At the beginning of the year, Like a Dragon: Infinite Wealthlaunched a hell of an opening salvo. The latest installment in the long-running Like a Dragon/Yakuza series is comically full of things to do. On one hand, it’s a turn-based RPG epic, splitting its narrative between two larger-than-life protagonists in entirely different settings complete with their own villains, party members, and side stories. On the other hand, it is more game than anybody could possibly need, housing several side activities, minigames, and at least two-full sized games within itself. If you’re a person whose chief concern about a game is getting the absolute most bang for your buck, there has rarely been a better game to pick up than Like a Dragon: Infinite Wealth, which is now discounted at $42 on both PlayStation and Steam. – Moises Taveras Read More
I was staring at a wall. It was an early mission in Ubisoft’s latest behemothic RPG, Star Wars Outlaws, in which I was charged with infiltrating an Empire base to recover some information from a computer, and this wall really caught my attention.
Screenshot: Ubisoft / Kotaku
It was a perfect wall. It absolutely captured that late-70s sci-fi aesthetic of dark gray cladding broken up by utilitarian-gray panels covered in dull blinking lights, and I stopped to think about how much work must have gone into that wall. Looking elsewhere on the screen, I was then overwhelmed. This wall was the most bland thing in a vast hanger, where TIE Fighters hung from the ceiling, Stormtroopers wandered in groups below, and even the little white sign with the yellow arrow looked like it was a decade old, meticulously crafted to fit into this universe. I felt sheer astonishment at the achievement of this. Ubisoft, via multiple studios across the whole world, and the work of thousands of deeply talented people, had built this impossibly perfect area for one momentary scene that I was intended to run straight past.
Except I ran past it three times, because the AI kept fucking up and I was restarted at a checkpoint right before that gray wall over and over.
Screenshot: Ubisoft / Kotaku
I’m struggling to capture the dissonance of this moment. This sense of absolute awe, almost unbelieving admiration that it’s even possible to build games at this scale and at this detail, slapped hard around the face by the bewilderingly bad decisions that take place within it all.
To be excited about a beautifully crafted wall is to set yourself up for an aneurysm when you start to notice the tiny, inflecting details on characters’ faces, or the scrupulous idle animations of a bored guard. Then as I tried to conceive that this same level of care was taking place across thousands of locations in multiple cities over a handful of planets, my genuine thought was: “It’s ridiculous that we mark these games on the same criteria as others.” How can someone look at this, this majesty, and say, “Hmmm, seven out of ten?” And then a guard sees me through a solid hillside and ruins fifteen minutes of painstaking stealth, and I wonder how it can be on sale at all.
In 2024, we have reached the most deeply peculiar place, where AAA games are feats that humanity would once have recognized as literal wonders, and yet play with the same irritating issues and tedious repetition as we saw in the 90s. This contrast, this dissonance, is absolutely fascinating.
Screenshot: Ubisoft / Kotaku
Ubisoft strikes me as the leader in this bizarre space. I have, for years, been delighted and bemused by what that company is capable of creating, albeit often not in positive ways. The Assassin’s Creed series routinely builds entire cities, even countries, in authentic detail, to the point where we almost take it for granted. It has always struck me as the most horrendous waste that a game like Assassin’s Creed Odyssey can recreate ancient Greece in such wonderful detail, and then gets thrown away, that entire digital space never used again for anything else. It could be given to the world, offered as a setting for a thousand indie games, reused and recycled as such an achievement deserves. Instead, it’s there for that single game, where we reasonably kvetch about the frustrating details of a broken quest, or at how crowd AI bugs out at crucial moments.
And this is only to touch on the art and architecture. We’re not even mentioning the fantastic writing, the exquisite voice acting, the sound effects, the musical score, the lighting, the concept art that makes such designs possible, and the direction and leadership that can bring all these disparate parts together. All as a backdrop to my repeating the run across the gantry because a distant AI decided to be triggered by a Nix it couldn’t possibly see, or because that time when I pressed Square it decided to throw a punch instead of trigger a takedown.
Screenshot: Ubisoft / Kotaku
I’m old enough to remember a time when we’d lament that a beautifully drawn point-and-click adventure was no fun to play, and be so disappointed that such lovely artistic skill had been the backdrop for illogical puzzles and bad writing. Imagine the camera shot pulling out from that adventure game and revealing the room it’s in, the house that contains that room, the town that house is in, the city that town forms part of, and the country in which that city exists—that gets you close to the scale at which the same issue plagues us 40 years later.
Just that opening city in Outlaws, Mirogana, is more than gaming was capable of ten years ago, let alone 40. It, alone, would be enough for an entire game, with plots and missions and characters. And it’s a blip in this game’s mindblowing breadth. I cannot over-express the scale of what’s offered here, and how incongruous it feels that it can all feel so easily dismissed given such fundamental errors. Errors that mean the game attracts headlines like, “Star Wars Outlaws Is Too Simplistic For Its Own Good.” And I get it! I know what the article means! It’s right that its stealth is banal and badly implemented, and yet such a core element of the game. But God damn, why are we able to reasonably call this creation “simplistic”?
I’ve no idea what the solution can possibly be, but I feel it sits somewhere in a new order of priority. One that involves scaling back the ambition of everything that a large-scale developer knows it can achieve, and re-focuses resources on fixing the absolute basics that it so often cannot. Because the tragedy of a piece of art like Outlaws—or any number of other architectural masterpieces that we see come and go in this industry every month—being able to be sniffed at with a (deserved) 7/10, is too awful.
At Gamescom this year, I saw a talk (currently embargoed) about how wind will cause a game’s world to behave differently, and on one level it was incredible stuff, a technological marvel. But on another, it’s going to offer absolutely nothing if that game’s basic loops are dreary, or if the enemy AI is going to endlessly run into beautifully rendered walls. It could end up being a 7/10 game with technologically astounding wind.
And so I come back to that wall. And I thank everyone involved in making it so special, the artists who spent so long ensuring it felt authentic, and the level designers who placed it, and the people responsible for collision detection who ensured I couldn’t walk through it, and the people who coded the Snowdrop engine so it could exist at all, and the producers who encouraged the developers who implemented it, and every single person who was in some way responsible for making me that wall to momentarily stare at. And I wish I hadn’t had to sneak past it quite so many times.
Cat Quest III departs from the first two games of this light-hearted action-adventure series in a variety of ways, especially with its pirate-themed naval combat. Still, it also retains a lot of familiar gameplay mechanics and concepts that ensure if you played the previous games, you’ll feel right at home. Whether you’re a returning player well-versed in Cat Quest’s history, or you’re brand new to the franchise, we’ve compiled a solid list of tips to help you get started in this feline-focused adventure. – Billy Givens Read More
After years of marketing, delays, betas, and name changes, XDefiantfrom Ubisoft is finally here and…things aren’t going very well. Players are currently unable to find matches as the game’s servers can’t seem to cope with the large influx of people.
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XDefiant—out now on PS5, Xbox Series X/S, and PC—is Ubisoft’s big-budget free-to-play Call of Duty-like first-person online shooter. The FPS has had a long road to release. It was first announced back in July 2021 as Tom Clancy’sXDefiant, but in March 2022 the game dropped the “Tom Clancy” bit and expanded to include characters and locations from various Ubisoft-owned franchises, like Far Cry and Watch Dogs. In 2023, it got its first big open-beta playtest and I enjoyed its fast-paced, Black Ops II-like gameplay. Later that year, it wasdelayed twice. But now, after all that, XDefiant is out. Good luck playing it, though.
Poking around online, XDefiant isn’t completely broken. I’ve found streams online of people playing it. However, in my testing on Xbox, I was unable to join a match and was stuck in a lobby waiting for something to happen. And even players who do get into matches have reported long waits to get into another.
At 1:30 pm EST, the official XDefiant Twitter account posted that it was aware that “some players are unable to join a game” and asked folks to wait as the devs looked into the situation.
At 2:55 pm EST, the account offered an update, saying that things were improving but that it was continuing to work on making sure everyone could get in and play the FPS.
Then at 3:50 pm EST, in response to players complaining about the lack of updates and continued matchmaking issues, Ubisoft posted on Twitter:
Update: We are all focused on the matchmaking issue and are continuously investigating. We will continue to provide updates as possible.
As of about an hour later, that’s the last update from the main XDefiant account on Twitter. Players are frustrated, as you might expect. But, really, in the year of our lord 2024, I’m not sure how anyone could be surprised that a large-scale online multiplatformvideo game is having issues at launch. Still, hopefully, Ubisoft is able to get the game up and running without resorting to making developers and engineers stay late into the night.
The feeling of being somewhere overwhelmingly positive is unusual. In 2024, it seems ever-more likely that even the most upbeat of events would be coated in a veneer of cynicism, if not outright skepticism. But at the Pokémon Europe International Championships (EUIC), every person I spoke to was bubbling with unadulterated happiness just to be there. And for all of them, without exception, it was a love for Pokémon that was driving this preternatural positivity.
April’s EUIC was, according to some who have been attending the championships for years, the largest ever. Official figures suggest over 10,000 people attended the three-day event in London’s ExCel Center, 4,500 of them competitors in the various fields, from the card game to the video games. And yet, despite such huge numbers of people, it all felt undeniably lovely. There were no reports of incidents, no flipped tables, and a pervading feeling of calm throughout. As a world-leading misanthrope, sporting a heavy cold, I was fascinated to feel this way. I was determined to find out why.
Photo: Kotaku
Cultivating an atmosphere
“I just love Pokémon!” says one splendid lady I meet, dressed as Gothorita, accompanied by her daughter (cosplaying Gothita), and a childhood friend dressed up, appropriately, as trainer Caitlin. The three of them are here spectating, despite often playing the trading card game (TCG) at their local Geek Retreat. “It’s like my childhood,” Gothorita adds.
This is the central sentiment among so many people I spoke to. So many people citing Pokémon as the special factor, the colorful exuberance of a child-focused franchise overriding the more aggressive cultures associated with video games and TCGs. Magic: The Gathering meet-ups, say, are unquestionably fantastic spaces, but the nature of the base game doesn’t exude a sense of family-first. Here, everyone has to at least tacitly acknowledge they’re gathering because of a shared passion for the cartoon electric mouse and his magical friends.
I plopped myself down next to two guys who’d just finished a day-one round of what the locals call “VGC,” meaning battling teams in Pokémon Scarlet and Violet. The winner of the match was Simon Van der Borght, known in Pokémon circles as Shmon, a sometimes-commentator and judge for the events. The Belgian player, dressed in a spectacularly garish Pokémon-emblazoned jacket, bubbled with excitement about the event. Shmon enthused about the EUIC, talking about how it’s grown in scale over the years, and about how many friends he’s made through attending and competing. “It really makes me happy!” he declared. I asked him about his first time playing competitively, and he used a term that I’d hear again and again over the event. “Immediately I fell in love with the atmosphere.”
“The atmosphere” was almost everyone’s first answer when I asked why they were enjoying their time here. It’s an intangible thing, hard to qualify or pin down, but I think it captures senses of safety, comfort, and positivity. There’s an idea that things aren’t wrong here, that no matter what waits outside the enormous convention center, in here we’re good. We’re good people, doing a fun thing, with no judgment. “It makes my heart flutter to see these people!” Shmon declares, “and even when they’re not doing well, still enjoy their time with Pokémon! This community is so strong and so nice to each other that I really love coming back time and time again.”
Photo: Kotaku
The community is lovely!
Speaking of people who’ve come back time and again, I grabbed a chance to chat with the man behind legendary Pokémon site Serebii—Joe Merrick—as well as long-time Pokémon commentator and YouTuber Ross Gilbert, better known as PTCGRadio. Both have been attending the EUIC since it started, since they were in “the event room of a theme park” as Gilbert puts it. “You’re talking 150 people total in the room, and it’s very much a school trip kind of atmosphere. Yeah, everyone’s having fun, but it’s very quiet. Whereas here, it’s a celebration. You walk around the room, there’s people trading, people drawing, there’s people playing side events…”
Merrick and Gilbert are no strangers to controversy, and to the far more toxic nature of online communities. Serebii receives an inconceivable amount of negativity and vitriol, with new Twitter storms brewing every other day. But both say that here, in person, there’s none of that. “It’s indicative of the Pokémon community in general,” says Merrick. “Yeah, I mean, it gets a lot of hate online, because—you know—people are negative online, and [so] people say, ‘Oh this community is terrible.’ But when you’re actually in a room with the actual community, the community is lovely!”
Both are overwhelmed by the growth of the event. 2023’s EUIC had approximately 1,500 playing in the TCG Masters event (there are also Junior and Senior divisions), whereas this year that number was closer to 2,700. We speculate over whether the spike in interest in the cards in 2021, caused by the imperfect storm of global covid lockdowns and Jake Paul paying $5 million for a Pokémon card, has now led to this growth in interest in playing the game itself. Ross adds, “[So] there’s more people every year that are like, ‘I fancy going to a regional… Oh look, EUIC’s in London this year…”
Merrick points out that there are also many reasons to come along to the event if you’re not competing. “You’ve got the Activity Zone, you’ve got the festival stalls, they’ve even got a challenge on how fast you can beat Red in Pokémon Red and Blue. It’s stuff like that that’s going to bring people in. It’s going to make people realize, you know what, Pokémon is cool!”
“They’ve got a bunch of random consoles where you can go and play all the games, even Pokkén Tournament,” interjects Gilbert. “They’ve got a quiet room for people who are having a bit of a stressful day, to go chill out in. They’re constantly thinking and acting on how they can make this better for every different type of Pokémon fan.”
Photo: Kotaku
Making friends and influencer people
One of the many extra events put on was the Battle Labs, where Pokémon Professors helped people new to either the video game or the card game learn how to play. Standing in line for the TCG lab, I spoke to Aoife, who’d traveled over from the West of Ireland to accompany her partner who was competing. Through Pokémon, her partner had formed a group of 12 friends who would all play together, sometimes booking giant Airbnbs for them and their partners to holiday together. Her partner, Sean, had wanted to try competing at a larger event, so they’d traveled over for the EUIC, leaving Aoife to entertain herself. “I’m here on my own,” she told me, “but I don’t feel nervous at all. Everyone here is just so nice, and the atmosphere is lovely, because everyone’s into the same thing.”
I spoke to Aoife on day two of the event, and she compared—with a laugh—leaving Sean to compete in the Swiss rounds (where players are paired up against others with the same win/loss ratio) with dropping him off at daycare. “I am able to go around and do my own thing, I’ve done lots of activities. This event is amazing.”
That sense of feeling safe was echoed when I spoke to Instagram influencer Poke Girl Rach. We mused on the family-first nature of the place, and how the shared fondness for Pokémon breaks down so many social barriers. “It’s my favorite thing to come to events. You just know you’re surrounded by like-minded people,” she explained. “It’s a really good atmosphere, a super-warm atmosphere.” Rachel Gunn got started on Instagram during the covid lockdowns, describing herself at the time as “a bit lonely.” Driven by a desire to connect with people, she began sharing her lifelong passion for Pokémon, including a sizable plush collection, and grew a community while continuing with her career in finance. Those communities have become such a pivotal part of her life that friends made within them came to her wedding. As we chatted, she was planning for the community meet-ups that were arranged for this event. “I’ve a massive friend group now,” she tells me, before we get distracted talking about the merch we picked up in the pop-up Pokémon Center.
Photo: Kotaku
Pokémon is for everyone
Wandering the floor, I bumped into YouTuber PokeDean. “Crazy,” he said when I asked if he was having a good time. “Every time I come to EUIC it seems to be getting bigger and bigger. The atmosphere today is absolutely incredible.” Not competing this year (“I took part last year and I got humiliated.”), Dean had come along just as a spectator for 2024. Given the YouTuber is about to launch a physical store with his business partner PokiChloe, I wondered how he could possibly have the time. “It’s only because I really love the atmosphere here. I love getting to meet a lot of like-minded people, seeing some amazing players take part.”
Given just how much animosity I see whenever I read Pokémon discourse online, the sheer scale of derision as every new announcement is greeted by fury from long-time fans, I’m so struck by these repeated refrains of how differently this community expresses itself in real life. I wonder if a large part of the online animosity comes from those who have forgotten that Pokémon is…well, it’s primarily for children. On purpose. As in, it’s deliberately, by careful planning and design, for children, and then also accessible to adults.
Serebii’s Joe Merrick agrees. “Pokémon, in times past, people would age out of it. But a lot of people, they’ve grown up, they like it, but they have wanted it to grow up with them. So, if they want this edgy, dark reboot, set in a dystopian Kalos—that’s not gonna happen. Let’s face it: Pokémon is a kids’ game. That’s how they continue getting people in, because you’re not having people age out any more. People just need to understand, it’s for everyone. Not just for them.”
I mention Aoife, taking part in the Pokémon Labs to learn to play the TCG, because she wanted to better understand her partner’s passion. “Something like that is absolutely brilliant,” says YouTuber Ross Gilbert. “You can come here with no interest in competitive TCG, VG, GO, or Unite, and you’ll find stuff to do all weekend.
So where do these two old hats (a term they were less than enamored with) see the tournaments heading? “Bigger,” they both say at the same time. Between them they begin speculating whether the event will eventually take over both halves of the enormous ExCel arena, or if it will entirely outgrow the building, perhaps have to look at spaces the size of London’s O2 arena.
Even this black heart…
Over the weekend, I spoke to families where at least one member was being dragged along by others, but seemed to be having a great time despite it. I spoke to female competitors who were there on their own, but didn’t feel intimidated or concerned at all. I saw extraordinary diversity—by age, race, gender identity. I saw huge groups of friends gathering in corridors to celebrate victories, impromptu card trading groups breaking out in dining areas, and kids freaking out to see Pikachu come dancing by.
Sick as a dog, there on my own without anyone else I already knew, and a life-long misanthrope, the event weaved its magic on me too. I spent ages chatting with delightful strangers, added new friends on socials, and almost missed my three-hour coach ride home because of how comfortable I felt in this crowd of ten-thousand people. It’s always a pleasure to remember that online misery rarely translates to the real world, but even better when that real world is so utterly delightful.
2020’s The Last of Us Part II is a revenge story built around two sides: that of Ellie (as played in the show by Bella Ramsey) and newcomer Abby (Kaitlyn Dever). Both women have their own respective supporting casts, and the HBO adaptation has mainly cast the folks in Ellie’s social circle like Dina and Jesse.
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According to Variety, HBO’s managed to lock down four actors who’ll play the people in Abby’s friend group. Top Gun: Maverick’s Danny Ramirez will play Manny, described as a“loyal soldier whose sunny outlook belies the pain of old wounds and a fear that he will fail his friends when they need him most.” Spencer Lord (Riverdale) is Owen, Abby’s ex who’s “condemned to fight an enemy he refuses to hate.”
Rounding out the quartet are Ariela Barer (Runaways) as young doctor Mel and Tati Gabrielle (Mortal Kombat II) as Nora, a fellow medic “struggling to come to terms with the sins of her past.” In the game, Ellie travels across Seattle to get revenge on all four characters, and eventually Abby. Even with whatever changes are in store, that’ll likely remain the same with the show; it’ll just also flesh out those characters, similar to what it’s already done with Bill. At the moment, there’s two other people on Abby’s “side” is casting is still secret: Yara and Lev, a pair of siblings she meets in her travels.
The Last of Us season two is expected to drop on HBO sometime in 2025.
Hey, remember that little game Palworld? Well as of today, it’s surpassed a staggering 25 million players, all within about a month of its early access launch. That’s a lot of people shooting at or alongside their legally distinct “pals,” not Pokémon. Love it or hate it—or don’t get it all, like myself—people have certainly been showing up in droves to see what Palworld is all about after being hyped up as “Pokémon With Guns.”
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According to developer Pocketpair, its open-world survival game Palworld has crossed this impressive milestone across both the Steam and Xbox versions of the game. On Steam at least, where the game is in early access and for purchase, Palworld has sold nearly 15 million copies. The remaining 10 million players in that figure are on Xbox and Windows, where Palworld is available as part of the Game Preview program via Xbox Game Pass. Though it has slowed over the course of the last month, it’s still an impressive figure that makes Palworld the biggest release of the year two months in.
Palworld’s ascendancy from meme to legit hit has been an astonishing sight. For a while there, it seemed to be growing by a million or so players a day. By the end of January, Palworld was sitting pretty at about 20 million players, dwarfing pretty much any other release at the time. Not all the attention Palworld has received in the month since has been great, though. Its popularity raised concerns about the potential use of AI in its development, and of course, some very valid points about how closely its “pals” resemble a number of existing Pokémon. It was all enough attention to get a statement out of The Pokémon Company claiming they were essentially keeping an eye on Palworld.
Nonetheless, Palworld’s rise continues, even if some of its initial engagement has dropped off over the last month, and I’m sure we’ll be updating these numbers for a while to come.
Anyone who was on the internet around the release of The Last of Us Part II knows it was a bad time. But while we, as fans and writers, saw the vitriolic backlash unfold in real-time, it was far worse for the creative team who was directly targeted by it. Laura Bailey, who played the secret second protagonist Abby, has opened up about her experience with harassment during the game’s release cycle, and how some disgruntled fans threatened her son, who was two years old at the time, because they didn’t like her character.
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If you haven’t played The Last of Us Part II, Abby kills Joel, the protagonist of the first game, as part of a years-long revenge plot for the death of her father. A subset of fans famously lashed out about this, viewing it as a “betrayal” of sorts by developer Naughty Dog. This backlash extended to the cast of the game, including Bailey. In the documentary Grounded II: The Making of The Last of Us Part II that premiered on February 2, Bailey tearfully spoke about death threats that she received.
Some of these messages were passed along to proper channels to ensure that Bailey wasn’t in any immediate danger, and among them were threats directed at her son, who was born during Part II’s development. In a segment of the documentary focused on the backlash surrounding leaked cutscenes ahead of launch, Bailey says this taught her to “keep a distance” from the public.
Bailey talked publicly about the online abuse she received around the launch of The Last of Us Part II back in 2020, and even posted screenshots of some of what was sent her way. This included one message that was directed at her son and parents. This level of harassment has become so commonplace in the video game industry, and public-facing women in the space are most often the target. Just earlier this year, Spider-Man 2 face model Stephanie Tyler Jones had to speak out against people stalking her by leaving voicemails at her day job and making her feel “unsafe.”
Seeing how people treated Bailey for playing a character she didn’t write naturally makes me worry about how The Last of Us fans will react to Kaitlyn Dever, who will play Abby in the HBO Max live-action adaptation, once the golf club comes down. A lot of people have jokingly said she needs to get off social media now, but looking at how awful the response was to Bailey, maybe it’s worthwhile advice.
The Grounded II documentary presents a behind-the-scenes look at The Last of Us Part II’s development and includes a soft confirmation that Naughty Dog has a concept in mind for a third game.
Last week, Microsoft laid off 1900 video game workers across its various studios. This included cuts at recently acquired Activision Blizzard. And one employee, before being laid off, used a Blizzard company perk to walk away with nearly 10 years of World of Warcraft subscription codes.
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The video game industry’s terrible 2023, which saw thousands of people laid off across multiple companies, has continued into 2024. As of January 29, according to Kotaku’s layoff tracker, nearly 6,000 cuts have been made at places like Unity, Riot, Bethesda, Twitch, Discord, and Activision Blizzard. One developer at Blizzard realized what was happening and took advantage of a company perk before losing access.
As spotted by PC Gamer, on January 25, the same day the layoffs at Blizzard happened, former product lead Adam Holisky tweeted that once he “realized what was happening” and that he was one of the nearly 2,000 people losing their jobs that day, he made sure to “jump into Keyring and use all the 1-year [pre-paid World of Warcraft] subscription codes” he had yet to activate.
He then shared a screenshot that shows that he doesn’t have to pay for his World of Warcraft subscription until October 14, 2033. That’s one hell of a parting gift and beats a watch or pizza party, that’s for sure.
“Free game time is a well-known employee benefit,” Holisky added on Twitter. “I just never used all the codes I got over the years. It’s nothing sketchy or immoral.”
I reached out to Holisky and he explained to me that Keyring is an internal system at Blizzard where employees can access digital game codes that they “earned for whatever reason.”
He clarified that he had stockpiled these one-year codes while working at Blizzard for nearly five years. Another employee who was laid off at the company tried a similar tactic, but it seems so many others were trying to get their codes before getting laid off that they all crashed the Keyring service.
So Holisky was like Indiana Jones sliding under the door and grabbing his hat at the last second, except the stone door is horrible layoffs causing 1,900 people to be out of work and the hat is a decade of key codes. And while a decade of WoW subscription time is a nice prize, I assume most folks would rather have a job instead.
Call of Duty: Warzone and Modern Warfare III’s Season 1 Reloaded update launched midday on January 17—and almost immediately broke both FPS titles. The Reloaded update promised anti-cheat improvements, adjustments to the Zombies mode, new cosmetics, new multiplayer maps, and more, but the launch was plagued by server issues and visual glitches. In the time since launch, the dev team has deployed multiple fixes to right the ship, even appearing to work overnight into the wee hours of the morning on Thursday, January 18.
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Historically, ‘Reloaded’ updates come in the middle of Call of Duty seasons as a way to keep the game fresh between massive seasonal changes and adjustments. Notably, this is the first Reloaded update for Modern Warfare III, which launched back in November of last year (confusingly, every time a new Call of Duty title drops, the season count starts all over again, though the updates have remained tied to the free-to-play Warzone battle royale since Modern Warfare II). The update promised a massive new anti-cheat measure that automatically shut downs the Call of Duty PC application if aim assist is detected, MWIII ranked play, a new Rio-based map, an Operator based on The Boys TV series, new game modes, and much more.
Unfortunately, from the moment the Season 1 Reloaded update launched, players began reporting serious issues across both Warzone and MWIII. Streamer fifakill shared a clip on X/Twitter of the game glitching just under half an hour after the Reloaded launch, writing “If you try to go to ‘create a class’ in the menu your game will bug and you’ll have to restart. If you try to hit loadout in game this happens.” He also shared a clip showing a strange dent in the topography of the Urzikstan map, which was definitely not intentional. MWIII Ranked was delayed, some weapon attachments were broken, challenge progress was bugged, interacting with in-game loot crates was freezing the game, and more. Call of Duty site CharlieIntel called it “the worst Call of Duty update of all time” on X/Twitter.
In the face of the litany of issues, the dev teams (Raven Software, which works on Warzone, and Sledgehammer Games, which works on MWIII) have been rolling out fixes as soon as they’re ready to go rather than in one massive patch, so that nearly 24 hours after launch, many of the major problems have been fixed. Unfortunately, it also seems like the dev teams had to work overnight to ensure this, as some of the updates were shared as early/late as 3:40 a.m. ET. “I don’t think I can recall seeing updates going out in the middle of the night. Ggs,” wrote one commenter. While it’s great to see the dev teams responding swiftly to issues, I don’t think overnight work is ever worth a “gg.” Work/life balance is much more important than bugged loot crates, IMO.
Kotaku reached out to Activision for details on how/when the dev teams were working on fixes, but did not receive a comment in time for publication.
Updating live-service games like Warzone involves a ton of moving parts, and sometimes one little change can render the entire car undriveable. Luckily, if you’re a Call of Duty player, it seems that Reloaded is in a much better state just 24 hours after launch.
With the pre-release of Prince of Persia: The Lost Crown started, Ubisoft has chosen this week to rebrand its Ubisoft+ subscription services, and introduce a PC version of the “Classics” tier at a lower price. And a big part of this, says the publisher’s director of subscriptions, Philippe Tremblay, is getting players “comfortable” with not owning their games.
The Best Reveals From The Game Awards 2023
It’s hard to keep up with how often Ubisoft has rebranded its online portals for its games, with Uplay, Ubisoft Game Launcher, Ubisoft Connect, Uplay+, Uplay Passport, Ubisoft Club, and now Ubisoft+ Premium and Ubisoft+ Classics, all names used over the last decade or so. It’s also seemed faintly bewildering why there’s a demand for any of them, given Ubisoft released only five non-mobile games last year.
However, a demand there apparently is, says Tremblay in an interview with GI.biz. He claims the company’s subscription service had its biggest ever month October 2023, and that the service has had “millions” of subscribers, and “over half a billion hours” played. Of course, a lot of this could be a result of Ubisoft’s various moments of refusing to release games to Steam, forcing PC players to use its services, and likely opting for a month’s subscription rather than the full price of the game they were looking to buy. But still, clearly people are opting to use it.
But it remains strange why enough people would want to subscribe—and at $17.99 a month it’s not cheap—to a single publisher’s output. That’s not a diss of Ubisoft’s games—although you might want to apply your own—but something that would be as true were it Activision Blizzard or EA.
You can subscribe to Game Pass, or PlayStation Plus, and get a broad range of hundreds of games from dozens of publishers, or you can pay significantly more to only get the games made by one single publisher, and indeed a publisher with a very distinct style of game. TV networks and movie companies tried this, and those numbers are thinning out fast, with many already compromising by returning their shows to the larger streamers.
What’s more chilling about all this, however, is when Tremblay moves on to how Ubisoft wishes to see a “consumer shift,” similar to that of the market for CDs and DVDs, where people have moved over to Spotify and Netflix, instead of buying physical media to keep on their own shelves. Given that most people, while being a part of the problem (hello), also think of this as a problem, it’s so weird to see it phrased as if some faulty thinking in the company’s audience.
One of the things we saw is that gamers are used to, a little bit like DVD, having and owning their games. That’s the consumer shift that needs to happen. They got comfortable not owning their CD collection or DVD collection. That’s a transformation that’s been a bit slower to happen [in games]. As gamers grow comfortable in that aspect… you don’t lose your progress. If you resume your game at another time, your progress file is still there. That’s not been deleted. You don’t lose what you’ve built in the game or your engagement with the game. So it’s about feeling comfortable with not owning your game.
Tremblay goes on to say to GI.biz, “But as people embrace that model, they will see that these games will exist, the service will continue, and you’ll be able to access them when you feel like.” But…we know that isn’t true! We know how often services don’t continue, how many games are no longer available.
One of my all-time favorite games was published by Ubisoft in 2003, called In Memorium (Missing: Since January in the U.S.), and that’s certainly not on its Classics range, I’m sure because the company long ago lost any rights to it. Luckily for me, I own a physical copy of it. But any number of other Ubisoft games from the early ‘00s I stick in its Classics site have no results. There’s no reason on Earth to think the same won’t be true of Ubisoft’s current games in 20 years.
There are still plans for Ubisoft to add streaming access to Activision Blizzard’s games to Ubisoft+, as bizarre as that may seem given the publisher’s recent acquisition by Microsoft. It’ll also seem fairly redundant, given all the games will come to the far more ubiquitous Game Pass, where they won’t be behind the technical hurdle of streaming. And indeed Prince of Persia: The Lost Crown is already available to play via the Epic Games Store if you pre-ordered it there.
If, for whatever reason, you just adore Ubisoft’s output, then yes—for $17.99 a month you can play Skull & Bones, Avatar, Assassin’s Creed Mirage, Anno 1800, and The Crew: Motorfest right now, which is a lot cheaper than buying them all individually. But you won’t own any of them, and you’ll need to keep paying that 18 bucks a month in perpetuity if you want to keep them, right up until you can’t any more.
In a new press release from audio electronics company Altec Lansing, it was revealed that GameShark is returning, sort of via an artificial intelligence-powered successor called “AI Shark” You don’t care about that. Instead, the big news out of this press release is that it might have leaked the release date for the Nintendo Switch 2. – Zack Zwiezen Read More
Pokémon’s profit margins probably don’t reflect it, but the franchise had a rough year in 2023. Without a new mainline role-playing game to dominate the series’ headlines, Pikachu and friends were, instead, shrouded in controversies throughout the past 12 months. Between Pokémon Go angering swaths of its community, scalpers making a public embarrassment of the franchise to people who don’t even pay attention to it, and Scarlet and Violet’s DLC underlining the problems ingrained within the Pokémon pipeline, the screws are coming loose on the hype train. – Kenneth Shepard Read More
Pokémon’s profit margins probably don’t reflect it, but the franchise had a rough year in 2023. Without a new mainline role-playing game to dominate the series’ headlines, Pikachu and friends were, instead, shrouded in controversies throughout the past 12 months. Between Pokémon Go angering swaths of its community, scalpers making a public embarrassment of the franchise to people who don’t even pay attention to it, and Scarlet and Violet’s DLC underlining the problems ingrained within the Pokémon pipeline, the screws are coming loose on the hype train. And yet, it cannot be stopped as it barrels down the tracks. Pokémon’s 2023 had its moments, but overall, it was pretty grim for a series usually so full of hope.
Screenshot: The Pokémon Company / Kotaku
Detective Pikachu Returns pulls off its story better than the movie
To start off with some good, Detective Pikachu Returnsfinally came to Switch and wrapped up the original 3DS game’s bewildering cliffhanger. Without a new RPG out this year, Detective Pikachu Returns was the only home console game Pokémon fans got in 2023. The adventure game is pretty simple, but maintains the original’s charm and compelling setting. The ending felt pretty definitive, but hopefully, it’s not the end of The Pokémon Company greenlighting adventure games in the Pokémon universe.
Image: The Pokémon Company
Pokémon Sleep finally wakes up
After years of teases, Pokémon Sleep, the sleeping app meant to encourage consistent sleeping habits, finally launched on mobile devices. In our review, I talked about how it feels geared toward kids who need a little motivation to get to sleep on time. Arceus knows it’s near impossible for an adult with sleep disorders and things to do in the morning to get their recommended eight hours of shuteye. But the app is the latest example of Pokémon getting into lifestyle and wellness, following Pokémon Go’s lead of gamifying daily activity while building people’s relationships with the Pokémon brand.
Photo: Kenneth Shepard
Pokémon remains a community hub
Whether you were one of the 194,000 trainers attending Pokémon Go Fest or were in attendance during the Pokémon World Championships in Yokohama this year, Pokémon remains a community-driven series that brings people together. I even attended my first Go Fest this year, and having felt walled off from that side of the community living in rural Georgia, it was an invigorating experience to be surrounded by so many people coming together for a common love.
Image: The Pokémon Company
The anime ushers in a new era
One of the biggest events of Pokémon history happened in 2023, with long-time protagonist Ash Ketchum walking into the sunset in a final episode. The episode itself didn’t end with a definitive story beat but essentially said he and his partner Pikachu would continue to go on adventures throughout the Pokémon world, but we wouldn’t get to follow them. Instead, Pokémon Horizons, which follows new heroes Liko and Roy, has usurped Ash and Pikachu’s adventures as the primary animated series. The series has been airing in Japan since April, and will finally come to English-speaking territories in February 2024. Though it remains to be seen if Liko and Roy will ascend to Ash’s status as a beloved, iconic hero in anime, Horizons has already garnered acclaim from fans for its lovingly crafted animation.
Image: The Pokémon Company / Netflix
Pokémon shows of all shapes and sizes
While Liko and Roy are headlining the anime, Pokémon has had two more TV projects in 2023 that expand beyond 2D animation. This includes PokéTsume, a live-action drama starring a young woman who sorts through her personal and professional drama by playing Pokémon (she’s just like me, FR), and Pokémon Concierge, a stop-motion animation series on Netflix that is available to stream today, December 28. The Pokémon machine primarily focuses on games, anime, and merchandise as its core pillars, so it’s been nice to see The Pokémon Company continue to expand its projects to tell new stories in this world that aren’t always tied to competitive sports.
Screenshot: The Pokémon Company / Kotaku
Scarlet and Violet’s DLC highlights the best and worst of the base games
While there was no new RPG in 2023, Scarlet and Violet got a two-part expansion called The Hidden Treasure of Area Zero. Between The Teal Maskand The Indigo Disk, fans got new maps to explore, Pokémon to catch, and tools to build competitive teams. While the new story beats didn’t capitalize enough on the base games’ incredible ending to my liking (with one major exception), I was still happy to run around new places with my friends in co-op and learn more about this world. Sadly, in the year since Scarlet and Violet launched, Game Freak hasn’t managed to get the games into a fully functional state, and The Teal Mask and Indigo Disk’s new open-world maps are just as (if not more) buggy and ugly than Paldea was in 2022.
Welcome to Exp. Share, Kotaku’s Pokémon column in which we dive deep to explore notable characters, urban legends, communities, and just plain weird quirks from throughout the Pokémon franchise.
Image: The Pokémon Company / Vincent Van Gogh
The Van Gogh Museum fiasco underlined deep-rooted issues in the community
Pokémon and the Van Gogh Museum had a collaboration this year that included Pokémon-themed recreations of legendary Dutch painter Vincent van Gogh’s works, as well as merchandise tied to the event and a rare Pikachu card available with purchase alongside these limited edition items. As anyone who has paid attention to Pokémon in the past seven years can tell you, scalpers have become an entrenched part of this community, as it’s nearly impossible attempting to buy any limited edition item without someone’s bot swooping in and buying it to resell it on sites like eBay. While Pokémon fans know to expect that, it’s not often that this issue becomes a public spectacle. The Van Gogh Museum’s new exhibit, however, was overrun by so many people that it looked like something out of a Black Friday sale, and rather than just being fans hoping to acquire some special merch for themselves, many of these were scalpers, looking to hoard the items and jack up the prices.
It’s not unusual for people to attempt to steal and sell Pokémon merchandise, especially cards, andt more often than not, these are just petty crimes. The Van Gogh Museum fiasco, however, was a public embarrassment for The Pokémon Company, and the museum had to cease its card distribution for the safety of its patrons and employees. But even if the card is no longer being given out at the museum, the lingering aftermath of scalpers can still be seen on overpriced eBay listings for it, as well as associated merchandise from the collaboration. The Pokémon Company issued an apology and has since offered the card through the Pokémon Center store, but has neglected to manufacture more of the merchandise.
Image: The Pokémon Company
Pokémon Go’s Remote Raid changes undermine the community it nurtured
At the beginning of the covid-19 pandemic, Pokémon Go developer Niantic made it easier for players to take part in raids with Remote Raid Passes that let you play the game from anywhere. It was a huge move for the game, as it was now possible to take part in these events regardless of where you and your friends were. This was especially helpful for people who lived in rural areas where Pokémon Go was typically not well-supported, as well as disabled players who typically had trouble playing Pokémon Go due to its focus on walking to reach objectives.
In March, Niantic made Remote Raid Passes more expensive and limited how many you can use in a day, which fundamentally undermined the ways several subsets of the Pokémon Go community had been playing the game for three years. The subsequent backlash spawned a fan campaign using the hashtag #HearUsNiantic, in which players expressed how these changes affected their enjoyment of the game, with some going as far as to say the increase in price for Remote Raid Passes felt like a tax on the disabled community. Despite protests and boycotts, these restrictions remain in the game to this day.
Image: Niantic
Niantic’s struggles go beyond Pokémon Go
If the public controversy around its flagship game weren’t enough, Niantic has been the subject of a lot of bad news in 2023. In June, Kotaku reported that Niantic was shutting down its Los Angeles studio, laying off over 200 employees in the process. The company made the decision to move away from in-house development, shuttering its basketball game NBA All-World and canceling its planned Marvel game.
Two weeks later, Niantic was the subject of a lawsuit accusing it of “systemic sexual bias” against its female employees and creating a “boys club” work environment. In November, a California judge approved the lawsuit to proceed.
Image: The Pokémon Company
The death of the 3DS eShop shakes Pokémon trading
The 3DS and Wii U eShops were shut down in 2023. While this affects every game and service on those platforms, Pokémon is in a precarious position because the loss of the 3DS eShop has created a gap between Pokémon generations. Trading old Pokémon to new games has been a long-held tradition within the series. It’s taken different forms between games, but the practice has become much more streamlined with the introduction of platform-agnostic services like Pokémon Home that host Pokémon from any game that can connect to the internet. However, the 3DS has been the bridge between older generations and Home through an app called Pokémon Bank. This 3DS app is used to transfer Pokémon from 3DS games to Home, thus to Switch games like Scarlet and Violet.
Pokémon Home is still probably the best solution The Pokémon Company has launched for this problem, as it doesn’t have to rely on specific hardware to store and trade different monsters. But without Bank, some Pokémon have become difficult or even impossible to obtain and trade over to modern games. As of this writing, Bank still works for those who had it purchased and installed on their 3DS before the eShop shutdown, but the tool is no longer readily available for new players.
Image: The Pokémon Company
Competitive Pokémon has a big hacking controversy
While not every Pokémon player is embedded in the competitive scene, ranked Pokémon play is still a pillar of the RPGs millions of people play every year. However, at this year’s Pokémon World Championship tournament in Yokohama, several players were banned from competing after it was discovered they were using hacked teams that weren’t approved for competitive use at an official tournament. However, some competitors told Kotaku The Pokémon Company’s rulings on this matter have been inconsistent, which made their bans at the headlining event of the year all the more devastating. In the fallout, new data seems to reveal this kind of homebrewing of competitively viable teams is rampant within the community.
The debate about using tools like PKHeX, which allows you to create teams without finding, catching, and training the Pokémon in a game, is a complicated one. Going this route doesn’t necessarily give you a competitive edge but can be viewed as not within the spirit of the franchise. Competitive players argue that using a tool like this is just a matter of saving time, allowing users to craft a team without having to do so within the boundaries of games like Scarlet and Violet. Training Pokémon to their most powerful potential isn’t an easy feat and can take large swaths of your time, even if you have endgame resources. But the argument that you should have to train like a real Pokémon trainer to “earn” your spot in the competitive space harkens to arguments made in the games and anime themselves.
Screenshot: The Pokémon Company / Kotaku
The machine must be stopped. Or at least made better
We at Kotaku launched Exp. Share, our Pokémon column, in 2023 to talk about all the wild, wonderful, weird, and woeful parts of this franchise. One of the most telling things I’ve learned in my years of covering Pokémon, especially for this column, has been that even as the series frustrates and confounds its legions of fans, those people will still show up to throw their money at it, despite their annoyance.
Issues like the supply problems that let scalpers run rampant, Pokémon Go pushing out the same community that kept it afloat, and Scarlet and Violet selling 23 million copies despite being an absolute trainwreck on a technical level only happen when The Pokémon Company is given little incentive to fix these problems. When I interviewed collectors for the Van Gogh reseller story, Grace Klich, who owns one of the Pikachu-inspired Volkswagen Beetles known as Pikabugs, pointed out that The Pokémon Company has watched systemic issues sprout up in its community over the years, but hasn’t done much to address them. Sure, the company apologized this time, but it’s not making more of what people are asking for. They made their projected profits; what does it matter if people are upset by the same supply problems they’ve always been?
This extends to pretty much every pillar of Pokémon’s business. The merch can sell out before fans can buy it because a scalper’s money clears just as easily for The Pokémon Company as that of a dedicated fan who wanted a Pikachu plush for their shelf. Pokémon COO Takato Utsunomiya said this year that the company’s annual releases may not be sustainable, as it’s affecting the quality of games like Scarlet and Violet, which are largely defined by big ideas and squandered potential. But if they sell 23 million copies despite being raked through the coals for their poor technical performance, is anything actually going to change? If The Pokémon Company knows it can count on people to show up, no matter how poor or frustrating its offerings are, can the machine ever be stopped?
Last year, Pokémon Legends: Arceus and Scarlet and Violet showed that Pokémon is growing beyond simply banking on nostalgia. But 2023 showed that all of that growth can be squandered as it inevitably gets funneled back into the bottom line. The machine is pumping out Pokémon games, cards, merchandise, and collaborations at a rate only rivaled by the late ‘90s Pokémania era. And yet, with every botched launch and misguided decision, with the ongoing lack of real change, the facade of this most hopeful franchise gets increasingly exposed for the money-making machine it is underneath.
Activision Blizzard has been the subject of scrutiny for several years now, due to its widely criticized “Boys’ Club” corporate culture of sleazy shenanigans. And now, late on a Friday evening just before the holiday season begins in earnest, The Wall Street Journal reports the embattled gaming company announced on December 15 that it will pay $50 million to settle a 2021 gender discrimination and harassment lawsuit—the same lawsuit that seemingly prompted Microsoft’s landmark $69 billion acquisition of the Call of Duty and Overwatch publisher that was finally greenlit after an 18-month legal battle in October of this year.
What’s Coming Out Beyond Pokémon: The Indigo Disk | The Week In Games
California’s Civil Rights Department sued Activision back in 2021, claiming company leadership willfully ignored employee complaints regarding pay disparity, gender- and sexuality-based harassment, and discrimination.
Activision has repeatedly denied these charges. Company representatives have also claimed that an internal investigation by its board of directors concluded that the allegations against the company were without merit. When the Microsoft acquisition closed earlier this year, longtime Activision CEO Bobby Kotick was “asked” to stay for another two months, through the end of 2023.
According to the Journal, which broke the story regarding the settlement, the state of California had initially estimated Activision’s liability for a far greater amount than $50 million.
The state in 2021 estimated Activision’s liability at nearly $1 billion to 2,500 employees who might have claims against the company, court documents show. Activision had around 13,000 employees as of the end of 2022.
Citing anonymous sources familiar with the matter, the Journal goes on to claim that state agencies had “initially sought an amount much greater than the settlement Riot Games paid earlier this year to settle its lawsuit.” The Riot settlement in May 2023, which touched upon similar grievances relating to toxic workplace culture, resulted in a $100 million settlement for plaintiffs.
Gaming’s biggest night has come and gone, and perhaps the biggest surprise of all was just how little time devs were given to thank their family, fans, and recently deceased colleagues during their acceptance speeches. But before that, we finally got our first in-depth look at Rockstar’s GTA 6, the most anticipated game in a decade. Here’s your cheat sheet to the week’s biggest news.
Rockstar Games has confirmed that, at least at launch, the company’s long-awaited open-world crime sim, Grand Theft Auto VI, will launch on Xbox Series X/S and PS5 only, with no mention of a PC version. – Zack Zwiezen Read More
The Legend of Zelda: Ocarina of Time is often heralded as one of the best adventure games of the past 25 years. With the nefarious Ganon once again scheming to conquer the land, it’s up to Link to traverse through time, space, and yet another aggravating water temple to save the Kingdom of Hyrule. While the epic for the N64 is celebrating a major birthday this year, inspiring tribute mash-up videos and social media celebrations, another classic Zelda title is quietly celebrating a major milestone of its own. – Jen Glennon Read More
The Day Before kicked off 2023 as one of the most wishlisted games on Steam. Now, after endless controversies, the self-proclaimed open-world survival-horror MMO styled after The Last of Us is finally in Steam Early Access, and it’s getting panned. The first players to lay hands on the much-hyped zombie shooter are sharing footage of game-breaking glitches and leaving thousands of negative reviews. – Ethan Gach Read More
Overwatch 2 season eight begins today, December 5, but Blizzard showed off its new skins, events, and latest tank hero, Mauga, before kick-off. And the sentiment from players about the skins for season eight has been mixed—Baptiste’s formal wear is a standout, but it’s sandwiched between some real stinkers and an unremarkable Mythic Skin. But one cosmetic has stood out for all the wrong reasons: Mercy’s Year of the Dragon event skin. – Kenneth Shepard Read More
2023’s The Game Awards just wrapped. Did you watch it? Well, no worries if you missed it (or had something better to do) as we’ve rounded up every major game trailer and world premiere you could want to watch in a single sitting. So if you’re looking to check out a new trailer or catch up on all the games that were announced this year, you’re in the right place. – Claire Jackson Read More
A seven-second TikTok reverberated across the internet over the weekend, after it claimed to show the “first look” at in-game footage of a city in Grand Theft Auto VI, the open-world blockbuster whose official trailer is just a day away. Frantic speculation about whether the footage was real or not ensued, including unverified rumors that the leak involved a Rockstar Games developer’s own kid. – Ethan Gach Read More
While Sony acquired Destiny 2 maker Bungie for $3.6 billion in 2022, it repeatedly claimed the creator of Halo and other hits would remain an “independent subsidiary.” Now IGN reports that if Bungie’s sci-fi MMO keeps failing revenue targets, Sony could dissolve its existing board of directors and take full control of the roughly 1,100 person studio. – Ethan Gach Read More
After a long and tumultuous road, Cyberpunk 2077 appears to be getting its final major update today. The sprawling patch includes a new ridable metro system and more romance options, as well as a host of other tweaks, changes, and additions. Unless it ends up breaking something big in the game, consider patch 2.1 Night City’s last overhaul until Cyberpunk 2 arrives a decade or so from now. – Ethan Gach Read More
Happy Halloween! Ubisoft Netherlands invites you to celebrate the spooky festivities with AI-generated Assassin’s Creed art. Terrifying indeed!
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People first began to notice some of Ubisoft’s social media channels posting what appeared to be AI-generated versions of Assassin’s Creed art last night. A smoothed over, off-brand Ezio emerged on the French publisher’s X (formerly known as Twitter) account for Latin America. “In other amazing industry news here’s an official Ubisoft account with 300K followers posting AI art,” tweeted Forbes contributor Paul Tassi. The publisher’s post was mocked for making Ezio look like a Fortnite character and for one character in the background wielding gun grips like knives. The tweet was deleted soon after.
Not to be outdone, however, the Ubisoft Netherlands account followed up with its own AI-looking Ezio art complete with Jack-o’-lanterns. “Which Ubisoft game is perfect for this horrible evening?” the account asked in Dutch. Clearly the one the Assassin’s Creed maker was playing with fans’ hearts.
Ubisoft recently revealed that over 1,000 people have left the company in the last year as part of its “cost reduction” program. Some of those departures were voluntary, but others included layoffs across customer support, marketing, and other departments in Europe, the U.S., and elsewhere. “Ubisoft literally conducting layoffs this year and last month, and they’re posting AI art,” tweeted film concept artist Reid Southen. “Unbelievable. What the hell is the game industry doing right now.”
Still, over 19,000 people continue to work at Ubisoft, including many devoted just to the Assassin’s Creed franchise and all of its sequels, spin-offs, and other incarnations currently in the pipeline. Surely one of them could have made some art for the social media accounts. Or the company could have just used one of its many existing Ezio images. Anything would have been preferable to posting ugly AI-generated crap as thousands are laid off across the video game industry this year.
Fans have had to become increasingly vigilant in 2023 about companies trying to pass off AI-generated images in their marketing, as DALL-E 2, Midjourney, and other AI text-to-image models make it easier than ever to cobble together fake art. Amazon did it to promote its upcoming Fallout TV show. It sure seemed like Niantic did it to promote upcoming content in Pokémon Go. Legendary Studio Ghibli director Hayao Miyazaki calling AI art tools “an insult to life itself” back in 2016 has never felt so prophetic.
Bethesda’s newest giant role-playing game Starfield, which hit Xbox’s Game Pass service the day of its release, enjoyed a very loud launch last month.In fact, its developer singled it out as “the biggest Bethesda game launch of all time.” Now new data from consumer analytics company Circana backs up that boast with some numbers.
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If you look at Circana’s sales data for September, you’ll see that Starfield was the best-selling game in the U.S. that month. “Add-on spending,” like the $35 Premium Edition upgrade many Game Pass members tacked onto their free base game to get into its Early Access, wasn’t accounted for in the data, which makes Starfield taking the number-one dollars earned spot here even more impressive.
Really, Starfield achieved these record sales in spite of Game Pass, which parent company Microsoft reportedly recognizes causes a “decline in base game sales 12 months following their addition [to the service].” Starfield’s next 11 months of sales, then, could be more contentious. There are already signs of its fresh paint chipping.
On Steam’s global Top Sellers chart, the latest Bethesda RPG fell a steep 26 spots from last week’s placement to a miserly ranking of 45, sitting between The Division 2 (#44) and Lies of P (#46), the latter of which also seems to be suffering from dwindling hype. Starfield is performing a bit better on Steam’s U.S.-only chart, lazing around the 27 slot, though it dropped 12 spots from its ranking there last week.
Big releases, especially during this packed October, keep threatening its standing. Mortal Kombat 1 and EA Sports FC 24 are right behind Starfield in September U.S. sales, Circana’s chart indicates. By some wizard magic, Hogwarts Legacy was the U.S.’s fifth bestselling game in September, though its concurrent player count seems to be shrinking ahead of its Switch port’s upcoming November 14 release.
The wizard game’s surface-level magic has carried it pretty far, though—Circana’s analysis positions Hogwarts Legacy as the bestselling game of 2023 so far. And, to Starfield’s credit, its first month was impressive enough to help it creep up to the year’s number-seven spot, right under Star Wars Jedi: Survivor. There are worse places to be.
When speculation rife that Microsoft expects to finalize its purchase of Activision Blizzard this week, and COD: Modern Warfare III out in a month, it seems people have been wondering when Activision’s games will start appearing on Microsoft’s Game Pass. According to a tweet from Activision Blizzard, it should be some time next year.
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The entire debacle of Microsoft’s attempts to buy Activision Blizzard feels it has been clogging up gaming news for years. In fact, it all started only last January, but followed hot on the heels of months of grim and gruesome reporting on the heinous working conditions at the developer’s various studios. This week could see that enormous, shitty chapter come to a close. Presumably so another enormous, shitty chapter can start.
But still, more games on Game Pass!
“As we continue to work toward regulatory approval of the Microsoft deal,” said Activision Blizzard on X, “we’ve been getting some questions whether our upcoming and recently launched games will be available via Game Pass.”
The Verge reported on Friday that Microsoft is getting ready to close the $68.7 billion deal, with October 13 thought to be the Big Day. Of course, this is all being held back by the UK Competition and Markets Authority (CMA), which is the one international regulator that managed to decisively block the deal. However, being the UK’s CMA, it did it in the most cack-handed way, blathering on about unfair market control of cloud gaming, or some-such abstract technicality.
This complete whiff, entirely ignoring the concerns of, you know, Microsoft forming an actual monopoly, ensured a pathway for the two corporations to renegotiate arrangements such that it would avert the CMA’s peculiar strategy, and a couple of weeks ago it was provisionally stated it had succeeded. We should be finding out this week if the CMA is entirely satisfied, and given that’s likely to be the case, signet-ring-bearing hands will shake and overpriced Champagne shall be popped, as a bunch of extraordinarily rich people stand to get even richer.
“While we do not have plans to put Modern Warfare III or Diablo IV into Game Pass this year,” continues that Activision tweet, “once the deal closes, we expect to start working with Xbox to bring our titles to more players around the world.” So when? “And we anticipate that we would begin adding games into Game Pass sometime in the course of next year.”
It’s oddly slow, if anything. They’ll be the same company, and they’ve known they would been the same company for the last 20 months, so it seems strange that it’ll take another few months before Microsoft will be hosting what will suddenly become first-party games on its own streaming service.
There’s one small cloud hanging over their grey-suited celebrations: the FTC still has an appear in with the Ninth Circuit Court of Appeals, and that decision won’t appear until December. Should it succeed, it would then become about trying to undo the already sealed deal, which would be a whole other level of difficult, and no one surely believes the FTC has the teeth or the fight in it to win.
So, the industry shrinks yet again, with less competition, fewer major publishers attempting to outsell each other, and so less choice and worse prices for the gaming public. It doesn’t seem like the games industry can be far away from the monstrous and idiotic situation of the music industry, in the control of the Big Four record labels. It certainly seems unlikely that any regulatory bodies will be able to stop it, either way.
But you know, you can get next year’s COD on your subscription, so shhhhh.
Play it on: PS5, PS4, Xbox Series X/S, Xbox One, Switch, Windows (Steam Deck: YMMV) Current goal: Bring some game history to life (and survive the damn bird)
“Wait,” I hear you saying. “You’re playing something called The Making of Karateka? That sounds like a documentary, not a game!” Well, my friend, it’s both!
Karateka is a hugely influential and important game from 1984, designed by Jordan Mechner, who would go on to create the original Prince of Persia, among other well-regarded games. This new release from prestige emulation studio Digital Eclipse lets you play Mechner’s classic, of course—multiple versions of it, in fact, as it was released for numerous platforms in the ‘80s. But it aims to do more than that. Through interviews, archival materials, and other supplements, it aims to contextualize Karateka within the larger scope of game history, providing insight into what makes it significant, and why we should still appreciate it today.
I often lament that game history—even from as recently as 40 years ago—is so often overlooked and erased, as many people playing and writing about games today simply lack a real awareness of or interest in the age of Atari and Apple IIc. It’s very important to me that it not be forgotten, and that the games of that era continue to be recognized for both their significance to the medium’s development and for the playability and enjoyment they can still offer today. I haven’t even fired up The Making of Karateka yet, but if Digital Eclipse’s recent release, Atari 50, is any indication, this one will also do a wonderful job of illuminating an important piece of game history.
The studio is calling this the first in its Gold Master series. I very much hope that it’s successful enough to be merely the first of many. Game preservation guru Frank Cifaldi recently said on Twitter, “If the world is to take video games seriously as an art form, we must be able to support products like this.” I strongly agree. — Carolyn Petit
