At the Academy of Interactive Arts & Sciences in Las Vegas tonight Clair Obscur: Expedition 33 took home an impressive five of the awards across 23 categories, including Game of the Year.
The Sandfall Interactive game has been a critical hit and a stand out at award shows since it was released in April 2025, and the development team was even given the status of Knight under the French Order of Arts and Letters in recognition of its work.
Ghost of Yotei took home three awards, including Outstanding Achievement in Character, while Arc Raiders won Online Game of the Year. Naughty Dog’s Evan Wells, former president and co-founder at the studio, was inducted into the AIAS Hall of Fame.
“The games recognized at this year’s D.I.C.E. Awards showcase the extraordinary range of talent and creativity that define our industry,” said Meggan Scavio, President of the Academy of Interactive Arts & Sciences.
“It’s inspiring to see how these developers continue to elevate interactive entertainment through innovation, storytelling, and meaningful player experiences.”
This year the DICE Summit also marked the passing of Vince Zampella, the co-creator of the Call of Duty franchise, co-founder of Infinity Ward, and co-founder of Respawn Entertainment, who passed in December 2025. Hideo Kojima, Phil Spencer, Todd Howard and others from across the industry spoke about how his work had impacted both the world of video games, and them as people.
DICE Awards 2026 Winners
Outstanding Achievement in Animation – South of Midnight
Outstanding Achievement in Art Direction – Clair Obscur: Expedition 33
Outstanding Achievement in Character – Ghost of Yōtei – Atsu
Outstanding Achievement in Original Music Composition – Ghost of Yōtei
Outstanding Achievement in Audio Design – Death Stranding 2: On the Beach
Outstanding Achievement in Story – Clair Obscur: Expedition 33
Outstanding Technical Achievement – Death Stranding 2: On the Beach
Action Game of the Year – Hades II
Adventure Game of the Year – Ghost of Yōtei
Family Game of the Year – LEGO® Party!
Fighting Game of the Year – Mortal Kombat: Legacy Kollection
Racing Game of the Year – Mario Kart World
Role-Playing Game of the Year – Clair Obscur: Expedition 33
Sports Game of the Year – Rematch
Strategy/Simulation Game of the Year – The Alters
Online Game of the Year – Arc Raiders
Immersive Reality Technical Achievement – Hotel Infinity
Immersive Reality Game of the Year – Ghost Town
Outstanding Achievement for an Independent Game – Blue Prince
Mobile Game of the Year – Persona5: The Phantom X
Outstanding Achievement in Game Design – Blue Prince
Outstanding Achievement in Game Direction – Clair Obscur: Expedition 33
Game of the Year – Clair Obscur: Expedition 33
Rachel Weber is the Head of Editorial Development at IGN and an elder millennial. She’s been a professional nerd since 2006 when she got her start on Official PlayStation Magazine in the UK, and has since worked for GamesIndustry.Biz, Rolling Stone and GamesRadar. She loves horror, horror movies, horror games, Red Dead Redemption 2, and her Love and Deepspace boyfriends.
Fatal Frame 2: Crimson Butterfly Remakedoesn’t open with a jump scare; it opens in a trance. As Mio, you watch helplessly as a crimson butterfly lures your twin sister, Mayu, into a fog-covered forest. There, the Lost Village swallows her whole. For over twenty-two years, this scene has haunted fans, myself included. Seeing the village emerge from the mist, modern lighting draping every rooftop and tree branch in dense volumetric fog, I knew immediately: this isn’t a low-budget remaster. The dread in Fatal Frame 2 stems not only from the individually named wraiths stalking you through its haunted Japanese village – a place trapped in a festival of death – but also from the way Mayu grips your hand, dragging you toward dangers you’re unprepared for. After roughly four hours with the first four chapters on PC, this remake already has its hooks in me — not only is it a faithful yet modernized take on what many consider the scariest game ever, its added visual fidelity makes the core mechanic of looking directly at what’s trying to kill you that much harder to endure.
Fatal Frame 2’s central mechanic remains one of the cleverest in survival horror. Your primary weapon is the Camera Obscura — a modified camera that damages wraiths by photographing them. That’s it. No shotguns, no grenades stashed in a locker. You point a camera at something terrifying, and you take its picture. The series has been doing this since 2001, and it’s still unlike anything else in the genre.
The Camera Obscura uses focal points: crosshairs that identify a wraith’s weak spots. Aligning more of these points when you take a photo increases the damage dealt. You can upgrade these focal points with prayer beads found throughout the environment, making each shot more lethal and rewarding exploration in classic survival horror style. But your camera can also deliver special shots that require willpower, and the effect varies depending on the equipped filter. While auto-focus helps you lock onto targets, manual focus rewards precision with more serious damage. And, despite Fatal Frame 2’s penalties for proximity, keeping the viewfinder pulled back and standing dangerously close to a spirit was often the better strategy for dealing more damage and taking control of a fight.
However, willpower is a limited and valuable resource. If you get too close, a wraith will drain your willpower, leaving you vulnerable to a leering attack that flashes your screen and momentarily steals control, or allows the wraith to strike you more easily than it would at range.
Film types serve as your ammunition and create their own layer of resource tension. The basic Type-07 film is infinite but reloads slowly and hits weakly, while stronger film like the Type-61 deals significantly more damage but caps at eight shots and must be scavenged, as you can’t buy more when you run out. Interchangeable filters add further complexity: the Standard Filter stuns enemies, the Paraceptual Filter blinds them at range and can eventually be upgraded to see through walls, and the Exposure Filter can unlock secret items and areas by reconstructing certain scenes with the Phantom Exposé mode. Each filter has its own upgrade path covering range, reload speed, and special shot duration, and since special shots cost willpower, you’re also incentivized to invest your limited prayer beads into upgrading willpower recovery at the expense of raw damage. There’s a lot of strategy here for players who want to dig into Fatal Frame 2’s intricate system.
There’s a lot of strategy here for players who want to dig into Fatal Frame 2’s intricate system.
This excellent combat loop revolves around timing. You enter camera mode by holding the left trigger, frame the wraith with the right thumbstick, and slam the right trigger to activate the shutter. But your shots will typically be weaker unless you wait for it to telegraph an attack — you’ll hear the wraith moaning while the screen flashes red — and then you hit the shutter for a Fatal Frame shot, which staggers the spirit and deals massive damage. Nail one while a wraith is already vulnerable and you trigger Fatal Time, a window for rapid-fire photos that automatically burns through your basic Type-07 film. The whole system punishes impatience and rewards the nerve to stand still while something horrible lunges at you, but it is slow. Deliberately so. Film reload times are long, enemies take a while to go down, and the rhythm of shooting, exiting camera mode, backpedaling, and re-entering is methodical by design — kinda like jousting, but with a camera instead of a lance. When the atmosphere is doing its job, which it usually is, the deliberateness feels meditative. Whether it stays that way across a full campaign is one of the bigger questions this preview can’t yet answer.
Through the Viewfinder
Three difficulty modes are available: Story, Normal, and Hard (Battle). Each is meaningfully tuned, with harder settings increasing wraith damage while rewarding more Photo Points for skilled shots. Those points feed into an item shop where you can purchase healing items and equippable stat-boosting charms, creating a risk-reward scale that shifts rather than simply punishing the player. I played most of the preview on Normal before switching to Story after Chapter Three. Even in Story, enemies hit hard enough to maintain tension — meaning these difficulty modes preserve the horror rather than trivialize it.
Speaking of customizing the experience, I previewed Fatal Frame 2: Crimson Butterfly Remake on a machine equipped with a Ryzen 3900X, RTX 4070 Ti, and 32GB of RAM at 3440x1440p ultrawide with max settings. In typical PC gamer fashion, my first adventure was the options menu itself, which deserves mention for its satisfying granularity. You can adjust vibration intensity separately for damage feedback, item searching, and even how hard Mio’s heart races during cutscenes. You can fine-tune camera behavior down to obstacle avoidance and rotation inertia; customize your graphical settings with precision; and even change the Camera Obscura’s viewfinder style between a classic and modern look. If you can imagine a setting, this remake probably has it. It also ships with both English and Japanese audio, which is a welcome touch for a series with such deep roots in Japanese horror.
PC players expecting an unlocked frame rate should note that it is capped at 60fps. Considering the attention to detail in areas like viewfinder styles and vibration settings, Fatal Frame 2’s lack of broader accessibility features stands out. It already offers a deep UI and subtitle scaling, customizable text colors, named character labels, and text backgrounds — a solid foundation. However, the absence of screen reading or colorblind modes is particularly striking for a game built around photographing ghosts, where visual feedback like crosshair lock-ons, screen flashes, and color inversions drive the core loop. Screen reader support for the extensive menus, item descriptions, and collectible documents seems a natural extension of the text customization already in place. Games like The Last of Us Part 2 have shown that colorblind accessibility can be addressed through audiovisual indicators that don’t rely on color alone, an approach that could work here without undermining the atmosphere.
Spirited Away
Fatal Frame 2’s engrossing story centers on twin sisters Mio and Mayu, who stumble into Minakami Village — a place that vanished from a mountainside on the night of a failed ritual. The village was built over a gate to the underworld called the Hellish Abyss, and its residents performed a gruesome twin sacrifice to keep it sealed. When the ritual failed, the village was consumed by mist, and now it’s full of restless spirits who want to reenact the whole thing using you.
The story setup hooked me immediately. Every room feels handcrafted to maximize unease — items clattering off shelves in adjacent hallways, rain pattering against rooftops while ghosts stalk corridors, the distant wail of a wraith telling you exactly where it is and exactly why you shouldn’t be there. The sound design is relentless. Everything is precisely mixed, which makes the jump scares land harder because the baseline atmosphere is already ratcheted tight. Reach out to pick up an item, and a wraith may grab your hand instead, draining your willpower until you frantically mash the A button to shake it off. It’s a small touch, but it means even looting feels dangerous.
Each ghost has a name and backstory you can piece together through collectible documents and a spirit list that catalogs every encounter: the drowned woman on the bridge, the woman sealed in a box, the spirit in the Osaka house still searching for her lost boyfriend Masumi. It goes deep into the lore as well: by digging into the richly detailed village for scraps of lost journals and other items left behind, I uncovered that Masumi was a folklorist’s assistant who vanished while surveying a forest slated for a dam, only for his girlfriend Miyako to follow him into the mist and meet the same fate.
She’s the spirit I fought in the Osaka house, and I loved playing through an entire 30-minute side quest dedicated to demystifying her background. Throughout the campaign, you photograph the former residents’ spectral remnants and slowly build a picture of the tragedy that consumed Minakami Village, giving Fatal Frame 2 a level of world-building that rewards curiosity without requiring it and gives every encounter a layer of melancholy underneath the fear.
Outside of combat, Fatal Frame 2 plays like a classic Resident Evil game, and that’s a specific comparison.
The preview build also featured the Kusabi, a massive, unkillable entity that patrols certain areas. When it shows up, you can’t fight it; you hide. It drains your willpower on contact, forces your screen into black and white, and disables the Camera Obscura entirely. One extended sequence in the Kurosawa mansion strips you of your flashlight while the Kusabi hunts you through dark hallways, and it’s the most effective horror set piece in the preview. It’s the kind of sequence that makes you realize how much the Camera Obscura normally functions as a security blanket.
What in the Junji Ito?
Outside of combat, Fatal Frame 2 plays like a classic Resident Evil game, and that’s a specific comparison. Players navigate interconnected rooms, find keys, solve puzzles to unlock new areas, and occasionally discover that previously safe rooms now contain threats. Save points can be blocked by enemies. The structure creates a loop of dread, relief, and fresh dread that survival horror fans will immediately recognize.
Puzzles are straightforward — one has you arranging dolls on a temple altar based on clues from a photograph — but they’re woven into the environmental storytelling in ways that keep them from feeling like arbitrary roadblocks. Hidden collectibles include pairs of twin dolls that unlock items at the Photo Point exchange shop when photographed together. The previously mentioned Phantom Exposé system lets you recreate old photographs found in the environment to reveal hidden items. You match the framing of an old photo to uncover something that had vanished, giving genuine reason to revisit earlier areas with fresh eyes and a charged filter.
Additionally, your flashlight helps spot items but makes it easier for enemies to detect you, adding a stealth element that feeds directly into the tension. Some areas are better to sneak through if you can’t afford to fight a wraith head-on, and running away from a fight to the nearest save point is usually an option. It’s great that you heal automatically at save points, and while holding Mayu’s hand also regenerates health, she was separated from Mio for two full chapters during the preview, leaving me reliant on rare healing items and careful play. Equippable charms provide small stat boosts — the Moonstone extends your dodge window, while Mayu’s Charm increases health recovery when holding hands. They’re small build decisions that add texture without overcomplicating things.
Finally, Fatal Frame 2 Remake’s controls feel deliberately stiff — you dodge on A, crouch on B, and open your inventory on X. There’s also some inertia when entering and exiting the Camera Obscura’s viewfinder with the left trigger. This layout makes sense after a while, but during the first two chapters, I often fumbled for the right input with a wraith bearing down on me. Depending on your tolerance, that’s either a control issue or a horror feature.
Point and Shoot
It took roughly four hours to clear the first four chapters, partly due to combat difficulty and partly because the world rewards exploration, with plenty of nooks and crannies to dip into while scavenging for critical items and uncovering the elaborate depth of Minakami Village itself. The graphics and UI translate well to ultrawide, and fans will find the rebuilt classic scenes rich with detail. But some questions do remain about how well the rest of the campaign fares. The 60fps cap is an annoying albeit forgivable ceiling; the deliberate combat pacing could grow tiresome over a full campaign. It’s also too early to tell how faithfully the remake handles the original’s multiple endings, although Fatal Frame 2’s history and the deft handling of its campaign so far suggests greater narrative complexity ahead.
The Camera Obscura system remains unique in survival horror, the atmosphere is thick enough to feel physical, and the storytelling rewards the slow, careful attention this genre demands. If you loved the original, this is shaping up to be a worthy reintroduction. If you’ve never played Fatal Frame, this is the place to start — the entries are largely standalone, and this one was already considered the best back in 2003. Fatal Frame 2: Crimson Butterfly Remake launches for PC, PS5, Switch 2, and Xbox Series on March 12, 2026.
Tonight has brought our best look yet at Silent Hill: Townfall, the next installment in Konami’s classic survival horror series that’s set and developed in Scotland.
In an initial trailer shown during Sony’s State of Play broadcast, and then Konami’s own dedicated Silent Hill Transmission show, fans got to see the suitably foggy setting of St. Amelia and the game’s protagonist Simon Ordell, all in Townfall’s first-person perspective.
Made by Scottish development team Screen Burn (of Stories Untold and Observation fame) and published by Annapurna Interactive, the game looks set to offer a unique take on the Silent Hill formula, while still retaining some core elements.
So, yes, you can defend yourself from horrible-headed enemies with planks of wood, pipes and a pistol. But you can also use stealth to sneak and hide — equipped with a portable “CRTV” device.
The analog-looking CRTV handheld is a tool to deliver narrative (and you’ll need to tune it during gameplay) but also a clever way to show the outlines of enemies while you’re ducked behind cover. The outlines of said enemies show up in its static, which is a clever touch.
Townfall’s story is designed to be something of a mystery, with Ordell repeatedly waking up in St. Amelia. One moment in the Silent Hill Transmission highlighted the fact he was wearing a hospital tag on his wrist. Could it all be a dream, or hallucination from within a coma?
Tonight’s look at the game concluded without any further word on when we’ll get to play Townfall ourselves. (Several references to 8-19 in the trailer had me thinking it was set for an August 19 date, but alas this was not confirmed.) It is, however, now available to wishlist on PlayStation, and on PC via Steam and the Epic Game Store.
After a significant delay and a rocky 2025, Bungie shared another look at Marathon at the February 2026 State of Play, reaffirming its March 5 release date with a weeklong server slam.
The former Halo developer took to today’s presentation to show off more of its sci-fi extraction shooter. Those excited to see how it lives up to the studio’s legacy can hop in early as part of an upcoming server slam, which is scheduled to take place from February 26 through March 2.
In a separate video, Bungie outlined exactly what the Marathon server slam grants access to and how participants will be rewarded. In addition to pre-launch access to two playable zones and six runner shells, players will be able to take on opening contracts for five factions. Progress grants bonus loot at launch.
Michael Cripe is a freelance writer with IGN. He’s best known for his work at sites like The Pitch, The Escapist, and OnlySP. Be sure to give him a follow on Bluesky (@mikecripe.bsky.social) and Twitter (@MikeCripe).
Konami has finally revealed Metal Gear Solid: Master Collection Vol. 2, promising to bring remasters for Metal Gear Solid: Peace Walker and, yes, Metal Gear Solid 4: Guns of the Patriots, to PlayStation 5 (PS5) later this year.
The publisher pulled back the curtain to announce its long-awaited follow-up bundle at the February 2026 State of Play. It’s confirmation that two classic tactical espionage action titles are getting touch-ups, but more importantly, it means MGS4 will finally leave its PS3 prison when the collection launches August 27, 2026. It’s at least coming to PS5, with additional platforms unclear for now.
Creator Hideo Kojima’s fourth mainline Metal Gear Solid game features David Hayter as an elderly Solid Snake and was originally released for the PS3 in 2008. It’s also remained on this one platform since, meaning only those who own the 20-year-old console have been able to (officially) play it. Now, after 18 years, Old Snake’s story will be available to experience elsewhere.
Also included in Metal Gear Solid: Master Collection Vol. 2 is 2010’s MGS: Peace Walker. The game originally launched for PSP and later came to the PS3 and Xbox 360. Even without confirmation regarding what changes the Master Collection Vol. 2 brings, most fans would probably agree that ports for each of these games are long overdue.
Michael Cripe is a freelance writer with IGN. He’s best known for his work at sites like The Pitch, The Escapist, and OnlySP. Be sure to give him a follow on Bluesky (@mikecripe.bsky.social) and Twitter (@MikeCripe).
Metal Gear Solid creator Hideo Kojima and Vince Zampella, co-creator of the Call of Duty, Infinity Ward, and Respawn Entertainment, apparently discussed an “FPS version of Metal Gear” sometime after Metal Gear Solid 4 came out.
This comes from Kojima himself, speaking via pre-recorded video at the DICE Summit 2026 in Las Vegas in a tribute to Zampella, who passed away in December at the age of 55. As a part of the conference’s keynotes, industry luminaries including Kojima, Phil Spencer, Geoff Keighley, Todd Howard, Laura Miele, and others spoke at length about Zampella’s contributions to the industry as well as their personal relationships with him.
Kojima appeared several times in the video to speak about Zampella. In one of his segments, he said, “I’ve kept this quiet for a long time but after Metal Gear Solid 4 came out, we actually talked about making an FPS version of Metal Gear.”
Kojima continued, saying that he and Zampella spoke about it, but the game never happened. Zampella went on to found Respawn, but even though they didn’t make a Metal Gear together, Kojima says Zampella gave him a lot of advice and support when he left Konami. Kojima even apparently incorporated some aspects of what he saw at Respawn into his own studio, Kojima Productions.
Zampella’s sudden passing rattled much of the industry, as he was beloved by many throughout his lengthy career across multiple studios and projects. In addition to co-creating Call of Duty and the studio behind it, Infinity Ward, Zampella also founded Respawn Entertainment, which created hits such as Titanfall, Titanfall 2, Apex Legends, Star Wars Jedi: Fallen Order, and Star Wars Jedi: Survivor. His final gaming contribution was as director of the recently-released Battlefield 6.
Earlier, we covered other remarks from Zampella’s peers made at DICE, including comments from Keighley, Spencer, and more. As Kojima concluded, “I hope people will look to Vince as a model and aim high.”
Rebekah Valentine is a senior reporter for IGN. Got a story tip? Send it to rvalentine@ign.com.
Image credit: Gilbert Flores/Variety via Getty Images
On his RTGame channel in 2021, YouTuber and streamer Daniel Condren made headlines by dragging countless NPCs from a Hitman level into a walk-in freezer, in an attempt to simultaneously kill every single NPC in one map. He didn’t quite succeed. Now, he’s made another go at it, using the gigantic grape press in the winery that is Hitman 3’s final map. And this time, it went better.
You can watch it take place in a 40-minute edit of the stream. Well, actually the edit seems to be of two streams – in the first, he drags the NPCs one-by-one to smash them after knocking each one out with a baseball bat. That takes over 15 hours, according to the timer at the top of the stream. Then, the video cuts to what looks to be another stream, started at 5 hours and 49 minutes in, after he had dragged each body to the area just in front of the press, ready to be crushed by Condren’s cruel hitman.
For over an hour after that, he hauls each body beneath the press, framerate tanking every time the pile of bodies enters the camera’s view. A few game crashes later, and at about 7 hours and 13 minutes (again, according to the timer at the top of the screen), he’s done it. Elated and sounding a little like a cartoon despot, he hits the grape presser’s start button and smashes… most, but not all, of the NPCs. A second run of the press takes care of the last few. He then finds another body elsewhere in the winery that he’d either missed or that had been glitchily hucked there.
So Condren didn’t quite meet his mad goal of simultaneously making wine out of all of the level’s NPCs like some deranged, murderous Lucille Ball, but he got close enough for blues. He certainly seems pleased at the end when he adds, “And a shout-out to the population of Mendoza, Argentina. We love you guys. And you make a great beverage.”
Wes is a freelance writer (Freelance Wes, they call him) who has covered technology, gaming, and entertainment steadily since 2020 at Gizmodo, Tom’s Hardware, Hardcore Gamer, and most recently, The Verge. Inside of him there are two wolves: one that thinks it wouldn’t be so bad to start collecting game consoles again, and the other who also thinks this, but more strongly.
There’s an old refrain among comedians that no joke survives its retelling, and you don’t need to look any further than the shoddy track record of comedy movie sequels to see the truth in that. Fortunately, funny video games tend to fare much better, from Borderlands 2 to Portal 2, and so you would hope that a weird, deeply inappropriate game about drugs and talking guns like High On Life 2 might enjoy the same kind of evolution. In some ways it does just that, with many of its existing bright spots shining even more brightly – the lovable weapons that serve as your companions are more amusing than ever, and movement outside of combat is greatly improved by radical new skateboarding mechanics. But other areas don’t hold up as well, like the significantly less polished story, jokes that don’t land quite as often, and performance issues that are even more shaky than the first game. I still enjoyed my time with High On Life 2, and truly relish the opportunity to return to a world this goofy any chance I get, but this is definitely closer to Zoolander 2 than 22 Jump Street.
High On Life 2 picks up right where our foul-mouthed cast of characters left off… sort of. After a dizzyingly fast intro recaps the events of the first game and gets you back into the action, you find yourself on the wrong side of the law and ready to begin the familiar process of hunting down a list of baddies to bring down an evil organization. Instead of a drug cartel, this time the villain comes in the form of a pharmaceutical company that I felt no guilt killing off members of over the course of the roughly 10-hour campaign, now playing the role of rogue assassin as I ply my trade of death illegally – a nice twist to the otherwise nearly identical setup of the original.
Sadly, the story built around this string of over-the-top murder missions is a bit sloppy, with a couple big reveals that don’t really land and a surprising number of monologues to explain motives and technologies. There’s a shocking amount of “tell, don’t show” for a game that is typically very intentionally about not sweating the details and following the rule of cool. It sorta reminds me of a D&D campaign that’s gone on way too long and starts to feel like the DM is twisting himself in knots trying to get to that cool payoff, missing the mark too often in the process. The good news is that the plot at least moves along at a pretty fast clip with a steady stream of silly gags to keep you guessing, even when the story gets messy.
Speaking of silly gags, like its predecessor, this is an adventure that relies a whole lot on the success of its goofiness and whimsy, and there are plenty of laugh out loud moments to be had. The high points are extremely memorable, like when you fight an incredibly annoying boss who transports himself inside your menus and starts messing with your game settings (appropriately voiced by the legendary Richard Kind), or when one mission concludes with a murder mystery that has you gathering clues and interrogating witnesses instead of shooting guns. Sometimes the lowbrow humor also just hits, like a side quest where someone wanted me to help them find a bridge troll and…y’know, I think I’ll just leave it at that. High On Life 2 is at its best when it’s trying weird and creative things, and when it manages to pull that off, there’s really nothing quite like it.
I was having the most fun when it was trying new stuff, and the least when it was retreading old bits.
That talking Aussie blade cuts both ways though, as jokes fall flat a tad too often in this sequel, and it’s pretty tough to watch when they do. Granted, it’s always harder to pull off gags in a world that has had a lot of its juice squeezed out already – we know about the species of sentient guns, for example, and have already had most of the funny moments we’re going to get out of that surreal experience – but some of the jokes are quite literal repeats of things that happened in the first game. If I was having the most fun when High On Life 2 was trying new stuff, I was having the least when it was retreading old bits or just throwing a couple curse words onto the end of a sentence in lieu of actual punchlines.
The stars of the show in the original were the gun companions you met and befriended along the way, and that certainly remains true in this follow-up. Meeting a down on his luck pistol named Travis (who has a charmingly dorky voice from Ken Marino) and reuniting him with his estranged wife is both a satisfying arc and a clever way to introduce the first dual-wielded weapon when his spouse joins the party (I do wish they’d make out less though). All four of the new gun companions are awesome and have helpful abilities in both combat and puzzle-solving, like Sheath, whose harpoon “trick hole” attack can impale people during fights and create ziplines while platforming. Plus, most of the OG Gatlians make a return as well, including my favorite partner in crime (literally this time), Gus, the shotgun who looks like a frog and has the unmistakable voice of J.B. Smoove. Hell yeah.
Unfortunately, a wider variety of guns hasn’t done much to make the sloppy and overly simplistic gunplay any better – in fact it even feels a touch worse. Some of the new weapons are quite crisp compared to the wonky slugthrowers of yore, especially Sheath’s burst-fire that reminds me of the battle rifle from Halo. But with so many enemies and projectiles flying around, claustrophobic rooms with odd geometry that enemies get caught behind and within, and weapon accuracy being a bit all over the place, combat leans into chaos more than anything else. Most of the time that’s fine because you’re playing a game that’s all about over-the-top nonsense, but when you occasionally die due to unfair circumstances or when a fight drags on for a bit too long, it can kill the mood. To its credit, the enemy variety is mostly decent, with a stream of ugly new creatures to blast apart introduced at a steady clip, from flying robotic freaks to spooky, scary skeletons – but if you were looking for a polished FPS with gunfights that feel at all coherent, look elsewhere.
The biggest and most interesting change with High On Life 2 is mobility, as you’re given a trusty skateboard in the opening minutes that serves as your travel companion throughout the adventure. Instead of fighting on foot, most encounters highly encourage or outright require you to be grinding on rails, riding on the sides of walls, and soaring through the air on your skateboard. When it comes to traveling from place-to-place or navigating your way through platforming sections, this is pretty awesome, and a shocking amount of your time will be spent rolling around like you’re playing Tony Hawk’s Pro Skater. I didn’t really expect the skateboard to play such a big role, but honestly I can’t imagine going back to the relative sluggishness of running around on foot.
In combat, the skateboard’s influence isn’t so positive. You’re seemingly expected to never stop moving while fighting hordes of aliens, which makes the already chaotic encounters even more noisy and hard to read. Many fights take place in open areas where you’re surrounded by more bad guys than you could possibly keep track of, and staying put is a death sentence with so little cover, so you’ll have to take shots at passersby while leaping from various parts of the environment to keep yourself going as fast as you can. Combine that juggling act with slippery weapons, enemies that teleport around, and weird foes that are often hard to even understand what you’re looking at, and oh boy, the result is just an absolute diarrhea of pixels.
Those pixels seem to be pushing High On Life 2 to its limits as well, because I saw frequent framerate dips (some that caused my screen to freeze for several seconds before getting it together) and progress-hindering bugs that required me to reload the last checkpoint. Developer Squanch Games did include “various performance issues across the game” on a list of known problems with the review build that will apparently be addressed by a patch, but it didn’t specify the extent to which those would be resolved – and in my experience, a day-one patch rarely makes all of a game’s performance problems magically disappear when they are this extensive. Nothing I saw struck me as game breaking beyond a simple reset, but it was consistent and egregious enough to make me worried for the stuff people will find when this is out in the wild.
There are quite a few modern first-person shooters taking notes from the bullet hell arcade games from yesteryear. Games like BPM or Deadzone Rogue throw walls of projectiles and fodder enemies at you, and demand you thread yourself through them like a gun-toting needle to return fire without getting obliterated. Luna Abyss joins these ranks but certainly stirs the formula up a bit. When we took a look at the first level of gloomy sci-fi shooter a couple of years ago, we saw just enough to get intrigued by the potential quivering in the crimson glow between all of its shadows. Now that we’ve gotten our hands on a bit more, being introduced to a new weapon, movement mechanics, and a killer boss fight, I can safely say that the optimism was justified.
Warm-Up Round
I was dropped right back into Sorrow’s Canyon, a prison colony with the most accurate name in the universe. The grimy metal halls, scaffoldings, and makeshift walkways made out of piping mixed with occasional stone floors and weird organic growths all give a sort of Chronicles of Riddick, grim dark gothic energy. Giger-esque, without all of the phallic stuff. It certainly doesn’t matter what anyone was actually doing in a place like this before our hero, Fawkes, wakes up in an open coffin, finds a nifty gun, and starts shooting them all, because most of the things that move around down here that aren’t you are mindless husks who want to destroy you.
The almost sardonically chummy tone in which the sudden guiding voice in Fawkes’ ear, Aylin, takes with her charge does help add a bit of texture to what comes off as a pretty standard “everything here sucks and is bad” aesthetic. Most people, likely including her, would rather not be trapped here, but she is dangerously close to sounding like she’s having something that resembles fun, and that does make me want to know what this world is hiding, at the very least. It sits in contrast with the only other non-enemy character you meet in the demo, The Waif, who gives guidance in solemn riddles like a depressed Tom Bombadil.
Then I played the new additional mission from further into the game and…yeah, Luna Abyss might be cooking with gas.
Gliding from room to room, strafing gracefully through enemy fire and returning with blasts of your own is a breezy process, thanks to the aim function that auto locks to the enemy closest to your crosshairs, letting you focus more on the moving than the aiming. I liked this at first, taking the mental load off of trying to line up shots while gliding from cover to cover helps you focus on defense. But as the encounters progressed, the challenge didn’t really follow suit. Skull-faced drones chased me around the room while floating eyeballs fired from floating perches, but things didn’t get anywhere near too hairy to deal with in the canyon.
The Water Begins to Simmer
I found a second weapon, a shotgun that specialized in shutting down gleaming blue shields, and some nuance and complexity started to reveal itself. Some enemies now were cloaked in these barriers, which had to be shattered by the shotgun before doing damage to them directly. Now I was sliding from cover to cover, switching back and forth between weapons to make certain enemies vulnerable while trying not to overstay my welcome in any one spot for too long. That auto lock feature began to make more sense, but still, I found getting to the end of the Canyon to be a pretty tame experience. I know this was the extent of the original demo, and I can see walking away from this feeling tepid about what the future could hold for this goth-person shooter.
Then I played the new additional mission from further into the game and yeah, Luna Abyss might be cooking with gas.
Full Boil
The Scourge Crater is a snowy, craggy mountain face with floating platforms and a heaping helping of sunlight and sky. There are a lot of floating bits of rock and far away platforms that put Fawkes’ new double jump and air dash to great use. Theres no real indication to what has happened to Fawkes between the Canyon and now to give them these powers, likw the ability to execute low health enemies to regain health, but I don’t necessarily require exposition every time theres an opportunity to do something badass.
It doesn’t take long to find a new weapon, a long ranged rifle that does big damage, but overheats in just a handful of shots (unlike your standard gun or shotgun that you can squeak many more rounds out of before havin g to cool it down). New enemies come with it, like some floating bundles of death that explode when touched, or a larger, scarier eyeball creature with its one big single-shot laser. This new weapon comes with a new color of shield to dispatch, too.
When we get off to the races, moving from little island to little island, staying fast on the trigger for the new enemies that pop up at a brisk pace, and staying on top of what the necessary weapon to take them down with was the faster-paced slobberknocker I was looking for. It’s not quite Doom-levels of expressive combat – every enemy there has a best weapon to kill them with but not necessarily a “correct” weapon, leaving room to flex however you see fit. But the limited offensive options are balanced with the sometimes overwhelming need for defensive finesse. At its best, every plan has a window of time where it will be most effective before you have to regroup and try something else, like dipping behind a pillar of rock to wait out a big beam, knowing that a handful of bomb drones are well on their way to clear you out of cover with a bang.
Traveling through this stage between combat introduced some environmental movement tricks as well, like boost gates that launch you when you dash through them, or weird flovating balloons that you can possess, jumping inside them to get a view from their perspective before erupting out of them to continue the climb. There’s a cool, if not a little garish, moment a little over midway through the wintry crater where you can actually possess a Goliath, some sort of giant minigun wielding monstrosity that can mow down a small battalion of enemies with ease. Though this level kept things pretty simple, I like the potential of Luna Abyss using possession in conjunction with air dashing and double jumps for some good platforming puzzles – or even in combat scenarios.
Eye of the Beholder
The rowdiest and most difficult combat in the entire demo was against the level-ending boss, a big eyeball monster in the style of a Dungeons and Dragons Beholder by way of Dark City. It stayed in the center, relentlessly firing walls of bullets (and occasionally lasers) making it tough to find the space to take advantage of how exposed it was. Phases where it is invulnerable and you need to deal with how to fix that change the pace up well, at first its juvst breaking the connection between power points in the walls that are blasting it with an impenetrable shield, but eventually it’s surviving waves of enemies and long stanzas of incoming fire, etc. At its busiest, it almost felt a bit like Housemarque’s excellent Returnal, but in a smaller arena. I can only hope Luna Abyss’s combat can crescendo like this for all of its boss fights.
With some patience for its soft-touch opening minutes, I found myself very on board with the Luna Abyss’s brand of crowded screen shoot-em up. It’s thick with moody vibes, which can be more than just a good backdrop for the action. And don’t let that auto targeting aim get you complacent, because when the more blustery bad guys turn up the heat, you won’t have aiming as an excuse as to why surviving the onslaught takes you multiple respawns. If the gunplay and platforming can evolve further, as it did between these two demo levels, then I can’t wait to stare into the Abyss when it opens wide sometime this year.
Following an unexpected delay in January, the first trailer for Battlefield 6 Season 2 is here, revealing a first look at its three-month roadmap, a limited-time nightfall event, and gameplay for two new maps.
EA and Battlefield Studios today offered a detailed breakdown and trailer for the second seasonal content update, along with a gameplay trailer for its troubled multiplayer FPS. Season 2 spans across three phases – Extreme Measures (phase one), Nightfall (phase two), and Hunter/Prey (phase three) – with the first set to launch next week on its previously announced release date of February 17, 2026.
The forest-covered mountains of the first new map, Contaminated, are the backdrop for most of the Battlefield 6 Season 2 trailer, providing a first look at new vehicles, such as the AH-6 Little Bird, and a new psychoactive smoke mechanic. First gameplay for the location, which supports all combat sizes, shows tanks and helicopters chasing infantry into at least partially destructible tunnels. Players can enjoy all it has to offer across standard multiplayer game mode as well as the new VL-7 Strike limited-time mode, which sees players battling (and hallucinating) through the smoke in its own dedicated playlist.
Extreme Measures kicks things off with Contaminated, the Little Bird, VL-7 smoke, new weapons, and more next week. Come March 17, phase two, Nightfall, will then finally add one of the community’s most-asked-for features… kind of.
Along with its new close-quarters infantry map, Hagental Base, Nightfall brings night gameplay to Battlefield 6. Players have wanted to turn out the lights since the sixth mainline installment launched for PC, PlayStation 5, and Xbox Series X/S last October. Unfortunately, it seems lights-out action will be restricted only to the limited-time Nightfall event, which itself is only available on Hagental Base. REDSEC players can also try out the night map via the limited-time Gauntlet mode, with the Nightfall phase also adding the Defense Testing Complex 3 point of interest to Fort Lyndon, as well as the dirt bike, CZ3A1 submachine gun, and VZ.61 sidearm across both experiences.
Finally, phase three, Hunter / Prey, launches April 14. It does not add a new map, and instead brings the Operation Augur limited-time mode, Portal updates, a new bonus path for the battle pass, the LTV vehicle, and the Ripper 14” machete.
BF Studios says update 1.2.1.0 will launch alongside Battlefield 6 Season 2 and adds “hundreds of gameplay improvements, fixes, and individual updates.” Included in the update are balance adjustments for weapons, such as what it calls “widespread recoil tuning across automatic weapons.” Patch notes are not available yet but are promised to arrive prior to the launch of Extreme Measures next week.
It’s unclear if the content revealed today will be enough to satisfy those displeased with the post-launch content so far. While we wait to see how the team plans to continue building on Battlefield 6, you can read about some of the ways BF Studios is adjusting its controversial cosmetics.
Michael Cripe is a freelance writer with IGN. He’s best known for his work at sites like The Pitch, The Escapist, and OnlySP. Be sure to give him a follow on Bluesky (@mikecripe.bsky.social) and Twitter (@MikeCripe).
