can disperse the intense FromSoft difficulty across a map that invites players to “git gud” at their own pace. With Breath of the Wild, the entire world is now a dungeon, every hill and valley a puzzle. Playing both, it almost feels as though each franchise and its mechanics were just waiting to be spread across a sprawling map. They just feel right.
By contrast, Isles of Sea and Sky, an open-world Sokoban game, isn’t quite as obvious a fit. But just because something isn’t immediately obvious doesn’t mean it won’t work.
Released in late May, Cicada Games’s Isles of Sea and Sky employs Game Boy Color-era Zelda aesthetics in pursuit of a genre mashup that produces harmony and dissonance in equal parts. The game makes a great first impression. It evokes that feeling of playing Link’s Awakening DX (pre-remake), to the point where you’d be forgiven for mistaking one of Isles’ beaches for Awakening’s. Moving from screen to screen is a nostalgic joy, with a Vocaloid-infused soundtrack that imbues the game with even more personality, which is good, because at its core, open world or no, this is a Sokoban-ass Sokoban game.
You will push blocks in Isles of Sea and Sky. You will push many, many standard-issue blocks into standard-issue holes, allowing you to cross over those holes in order to push more blocks. You will also push things that aren’t blocks, like little boulder dudes (definitely not Gorons) who roll as far as they can in the direction you push them, crushing any boxes they encounter. Or little water guys, who can extend riverways if you push them downstream. The puzzles start simply, easing you into the game’s increasing difficulty one screen at a time, until eventually you find yourself stumped. And, in being stumped, you will find yourself pushing up against the contradictions inherent to Isles’ mixture of freedom and linearity.
Image: Cicada Games
One of the pleasures of Sokoban games is the underlying conceit that, though you may feel frustrated by an individual puzzle, you always have the necessary abilities to get through the level. Each stage is then simply a matter of thinking and working through what things you have tried and not yet tried. You’re stuck, sure, but you’re not lacking anything you need to achieve the solution.
Not so in Isles of Sea and Sky. Early on, you will be presented with puzzles you are not yet able to complete until you unlock a new ability. While plenty of games include this kind of lock-and-key design, where you must first unlock an ability before you can access certain areas, this runs contrary to genre expectations for Sokoban titles. Going into Isles, the player might reasonably expect that, if they’re stuck, they just need to keep trying different solutions. Such a mentality will get you through similar games like Baba Is You or A Monster’s Expedition. The solution is there. You just need to keep at it. By contrast, in Isles, you are often meant to move on, to travel elsewhere in the game’s map and overworld. In short, you are meant to give up when you get frustrated.
At first, I found myself stymied by this dynamic. How am I meant to know when I am failing to understand a puzzle versus lacking the ability to solve it? When is my frustration an intended element of the solution and when is it futile? To its immense credit, Isles goes out of its way to reduce some of this frustration by allowing the player, at any point, to rewind their actions step-by-step, or to reset the entire puzzle, each with the press of a button. But you cannot rewind the real-life time you are putting into the game. You cannot undo the minutes spent bashing your head against the wall, stubbornly trying to solve something you are simply unable to solve. Encountering this, I found myself asking why anyone would design a game in this way, when they must know that players will get stuck like this.
That’s when it hit me. They know players will get stuck like this.
Full disclosure: I can be a bit stubborn. I like to think of myself as a creative problem-solver, but my general approach is to stick to something until it’s done. This can be a good trait (sticktoitiveness and all that), but it can also be a problem (see: my description above of bashing my head against the wall). Traditional Sokoban titles are designed with this kind of player in mind — someone like myself, who will spend hours trying out different things until finally they figure something out. The folks at Cicada Games clearly love this genre, as is evident by the sheer number and variety of puzzles they’ve crammed into Isles, but what they clearly don’t love is that feeling of being stuck without any recourse, of being unable to move on.
Not to quote a meme, but to quote a meme: Isles of Sea and Sky is here to say “Just Walk Out. You Can Leave!!!” What began for me as a frustration with the game turned into a bit of self-reflection when I stopped to consider why, exactly, I felt the need to stay frustrated, when, at any point, I could simply leave, or, to quote our generation’s preeminent philosopher dasharez0ne, “hit da bricks!!!” Sure, there are some areas you cannot access before completing at least a certain number of puzzles, but in general, you can well and truly leave behind most anything that’s too frustrating in Isles and find something you’d rather be doing. The challenge, at least in my case, was in allowing myself to do so.
As I’ve argued, Sokoban games are not an obvious fit for an open world iteration. Their inherent linearity rubs up against a style of game best known for its variety and, well, openness. The focus required of the player feels categorically different than the desirable distraction of asking, “What’s over that hill?” With Isles of Sea and Sky, specifically, there’s an immediate dissonance between how you expect to play a block-pushing puzzle game and how you’re meant to play this block-pushing puzzle game. But dissonance can resolve into consonance, to harmony and stability, and in Isles’ case, you’re pushed not only toward accepting limitation, but toward the inclination to free yourself.
For me, it was difficult, at first, to see moving on as a valid strategy, having become so accustomed to the habit of pushing through mental blocks, both in Sokoban titles and in life. But once I did, I found that mentality extending beyond the game. Is stubbornness helping or hurting here? Do I have to sit in this feeling? Why do I think of moving on as giving up?
In the end, I was happy to play a game that inspired this kind of self-reflection. Isles of Sea and Sky challenged me to take a step back, to reassess, and to move on. Maybe it’ll do the same for you.
Isles of Sea and Sky was released May 22 on Windows PC. The game was reviewed with code provided by Cicada Games. Vox Media has affiliate partnerships. These do not influence editorial content, though Vox Media may earn commissions for products purchased via affiliate links. You can find additional information about Polygon’s ethics policy here.
A showing of the Copa América final Sunday night ended in chaos after police said a fight involving at least 200 people broke out at a Colombian restaurant in Los Angeles and at least one person was stabbed.
Police were called to the 800 block of South Union Avenue about 7:30 p.m. Sunday in response to reports of a fight. When officers arrived, they requested additional help because of the size of the brawl, Los Angeles police spokesperson Norma Eisenman said.
At least 200 people appeared to have been involved in the melee, Eisenman said.
Two people were taken to a hospital, including one with stab wounds, she said.
Details on their conditions, the number of officers responding to the fight and whether anyone was arrested were not immediately available Monday morning.
Boy, that escalated quickly. I mean, that really got out of hand fast.
One day you’re doing some surveying, gathering moss samples, and searching for a Force hot spot with your metalvergence detector on a seemingly uninhabited planet. The next day, you discover that the planet has inhabitants after all. And the day after that, it goes right back to being almost uninhabited, because you kinda killed your new acquaintances. Oops! What a whirlwind.
After Episode 3 of The Acolyte gave us Osha’s side of what went down on Brendok 16 years before the series’ present, we knew another flashback was coming. As expected, it arrived in Episode 7, “Choice,” which featured the same director (Kogonada) and one of the same writers (Jasmyne Flournoy, along with Charmaine DeGraté and Jen Richards) as the first flashback. And wouldn’t you know it: While nothing we saw in Episode 3 was strictly false, most of it was true only from a certain point of view.
The series took its sweet time getting to the big Brendok reveal—and I’ll take my sweet time getting to the part of this piece where I discuss the season’s structure—but now that we’ve watched a more comprehensive account of the coven’s demise, we can finally play the blame game. The Jedi did indeed behave badly, but they weren’t the only ones. Let’s assign responsibility, via bullet points and percentages:
Sol: 51 percent (a symbolic majority share)
Bizarrely obsessed with saving twins from imagined danger, an impulse that ends up placing them in danger.
Contradicts the Council’s instructions to stop meddling in the coven’s affairs: major main character syndrome. Shows no respect for the chain of command, family relationships, or private property.
Kills Aniseya, who was seemingly just trying to whisk Mae away. (After this episode, can anyone explain why Mae suddenly decided to turn herself over to the Jedi in Episode 4?) Granted, it’s easy to misinterpret intent when the witch standing next to you starts making like the smoke monster from Lost, but still: He started it. Aniseya appears to have been unarmed; is that why Mae’s master demanded that Mae kill an unarmed Jedi to complete her mission of vengeance? (Or did he demand that she kill a Jedi without being armed? It’s still tough to say for certain.)
Mistakes Mae for Osha, just as he does on Khofar 16 years later. His whole “I feel a connection to Osha; … I feel she is meant to be my Padawan” stance would be a bit more persuasive if he could tell the twins apart. (In fairness to Sol, because the twins are two halves of the same consciousness—hence their creepy rhyme—they’re even more alike than regular twins or clones.)
Showed piss-poor telekinesis skills in maxing out at one twin saved from the falling bridge. For Sol, size seems to matter very much. (This is the guy who goes on to train the next generation of Jedi?) But, hey, it’s OK: You don’t have to hold the whole bridge up. Just grab the twins! How hard can that be for someone who’s reputed to be as powerful as Sol—even a younger Sol who hasn’t made master? Are you telling me this man’s max lift is one little girl? (I get that this is a stressful situation, Jedi abilities vary, there could be complications from proximity to the vergence, etc., but it would be nice if Star Wars stories were slightly more consistent about what their space wizards can and can’t do.)
It wasn’t his idea to lie about what happened, but he didn’t mount much of a protest. (That goes for Kelnacca and Torbin, too.)
Indara: 10 percent
Sure, she wasn’t the instigator—if Sol and Torbin had followed her lead, all would’ve been well—but she let herself be swayed by Sol at first. As the ranking Jedi on the expedition, the buck stops with her. She’s the one who’ll have to file the very vague incident reports.
Her “That’s why I have a Padawan and you do not” crack apparently put Sol on tilt.
Waited seven weeks to tell her Padawan why he was wandering around Brendok saving seed samples. Which was handy for the writers of The Acolyte, who got to treat Torbin as an audience proxy as they explained the concept of a vergence, but seemed inconsiderate otherwise. I guess that was part of “teach[ing] him to seek the answers for himself.” No wonder he wanted out.
I don’t think she meant to kill almost the entire coven when she forced the witches from Kelnacca’s mind, but, well, that’s what happened. Which, on the witches’ end, seems like a serious flaw in that particular Force power. Excuse me, Thread power. Speaking of which, what happened to that “the Thread is not a power you wield” rhetoric from Episode 3? Desperate times, desperate measures, but maybe the witches would’ve been better off practicing what they preached. Or, you know, not practicing. I suppose it’s possible that the witches died not when they were booted from Kelnacca’s brain but in the subsequent explosion, but regardless, the result is the same: carnage of the kind the Nightsisters suffered at the hands—er, mechanical claws?—of General Grievous.
She’s the one who perpetrates the cover-up—ostensibly because Osha, who’s already lost everything else, won’t get to fulfill her dream of training to be a Jedi if the unvarnished truth comes out—but we can’t take this quartet at their word when it comes to their “noble intentions.” In this case, the crime is worse than the cover-up, but both are bad.
Mother Aniseya: 10 percent
In an attempt to drive the Jedi away from Brendok, turns Torbin’s desire to get back to the bright lights and big city into a pressing need, which backfires when he comes to see the twins as his ticket home.
Like Sol, puts her emotional attachment over what’s good for the group—though at least the girl she’s emotionally attached to is her daughter, as opposed to someone else’s daughter whom she met yesterday.
It’s good to give your kid some autonomy. But if she’s still a minor—even a Force-sensitive minor whose consciousness was split into two identical bodies by a vergence—you don’t have to let her leave to be “raised by an institution instead of a family.” Especially when you’ve foreseen—maybe through the vergence’s vision-granting power—the destruction of “every Jedi in the galaxy.”
In the midst of a tense standoff, a heads-up about the smoke monster transformation probably would’ve been wise.
Torbin: 10 percent
Dangerously homesick for Coruscant. Torbin, buddy, I know the feeling of wanting to head home after an interminable business trip, but I draw the line at trespassing. Of course, Torbin might have too, if he’d been in his right mind. Honestly, Torbin is sort of a scapegoat and pays a disproportionate price. Not only was he the only Jedi not to escape physically unscathed, but he also had the decency to withdraw from the world in penance (after he made master, anyway). Though now that we’ve seen what part he played, the decade-long Barash Vow, followed by a poison snack, seems like literal overkill. You were just a Padawan, acting under the influence of a Force witch. These are major extenuating circumstances! Give yourself a break!
Koril: 10 percent
Clearly spoiling for a fight from the start; flouts Aniseya’s prohibition of violence. Definitely not trained in de-escalation techniques.
Tells Mae to “get angry,” which helps spark (so to speak) the catastrophic outcome. I must have skipped that page in the parenting playbook.
Suspiciously absent after the brief, one-way melee with Sol—“Fight me!,” she screams, anticipating Mae’s “Attack me with all your strength!”—and thus seemingly the lone member of the coven to survive, aside from the twins.
Mae: 5 percent
So, no, she didn’t mean to start a fire, but she did practice poor fire safety after locking her sister in her room and seemingly sealing everyone else inside the base.
Also, all those midi-chlorians and much-ballyhooed blocking abilities, and you can’t extinguish a tiny fire before it mysteriously rages through a stone settlement and blows up a big generator? (By the way: The Jedi frame Force potential in terms of “M-count.” Does the coven call it Thread count?)
Kelnacca: 4 percent
He sliced the coven’s elevator. Indara told him to, but still, rude.
He allowed his head to get hijacked by the coven, even after seeing the same thing happen to Torbin. Amateur move.
The tragedy on Brendok doesn’t directly implicate the order itself: The Council actually rebukes the quartet for meddling too much even before the body count climbs. One could chalk this disaster up to the actions of a couple of rogue Jedi, and one wouldn’t be wrong. But the roots of the conflict extend deeper.
Because of their past wars with the Sith and their present primacy among Force users, the Jedi are both wary and dismissive of other Force-sensitive sects. Hence Sol’s instant suspicion of the witches and concern for the twins, even though there’s no real evidence that the latter are in any trouble. (Granted, the two quotes from Mae’s mom that Mae cites at her entrance exam—“Everyone must walk through fear” and “Everyone must be sacrificed to fulfill their destiny”—might raise an eyebrow over at CPS also. And then there’s the virgin vergence birth.)
Likewise, while we still haven’t learned the coven’s origin story, we’ve known since the third episode that they were “hunted, persecuted, [and] forced into hiding” because “some would consider [their] power dark.” No wonder they’re on high alert when the Jedi show up. The Jedi and the witches on the scene started the fire, yes, but this is more of an “It was always burning since the world’s been turning” scenario; the powder kegs were pre-supplied.
A lot of ill-advised actions have to be taken for this worst-case outcome to occur, but then, a lot of real-life disasters do arise from dumb mistakes. And it’s not as if there’s no reason for these characters to make missteps like these. Although there’s been some speculation that the Sith may have masterminded this confrontation and conflagration, there was no sign of them this week. Nor were they needed. Bias, bad blood, and intergenerational trauma could have caused these tragic misunderstandings without Sith assistance.
In Episode 3, we saw the same events through Osha’s eyes. This time, we seem to be seeing a wider-ranging version of events—perhaps some amalgamation of the content contained in Sol’s confession to Mae and Osha’s vision in Qimir’s cortosis helmet. If so, it’s possible that we won’t actually see him come clean to the twins next week. But we’ll certainly see the aftermath. When Sol said “I got you” and pulled Osha up from the edge of an abyss in Episode 3, it seemed like a rescue. This time, it seems like a capture. When we reunite with Osha next week, she’ll probably be viewing her whole history with Sol in a new light, too.
Next week, by the way, is the season finale. (Though not the series finale, Leslye Headland hopes.) We can’t fully assess the season’s structure until we see how it ends, but so far, I can’t say it’s working that well for me. I give The Acolyte’s creators kudos for trying something nonstandard for Star Wars—not a shocker, coming from the cocreator and Season 1 showrunner of Russian Doll—but the pacing, timeline hopping, and hoarding of reveals have hurt the spectator experience, at least as a week-to-week watch.
The first full-episode flashback came when we were still familiarizing ourselves with the world of the show, and it didn’t add a lot to our understanding of the present time frame. Saving other big beats for the penultimate episode forced the writers to stall in the interim, withholding or parceling out morsels of information in ways that sometimes seemed contrived. Worse, it meant that we watched most of this season knowing that we didn’t really know the main characters: Our foreknowledge of a deep, dark secret that was due to be unveiled prevented us both from bonding with anyone in the interim and from being surprised when we learned what the storytellers had been holding back. Thus, I’ve watched much of The Acolyte at an emotional remove—which, if nothing else, simulates the Jedi lifestyle. Throw in the abrupt endings to episodes that seemed like they could have been trimmed and combined (especially Episodes 4 and 5) and the momentum-killing absences of core characters during the protracted flashbacks—this week, Manny Jacinto’s mesmerizing “Stranger” remains one to us—and the overall flow seems disjointed.
Let’s hope next week’s big finish smooths it out. But for now, let’s also end in a disjointed fashion: with some stray observations.
Well, we finally saw a live-action Wookiee swing a lightsaber on-screen, albeit for a less-than-heroic cause. I’m glad Kelnacca got to do some slashing and hacking, however misguidedly, which fulfilled a fan desire that GeorgeLucassupposedly opposed. (Wookiee Jedi arescarce in the current canon, especially outside of The High Republic.)His fighting style is suitably brutal. But I still say Star Wars needs to let the Wookiees win—not by choking Torbin, but by speaking in an intelligible fashion. Why do Star Wars movies, shows, and comics subtitle the speech of crime lords and low-budget bounty hunters but not the most faithful and forceful of walking carpets? It may be tradition, but it ain’tright.
There’s such a stark disparity between the combat in The Acolyte and … well, almost everything else. That’s not to say the series has no other redeeming qualities, but the fight choreography is the one aspect we can confidently point to and pronounce The Acolyte the best in class in Star Wars during the Disney era. If that turns out to be the most lasting legacy of the series—and if some of its influence rubs off on future projects—there are worse ways to be remembered.
I’m still a little confused by an Indara line from Episode 3 that we hear again this week: “Mother Aniseya, you cannot deny the Jedi have a right to test potential Padawans. With your permission, of course.” Does this “right” extend to non-Republic worlds? And if it is a right that Aniseya “cannot deny,” then what good would withholding permission do? Presumably, the “permission” part is just a fig leaf obscuring the power dynamic that enables the Jedi to do what they want.
“A hundred years ago, this planet was cataloged as lifeless because of a hyperspace disaster,” Indara says about Brendok. That’s one of the series’ rare references to the High Republic books and comics—in this case, a shout-out to the aptly named Great Hyperspace Disaster, in which a freight transport ship broke apart in hyperspace, with devastating consequences. The pieces emerged from hyperspace unpredictably, bombarding various population centers as part of a terrorist plot by an enemy organization known as the Nihil. It’s an extremely long story.
Two of Sol’s lines from the Ascension ceremony in “Destiny” are missing in “Choice.” In Episode 3, between Mother Aniseya’s promise, “The scouts will bring Osha to your camp at midday,” and Indara’s response, “We appreciate your cooperation,” Sol interjects, “Both girls. Her sister, too.” In Episode 7, he doesn’t. This omission probably doesn’t reflect anything other than the creators’ desire to limit the amount of repeat material in this episode—which they did a decent job of, given that the format makes some rehashing inevitable—but it does reinforce the impression of unreliable narration. More obviously, Mae didn’t say “I’ll kill you!” to Osha this time. Memory is malleable!
Is Sol deluded in thinking that he and Osha are meant to be together, or will he turn out to be right, in a roundabout fashion? The Force works in mysterious ways; maybe Osha was meant to be Sol’s Padawan, despite all the pain their pairing has caused. Osha was seemingly created via vergence; Anakin Skywalker was a vergence. Obi-Wan Kenobi’s mentorship of Anakin didn’t have a happy ending, but as Qui-Gon Jinn anticipated, it worked out for the best for Anakin to leave his mother to join the Jedi, bringing-balance-to-the-Force-wise. (Just forget about the countless people killed by Darth Vader before balance was temporarily achieved.)
Now that the Jedi’slies! and deceptions! have been laid bare, what’s the biggest remaining mystery and/or source of intrigue heading into the finale? Osha confronting Sol about how he misled her? Osha and Mae making up? Which one, if either, becomes the titular acolyte? The question of Sol’s survival, seeing as he may have to take his knowledge of the Sith’s existence to an early grave? The details of Mae’s survival on Brendok, and, relatedly, the whereabouts of Koril? More backstory about the Brendok witches, what the Ascension ceremony does, and whether Sol was right about the vibes being off? The potential for the Stranger to make clear how he fits into the history of the Sith and/or Knights of Ren? (Is that Darth Plagueis’s music?!) Vernestra confronting the Stranger, her possible Padawan of old? (We haven’t seen those characters interact at all, so I’m gonna go with “no” on that, though the prospect of Darth Teeth/Biceps vs. a lightwhip is tasty.) The potential for more of Jacinto to make it past the prudes at Disney? There are plenty of items of interest on this list, but Episode 7 didn’t do much to tee them up.
A pop song playing over Star Wars credits? Sure, why not? We’ll have the same song play us out today; take it away, Victoria Monét.
Last week, I posited that the Xbox showcase on June 9 would be the most important in the history of Microsoft’s gaming division. If it wasn’t, that could be because this slick prerecorded show couldn’t possibly compete for historical impact with, for example, the garbage fire that was the 2013 Xbox One reveal event, or the bungled E3 show that followed it. It was confident and smooth in its orchestration, impressive in a way that was almost calming after the awkward anticlimax of Summer Game Fest two days earlier. But it was still immensely significant: for its indication of the seismic publishing power Microsoft now holds, for the questions it answered about Xbox’s future, and for the questions it didn’t.
In fact, the two most telling bits of news emerged outside the boundaries of the show itself. The first was the confirmation, more than a week before the show, that Call of Duty: Black Ops 6will be released on Game Pass on day one. The second, which was not mentioned by Microsoft during its showcase but slipped out in a press release alongside it, is that Doom: The Dark Ages (one of the biggest first-party reveals of the event) is also coming to PlayStation 5.
Between them, these two facts spell out Microsoft’s strategy quite clearly: Game Pass is everything, and Xbox consoles aren’t. Microsoft is doubling down hard on its subscription service, and bringing its new, almost terrifying might as a game publisher to bear on the Game Pass catalog. But the company had little to say about Xbox hardware, and its attitude to console exclusivity for Microsoft-owned games remains ambivalent at best.
Doom: The Dark Ages’ PS5 version was quietly the most significant news of the night.Image: id Software/Bethesda Softworks
After the shock release of four former Xbox exclusives on PlayStation 5 and Nintendo Switch earlier this year, many Xbox fans were looking to Sunday’s showcase for explicit reassurance that Microsoft was still investing in Xbox consoles by getting its vast army of first-party studios to make exclusive games for them. That reassurance did not come. In fact, Xbox console exclusivity was not mentioned once. The words “coming to Xbox Series X and PC” appeared as much at the end of trailers for games in storied Xbox franchises like Fable and Gears of War as they did for multiplatform releases from third-party publishers like Dragon Age: The Veilguard and Assassin’s Creed Shadows. There was no attempt at differentiation on this score.
Reports indicate that Microsoft has “no red line” internally when it comes to which of its games it will consider for release on other platforms, and the wording (or lack of it) used on Sunday shows that the company is keen to keep its options open. It’s striking that Microsoft chose to open the showcase with two heavy hitters that’ll be available on PlayStation: Black Ops 6, which was already slated for PS5 (per Microsoft’s Call of Duty deal with Sony), and Doom: The Dark Ages, which wasn’t.
The Dark Ages’ PS5 release is a clue to how Microsoft intends to handle exclusivity in the short term, at least as far as games from Bethesda, Activision, and Blizzard are concerned. Speaking to IGN after the showcase aired, Xbox boss Phil Spencer said, “Doom is definitely one of those franchises that has a history of so many platforms. It’s a franchise that I think everyone deserves to play. When I was in a meeting with Marty [Stratton, id Software studio director] a couple years ago, I asked Marty what he wanted to do, and he said he wanted to sell it on all platforms. Simple as that.”
Spencer’s explanation — as well as Microsoft’s handling of Minecraft — suggests that Microsoft does not intend to make previously multiplatform game series exclusive. It’s a strong indication that Bethesda’s The Elder Scrolls 6, for one, will get a PlayStation release. For everything else, it’s an open question. It might seem unthinkable that Gears of War: E-Day or Fable will come out on PS5, but nothing said (or unsaid) on Sunday indicates that that’s off the table.
Microsoft is keen to ram home Game Pass’ value to subscribers.Image: Xbox
As far as Game Pass goes, however, Microsoft could not have been more emphatic. “Play it day one with Game Pass,” boomed the stinger on the end of trailer after trailer after trailer. Of the 30 games, expansions, and updates featured in Sunday’s showcase, 20 will go straight to Game Pass. Of those 20 Game Pass titles, 13 come from Microsoft-owned studios; nine are scheduled to debut in 2024, eight in 2025, and three have no release windows yet.
Call of Duty, Doom, Gears of War, State of Decay, Perfect Dark, Fable, Indiana Jones, STALKER, Flight Simulator, Avowed… all coming to Game Pass as soon as they’re released. There are blockbuster shooters and role-playing games, strategy and sim games, wistful indies, and, thanks to partnerships with companies like Kepler Interactive and Rebellion, a good helping of AA Eurojank (perhaps the ideal kind of Game Pass game).
In a way, it’s more illustrative to look at what from the showcase won’t be coming to Game Pass. Those 10 titles include big third-party franchises like Metal Gear Solid and Assassin’s Creed; a handful of smaller third-party games; and expansions for Starfield, Diablo 4, The Elder Scrolls Online, and World of Warcraft. Selling DLC for Game Pass-included titles like Starfield, Diablo 4, and TES Online is a big part of the Game Pass business model, so you could still consider those titles under the Game Pass umbrella. (World of Warcraft is the outlier here as the only Microsoft-owned game featured that isn’t on Game Pass at all — and indeed, the only one not available on Xbox consoles.)
If Microsoft has doubts about the commercial viability of console-exclusive releases in the long term, it certainly doesn’t seem to have those doubts about Game Pass. With subscriber numbers seeming to have plateaued (according to Microsoft’s rarely released figures), and with the presumed considerable loss of revenue resulting from rolling a guaranteed seller like Black Ops 6 into a subscription service, many were wondering if Microsoft’s “Netflix for games” approach made economic sense. It’s possible that this debate has been ongoing in Microsoft until recently: Black Ops 6 developer Treyarch told Game File’s Stephen Totilo “it wasn’t that long ago” that the studio was informed that the game would launch on Game Pass. But taken as a whole, the showcase was a resounding vote of confidence in the service, and an indication that it will go on to provide great value to subscribers through 2025 and beyond.
New Xbox console variants with more storage were announced with little fanfare.Image: Xbox
After its acquisition of Activision Blizzard, Microsoft is now the third-biggest gaming company in the world by revenue — and arguably the biggest in terms of intellectual property and publishing might. Sunday’s showcase demonstrated quite convincingly how it intends to fill those massive boots: dozens of solid-looking games in famous, fan-favorite franchises, stretching far into the future. Quality and quantity. The surprise inclusion of a few long-gestating titles that had reportedly been stuck in development hell, like Perfect Dark and State of Decay 3, seemed like a pointed message that Microsoft can be trusted to keep all these projects on track, despite its spotty record in studio management.
But Xbox hardware only got the briefest mention, in the form of three new console configurations and a promise that “we’re hard at work on the next generation.” The rumored handheld announcement did not materialize. And exclusivity remains a glaring open question.
Regarding Microsoft’s position in the broader game industry, it seems we have our answer: It’s now a publisher first, a subscription platform second, and a console hardware platform a distant third.
It’s been about a year and a half since we first caught wind of Dune: Awakening, the massively multiplayer online survival game set on the planet of Arrakis. On Friday, Funcom released a story-focused trailer at Summer Game Fest, teasing that the game will focus on an alternate telling of the story of Paul Atreides — but we’ll have to wait until Gamescom in Aug. 2024 for a gameplay trailer.
The game drops players first-person into the world of Dune (well, at least, the world of Arrakis) where they’ll traverse the desert, using the land and relying on its other inhabitants to survive and thrive. Players will be able to join house Atreides or the Harkonnen, or live a quieter existence as a crafter or trader — but they won’t be able to kill or ride sandworms, unfortunately.
The game harnesses the simultaneously desolate and claustrophobic setting of the desert to push players to their survival game limits: You’ll have to avoid the sun, evade sandworms, craft tools, and find water wherever it exists (and yes, that includes enemies’ bodies). But it’s not all treacherous walks through Arrakis — vehicles include thopters, thumpers, and sand bikes, and the Voice is at your disposal should you need to sway your enemies one way or another.
While past Dune games have (very successfully, mind you) leaned on real-time strategy to encapsulate the vibe of the books and films, Dune: Awakening promises the most immersive experience yet. We’ll have to see if it delivers on that promise when it’s released on PlayStation 5, Windows PC, and Xbox Series X.
We are so back. And by “we,” I mean video games. At a half-dozen slickly produced promotional events over the next week, games will be teased in the form of captivating cinematic trailers with promises to push the medium forward.
The annual Summer Game Fest extravaganza, host Geoff Keighley’s replacement for E3, kicks off the promotional activities on Friday, June 7. The rest of the weekend is also filled with similar hours-long events from Xbox, Activision, Ubisoft, Devolver Digital, and other organizers who have rallied smaller, indie-created games for a combined show of force.
There’s an expectation that the annual parade of trailers for exciting new games will include plenty of games that won’t be out for many months, if not years, after their unveilings. To be clear, that happens every year. And I’m here to remind you that there are countless unreleased games that were announced with gusto at similar events in years past — some of which have slipped from the public consciousness, and we’re convinced that if they don’t show up in a meaningful way over the next couple weeks, it’s so over.*
*It’s not really over, especially given the volatile state of the video game industry. But we’re getting pretty worried/impatient about the following games and honestly hope they show up, look great, and will be critical and commercial successes — all of them.
Monolith’s Wonder Woman game
Announced in 2021, developer Monolith Productions promised to bring its patented Nemesis System from Middle-earth: Shadow of Mordor to a game based on Wonder Woman. We were excited about it, even with the taste of Wonder Woman 1984 relatively fresh in our mouths, but haven’t heard a peep about the game since then. DC’s approach to video games based on its characters has changed since the announcement of Wonder Woman, and we remain hopeful that Monolith can capture the magical feeling of battling wisecracking Orcs in a game that gives us control of Diana Prince and her golden lasso.
Ubisoft’s Tom Clancy’s Splinter Cell remake
Another announcement that dates back to 2021? Ubisoft Toronto’s plan to remake the original Tom Clancy’s Splinter Cell. The new Splinter Cell promises to take advantage of 20 years of technical innovations and to rework parts of the game’s story “that may not have aged particularly well,” creative director Chris Auty said in 2022. Showing off the Splinter Cell remake at Sunday’s Xbox Games Showcase would go a long way to appeasing longtime Xbox fans, with a deeper dive ideally poised for Monday’s Ubisoft Forward event. Just sayin’.
Skate. (Skate 4)
Credit to Electronic Arts: The publisher and development team, Full Circle, has been very transparent about the development of the next Skate game — which is called skate., not Skate 4, officially — and opened up playtesting to in-progress versions of the game. But please give us the new Skate already! How about a release date? Barring that, can I get a beta key? I want to flump, too.
Capcom’s Pragmata
It’s been four years since Capcom revealed Pragmata at Sony’s big unveiling of the PlayStation 5. Pragmata’s been delayed several times since then, and the last we heard about it was when Capcom pushed it back indefinitely. Is Pragmata joining the increasingly long list of games coming in 2025? It’s starting to feel like it.
Rare’s Everwild
We’re nearing the five-year anniversary of Everwild’s unveiling. Eighteen months later, we learned that developer Rare had reportedly rebooted the game with “a complete overhaul of the game’s design and direction.” Frankly, we just want to find out what Everwild even is — especially since Rare has proven that given the right development resources, it can turn good games into great games.
Transformers: Reactivate
Call me an idealist, but I’m always willing to give a Transformers game the benefit of the doubt. Sometimes you get an unexpected surprise — a Transformers: Devastation, if you will. So when Splash Damage teased Transformers: Reactivate in 2022 with a moody cover of Bon Jovi’s “Dead or Alive,” I was immediately on board. But we haven’t heard much about the cooperative online action game since, and that’s a shame. I’ve been in transform-and-roll-out mode for the past 18 months and I’m concerned.
Perfect Dark
Announced at 2020’s The Game Awards, developer The Initiative’s Perfect Dark reboot promised to revive a long-dormant franchise and serve as a cornerstone of the Xbox Series X’s lineup of game exclusives. But the studio and owner Microsoft have said very little about their new Perfect Dark and what we can expect from Joanna Dark’s return. We continue to wait for it, alongside Xbox Game Studios’ Avowed, Contraband, Fable, The Outer Worlds 2, and State of Decay 3.
Kingdom Hearts 4
We’re now two years out from the announcement of Kingdom Hearts 4, a reveal timed to the Square Enix-Disney role-playing game franchise’s 20th anniversary. It increasingly looks like we’ll have to wait for Kingdom Hearts’ 25th birthday to actually get our hands on Sora’s next adventure. Given how long it’s taken Square Enix to realize its Final Fantasy 7 remake trilogy — to say nothing of its next mainline Dragon Quest game — we don’t actually expect to see Kingdom Hearts 4 showing up any time soon. There’s a painful dose of reality.
Hollow Knight Silksong
It’s not happening, is it? Any time soon, I mean. That’s fine. Everything’s fine.
For two decades, the words “cinematic” and “blockbuster” have been, for most game directors, synonymous. During this window, which stretches back to the original God of War and Halo, we’ve enjoyed (or, for others, endured) big-budget video game creators aspiring to emulate their blockbuster film counterparts.
If — somehow — you’ve never seen the films of Steven Spielberg or Michael Mann, you’ve nonetheless experienced them via contact highs from Uncharted, Grand Theft Auto, and practically every other Big Game released this millennium.
But Indika, a game that sounds like a weed strain and plays like being stoned and scrolling through the Criterion Channel, has me hopeful that we’re approaching, with narrative video games, a turning point for what it means for a game to be “cinematic.”
What fuels that hope is Indika’s creative similarities to a micro-budget indie horror film from the ’90s.
The Blair Witch effect
Is it possible for one game to change the look of an entire medium? And why would it be Indika, a game most readers haven’t played, or even heard of?
25 years ago, The Blair Witch Project inspired countless parodies with a single shot. You know the one. You can see it in the trailer, the poster, or at the top of this story. The lead actress-slash-camera operator holds a cheap camcorder inches from her face. Tears well in her eyes, and a flashlight casts hard shadows across her dry skin.
She’s terrified. She’s a mess. She’s barely in focus or even in frame.
At that time, few commercial directors would film a shot so crudely, nor would a celebrity offer the audience such an intimate look inside their nostrils. Filmgoers expected movies to conform to a certain look, sound, and feel. But The Blair Witch Project didn’t resemble anything in theaters; it looked like a cheap documentary you’d find on the local PBS station. It looked real.
Photo: Haxan Films
With that emphasis on “realism” above all else, the amateur camerawork accomplished its goal — scare the shit out of people — better than any expensive shot on an industry-grade camera could.
The filmmakers had taken the empathic visual language of the documentary form and weaponized it. Look again at the shot. You don’t see an actress staring into the camcorder; you see a person. And so, as happens when you look someone in the eyes, a connection forms. This person, you think, could be you. Alone. In the woods. Something unknown stalking through the branches.
The camerawork of The Blair Witch Project wasn’t cinematic, not in the classical sense. But in time, what audiences expected film and TV to look like would change to meet that image. Do we have the sprawling found-footage horror genre without it? Or the mega-popular docu-sitcoms like The Office and Modern Family?
The creators of The Blair Witch Project, because of their limitations (no money! No sets! No actors!) looked for inspiration where others didn’t have to, and wouldn’t choose to. The film’s success then gave future creators big and small permission to follow its lead, forever changing what a Hollywood movie could look and feel like.
Indika and the film school games
Indika, the fantastic new adventure game from Odd Meter, tells the story of a young nun who loses her grip on reality in an alternate-history version of 19th-century Russia. Tortured by a voice in her head that may or may not be a demon, Indika partners with a sickly man who may or may not be divinely chosen by God. Together, they embark on a perilous road trip through beautiful forests, abandoned towns, and literalizations of biblical allegory.
Indika is the latest — and one of the most impressive — examples of a sea change in the look and feel of cinematic games.
You don’t have to play Indika to see what I mean (though, hey, you really should). In the announcement trailer, the game’s creators borrow liberally from filmmakers rarely associated with games. These directors, who can’t afford the spectacle and scale of big-budget filmmaking, rely on more audacious (and affordable) craft to distinguish their work.
“We tried to use a standard limited set of [virtual camera] lenses to depict the limitations of inexpensive auteur cinema,” Indika game director Dmitry Svetlow told Polygon over email. He cited Poor Things director Yorgos Lanthimos, Russian filmmaker and slow cinema pioneer Andrei Tarkovsky, and former Monty Python member and infamous weirdo auteur Terry Gilliam as inspiration.
Emma Stone as Bella Baxter in Yorgos Lanthimos’ Poor Things.Image: Searchlight Pictures
In Indika, the stark exterior landscapes and cold architecture resemble the striking but antiseptic sets of Lanthimos. In the game’s nunnery, a SnorriCam shot — in which the camera is strapped onto the actor and aimed at their face — recalls Blair Witch, of course, but also the works of ’90s music video director turned ’00s filmmaker Spike Jonze and Robert Webb’s comedy sketch series Sir Digby Chicken Caesar.
Where Blair Witch borrowed the documentary aesthetic to force audiences to straighten their backs and pay attention, Svetlow and company are reaching into the toolbox of low-budget filmmaking to do something similar with games.
Or, to put it crassly, Indika doesn’t just look like art films but feels like them. The story opens with the player inhabiting the habit of the titular young nun and fetching a pail of water from a well, then doing it again. And again. And again and again. Her steps up and down a grimy, snow-crunched slope in the abbey echo Tarkosvky’s long shots (like this one of a man carrying a candle for seven minutes) that were intentionally tedious, forcing us to feel time passing not just in a movie or a game, but in our life as we experience them.
To make the game more cinematic, Svetlow wrote the team needed a “greater focus on dramaturgy, on the quality and depth of characters, as well as the necessary level of presentation of events.”
In Indika, you don’t save the world or nail sick headshots. You accumulate poorly hidden collectibles and earn points, though they’re worth nothing and, by the standards of other games, a waste of time — something the game’s loading screens emphasize any chance they get. (“Don’t waste time collecting points, they are pointless.”) Sometimes Indika comes across a bench, and if you direct her to sit down on it, the game hands over the “film editing” to the player, allowing them to swap between different camera angles, some of which Indika doesn’t even appear in.
You could move on, directing Indika to stand back up and continue about her business. Or you could let the camera rest, your mind wandering as your eyes lock onto a field of mud and snow. In a medium full of realistic 3D worlds rife with kinetic empowerment, Indika encourages you to indulge in a moment of peace and ceding of control.
Change happens slowly and then all at once
Can we be certain games like Indika will influence their big-budget peers? They already have.
Here’s just one example: In 2009, Naughty Dog released Uncharted 2, a game rife with some of the most iconic blockbuster moments in the history of video games. Its opening, in which the hero climbs up a train that dangles off a cliff, may have inspired the latest Mission: Impossible, which ends with Tom Cruise doing something very, very similar.
But tucked into Uncharted 2 is a sequence meant to contrast with these sorts of set-pieces. Around the midpoint, Nathan Drake hikes through a Tibetan village. He doesn’t climb any deadly cliffs. Nothing blows up. Nobody gets shot. This was, in its time, unusual — a moment in which the player could exist in a beautiful 3D environment without being required to destroy the village or its population.
The Tibetan village sequence (and I swear this was acknowledged publicly, though now I struggle to find any quote) was cribbed from 2008’s The Graveyard, a short art game from the now-defunct micro studio Tale of Tales. In the game, an elderly woman walks the path of a graveyard, sits on a bench, reflects, and then returns from where she came. To younger readers, this will sound tedious. But to game critics at the time, this scene dropped into our minds like a new drug — a total shock to the system.
Nathan Drake in Uncharted 2.Image: Naughty Dog/Sony Computer Entertainment America
With The Graveyard and Uncharted 2 and many other (mostly indie) games of that time period, the video game industry witnessed a surge in what would be dubbed “walking simulators,” a somewhat derisive term for a powerful idea: You make a beautiful, rich virtual space, then afford your players some time to exist within them.
If The Graveyard could reshape the assumptions of cinematic video games, then why shouldn’t Indika help to bring the style of low-budget and arthouse filmmaking to Indika’s many peers?
That’s the magic of this moment in video games: Indika isn’t alone in its ambitions to challenge our assumptions of what makes a game cinematic. Indie developers have been steadily pushing against the confines of what games look and feel like for over a decade. To the Moon. El Paso, Elsewhere. Disco Elysium. I could double my word count with nothing more than titles.
But what’s different now, and what Indika reflects, is the independent games scene accelerating up an exponential hockey stick of creative output.
Image: Odd Meter/11 bit studios
Much like The Blair Witch Project (and countless other indie films since its release) was made possible by the first boom of consumer-level cameras and filmmaking tools, Indika and its ilk reflect a new era of game production where a small team — thanks to cost-effective and ultra-powerful dev tools — can take a risk on a personal project. In fact, with modern game engines, indie game developers can accomplish visual feats indie filmmakers could only imagine.
“We recreated a non-existent fairy-tale world; to do this for cinema would have cost an order of magnitude more,” Svetlow told Polygon.
Since I finished Indika, I’ve played three more oddly “cinematic” games — Arctic Eggs, 1000xResist, and Crow Country — and it feels like every week another new game appears, its creators taking a bat to the expectations of what a game should look and feel like. Now and then the bat is bound to connect and pop open this medium, releasing an entirely new style that artists will pounce on, like kids grabbing candy from a smashed piñata.
Perhaps Indika, in time, will reveal itself to be one of these special games. The Blair Witch of video games, launching a thousand projects that build on the arthouse aesthetic. Or perhaps this abundance of creativity will — not with one bold release or one inspirational aesthetic — radically change the idea of what makes a game “cinematic” to the point that we’re less worried about how a game can look like a film, and these interactive narrative experiences that we’d previously compare to great films can have a look that’s recognizably and thrillingly their own.
I hope we get there. In the meantime, I’ll be grateful to play games that aspire to match ambitious and inventive directors, rather than playing yet another video game that could be mistaken for Free Guy.
The market for high-end collectibles like rare Pokémon cards has exploded in recent years, and GameStop seems to want a piece of it. The gaming retailer told some store managers this week that it would begin testing buying Professional Sports Authenticator (PSA) graded trading cards later this month as it flails around for a new business strategy while its meme stock shenanigans continue.
New Pokémon Scarlet And Violet Trailer Features Hot Profs, 4-Player Co-Op, And Lechonk, The Hero We Deserve
“Exciting news,” read an internal message shared over on the GameStop subreddit yesterday. “We are happy to announce that we are officially getting into Graded Collectibles. Starting tomorrow, all associates will have access to the Main Menu Learning Course around accepting PSA Graded Collectibles (Just Trading Cards for now).” The company said the program’s rollout would begin next week in just 258 stores to start, including some located in Texas where GameStop is headquartered.
It’s not clear yet how the program will work, if GameStop plans to resell the cards in-store, or what the limit will be on the prices it can pay. Some self-identified employees on the subreddit have speculated that the stores will only be allowed to buy collectibles graded PSA 8 and above. Still, the prices for those can run from, say, $50 for a Raging Bolt Ex from the recent Temporal Forces Pokémon set to over $29,000 for a rarer Charizard from the original base set.
The backbone of GameStop’s business once upon a time was used video games. After players completed a new release, they could sell it back to the company for a fraction of the MSRP, which GameStop would then turn around and sell to a new player for almost the full cost of the new version of the game. This “circle of life” propelled GameStop to huge profits in the early 2010s, but has fallen apart as the majority of game purchases have gone digital.
More recently, the company has doubled down on branded merchandise and collectibles like Funko-Pops and statues of video game characters to make up the shortfall. Despite raking in $1 billion thanks to a meme-fueled stock bonanza, GameStop’s pivots to cryptocurrency, PC gaming gear, and even TVs hasn’t yielded a new path forward for its ailing business. All along the way, GameStop employees have born the brunt the company’s excesses, failings, and resulting cuts.
It’s unclear if GameStop’s longstanding reputation for poor trade-in deals will extend to its new collectibles program. “10% market price take it or leave it,” joked one person on Reddit. “5% market price cash, 10% market price in store credit, and they sell them at 500% market price.”
NEW YORK (AP) — The average time of a nine-inning game is 2 hours, 36 minutes through the first full month of the major league season, down 1 minute from 2023 in the second year of the pitch clock.
Over objections from the players’ association, MLB lowered the timer to 18 seconds from 20 with runners on base while keeping it at 15 seconds with no runners.
Last year, the average increased gradually through the season, from 2:37 through April to 2:38 in May, 2:39 in June, 2:41 in July and August to 2:44 in September.
The season average of 2:40 was down 24 minutes from 2022 and the lowest since 1985.
Capcom has released a list of fixes and updates it will make to Dragon’s Dogma 2 “in the near future” — including the much-requested option to start a new game when save data already exists.
Dragon’s Dogma 2 only offers a single save slot, and presently, players who want to start the game again — perhaps to try a different specialization — can only do so by manually deleting their save file at the system level first. This can be a fiddly process involving disabling cloud saving and, for Steam players, actually locating their game save on the hard drive.
Capcom said it would add “the option to start a new game when save data already exists” as part of the first wave of updates to Dragon’s Dogma 2. This doesn’t mean it will actually add a second save slot for a new character; the update will simply make it easy to overwrite your save from within the game itself.
To all Dragon’s Dogma 2 players!
We’re planning to release patches including the following updates and fixes in the near future, and will release them as soon as they are ready for distribution on each platform.
Capcom also said it would add a frame rate cap of 30 frames per second to the PlayStation 5 and Xbox Series X versions of the game. As it is, the game runs with an uncapped frame rate, meaning it can sometimes run faster than 30 fps, but this can result in inconsistent and juddery performance (especially for players without variable refresh rate displays). A 30 fps cap should ensure a more consistent and stable feel to the game.
Capcom also said it would add options to switch off the motion blur and ray tracing graphical effects to console versions of Dragon’s Dogma 2, but it warned that doing so “will not affect the frame rate significantly.” Frame rate improvements will come in “future updates,” it said. PC players will now get better-quality results from the DLSS.
Another target for an early fix is the Art of Metamorphosis item that allows you to change the appearance of your character. Previously in very limited supply, the stock of this item is being increased to 99 at Pawn Guilds. This change appears to be targeted at criticism of the game’s microtransactions, which include the sale of Art of Metamorphosis at $1.99. With this change, it will only be inability to afford the in-game price that would push players toward paying real money to change the looks of their character or Main Pawn. (No changes were announced for other rare items available to buy as microtransactions, such as Wakestones or Portcrystals.)
Other changes coming soon will make it possible to acquire your own dwelling earlier in the game, as well as various text display and bug fixes.
Capcom said it would release the updates “as soon as they are ready for distribution on each platform.”
Big surprise: 3 Body Problem, Netflix’s new show based on a trilogy of sci-fi novels that regularly deal with advanced quantum science theories, doesn’t offer a lot in terms of easy answers. Why did Vera Ye kill herself? What do people see when those shaky countdowns get to zero? And who, really, are the incoming aliens known as the San-Ti (Chinese for “three-body [people]”)?
Many of the answers to the latter question revolve around a virtual reality game encased in a sleek chrome headset that resembles something Apple would sell for several thousand dollars. Early in Episode 1, Jin Cheng (Jess Hong) is given one of these devices on a visit to Ye Wenjie (Rosalind Chao), the mother of Jin’s recently deceased friend Vera. Wenjie claims Vera was gaming regularly in the weeks before her death, which piques Jin’s interest since her particle physicist friend would never deign to carve out time for video games.
Headset affixed, Jin finds herself in a hyperrealistic desert landscape. The words “Level One” echo loudly. The headset is able to affect every sense, not just seeing and hearing, effectively transporting her mind to a new plane of being. Jin marvels as the wind ripples the traditional garb she’s been outfitted in, smiles and squints as a massive sun rises over a stately pyramid, and screams in terror when the wind picks up, revealing a desiccated, still-alive humanoid figure buried at her feet. I’m not a big fan of tutorial levels, either.
Eventually, one of Jin’s friends, snack magnate Jack Rooney (John Bradley), gets his hands on her headset. But his experience playing the game is even more bonkers. When Jack first puts on Jin’s device, which was evidently intended just for her, a woman (Sea Shimooka) appears behind him and sternly observes, “You were not invited,” before cutting him down with a sword. The same thing happens when another friend, Auggie (Eiza González), tries to play. The San-Ti want only a select few people to use their tech. But with time, Jack finally makes the cut. A shiny headset of his own comes with a card that reads: “We invite you to play.”
Initially, the VR portions of 3 Body Problem do resemble some kind of incredibly immersive game. Putting on the headset and engaging with the AI once again, Jin meets a suave NPC, the Count of the West, and another simply referred to as Follower, a young girl Jin immediately takes a shine to. The Count welcomes Jin to “Civilization 137” and tells her that this world has “chaotic” and “stable” eras. She must deduce whether an era is chaotic or stable, and if she’s wrong, the civilization is destroyed.
As in any good game, you need a big end-of-level boss. Here in Level One, it’s Emperor Zhou—a real-life tyrant king from about 3,000 years ago. The Count, desperate to appease the emperor, tells Zhou that he can use divination to predict the next stable era, which just so happens to be in eight days and will last 63 years. Jin, a trained scientist rather than a mystic, disagrees with the Count’s assessment. But Zhou is on board with the Count’s prediction and dismisses Jin’s interjections about “the laws of physics: everything we know to be true about the world.”
“Which world?” he asks her.
The emperor moves forward with the Count’s plea to “awaken your dynasty and let it prosper.” But that decision quickly proves to be misguided, as Zhou’s civilization is completely obliterated by a massive ice storm. Nevertheless, Jin’s foresight in choosing science over mysticism results in her passing Level One. Several doomed civilizations later, Jin and Jack solve Level Two together: This world is part of, get this, a three-body star system, moving unpredictably between the gravity of three suns, causing constant ecological disasters and apocalypses. Throughout the “game,” they’re tasked with explaining complex modern physics to NPCs who are based on important figures in Earth’s history and whose temperaments range from “unimpressed” to “cartoonishly hostile.” And I mean cartoonishly. At one point, Kublai Khan tries to boil Jin and Jack in a big pot, which is something Wile E. Coyote would attempt. A series of comedic cameos adds to the heightened reality and playfulness of these scenes compared to the rest of the show, like when League of Gentlemen alum and Sherlock cocreator Mark Gatiss—in character as Isaac Newton—spits at Jin to “shut the fuck up, troll!” after she questions his (very cool) human-powered binary computer. The San-Ti are at least hip to a bit of gamer lingo, then.
It’s a fascinating way to tell the San-Ti’s story, which becomes clearer and clearer with each progressing level. This game is not a puzzle; the three-body problem is unsolvable. Any species existing within such an unstable star system will always face eradication, eventually. It’s a demonstration by the San-Ti that they have no choice but to abandon their planet and find a new home.
Jin and Jack are invited to Level Four, which, as it turns out, is basically an initiation. Donning the headsets one more time, they are greeted by the game’s “guide,” that mysterious woman with a sword. “There is only one solution when your world is doomed,” the woman says. “Flee,” Jin whispers in response. And so, after 9,478 total civilizations have been built, destroyed, and rebuilt, the San-Ti are accepting an invitation to Earth that—surprise—Ye Wenjie extended to them at the end of Episode 2. Wenjie, exasperated with the cruelty she experienced at the hands of her fellow human beings during the Cultural Revolution, believes the San-Ti could save humanity—even if, and perhaps explicitly because, the San-Ti warned Wenjie that her “world will be conquered” if she responded to the their messages sent decades before Jin’s VR excursions.
Jack and Jin, as “Level Four champions,” are invited into a sect of humanity that’s led by Wenjie and is preparing to welcome the San-Ti, whom they call “Our Lord.” The game is designed not only to literalize the history of the San-Ti, but to select players who will be sympathetic and malleable to the San-Ti’s own ends. “Your cingulate cortex [an area of the brain commonly associated with emotion and empathy] activity was the highest we’ve ever recorded,” true believer Tatiana (Marlo Kelly) tells Jin.
Inside the careful and occasionally humorous craftsmanship of the games, there are more hints to be gleaned about the nature of the San-Ti. First—and this is the one that’ll stick in most people’s minds—they have the ability to “dehydrate” themselves, essentially pausing all biological functions and flattening into a rolled-up canvas so that they can preserve themselves during the chaotic eras of their home world. When a stable era arrives, any surviving, hydrated San-Ti toss them into pools of water and they come back to life, like those compressed hand towels that start out looking like tiny pills that you sometimes get at Chinese restaurants. Though the San-Ti civilizations are based on human ones in the game, they clearly have a very different biology. “We don’t look anything like this,” the sword woman tells Jin and Thomas Wade (Liam Cunningham) in a final demonstration later on. When asked what they do look like, she calmly tells Wade he “wouldn’t like it.”
More troublingly, the game’s design betrays the implication of the San-Ti’s authority over humanity. In each level, Jin and Jack are presenting their ideas to some of the most powerful and notably violent figures in history. This is not the San-Ti asking for help; they’re already on their way. This is them explaining how things will work once they arrive.
By the season’s end, there’s still a lot about the headsets that remains mysterious. Why did the San-Ti, a species that takes things very literally (to the point that they’re incapable of lying or understanding the concept of a fairy tale), construct such a narratively complex fable to highlight their perspective? They clearly know the broad mechanics of a video game, but not Little Red Riding Hood?
In the end, though, another useful purpose for the headsets emerges: outright threats. The woman with the sword is an avatar for the Sophons: four 11-dimensional supercomputers folded back into the size of a proton (seriously, don’t think too hard about this) and quantum entangled with one another on the San-Ti fleet, allowing for instantaneous communication even though they’re 400 years from reaching Earth. The Sophons can be anywhere, see and hear anything, cause mass hallucinations, and even disrupt the laws of physics, slowing down humanity’s scientific progress so that it’ll be less able to defend itself when the San-Ti arrive. They’re omnipresent gremlins designed to drive everyone employed at the United Nations insane, basically.
By the end of the first season, humanity’s relationship with its alien counterpart, the San-Ti, has already deteriorated to the extent that they publicly announce their intention to conquer Earth. As 3 Body Problem’s first season progresses and Earth and the San-Ti fleet morph from uneasy allies into all-out belligerents, the headsets become less prominent in the story. There’s only so much you can do to recruit more pro-San-Ti influencers after you’ve called all of humanity “BUGS” on an LED display in Piccadilly Circus. But, curiously, Tatiana herself receives a headset at the end of Season 1, even though she was already all in on the San-Ti cause. “If one survives, we all survive,” the card included with her device reads. Expect to see some different tricks from the headset when Season 2 inevitably drops. For the rest of those who received them, the San-Ti’s message is clear: Play ball and help, or die with Earth Civilization no. 1.
Tom Philip is a Scottish writer based in Brooklyn, New York. He’s written about entertainment and culture for GQ, Vulture, and The New York Times and contributed some truly awful jokes for the likes of ClickHole, The New Yorker, and CollegeHumor. You can yell at him on X here: @tommphilip.