Mamoru Oshii, the director of legendary anime movie Ghost in the Shell, has said that he’s played Fallout 4 for 10,000 hours while avoiding its main quest.
In a Japanese video interview to mark the 30th anniversary of Ghost in the Shell, Oshii chatted about his love of games — and specifically Fallout 4.
“Looking at Steam, my playtime (in Fallout 4) is around 8,000 hours but before that I played it on PlayStation, so I think altogether I’ve put in about 10,000 hours,” explained Oshii, the director behind anime cyberpunk movie Ghost in the Shell and its sequel Ghost in the Shell 2: Innocence, in remarks translated by IGN. “I’m still playing now,” he added.
So what is the appeal of Fallout 4 to Mamoru Oshii? The 74-year-old called it a “game that seems to have been made for my own desires,” and described how he wanders the ruins of the post-apocalyptic world carrying a rifle and accompanied by the game’s canine companion, Dogmeat.
Outside of Fallout 4, Oshi explains that he’s also a big Hideo Kojima fan and plays every new game from the Metal Gear Solid creator — he recently finished playing Death Stranding 2: On the Beach, in which he actually appears as an NPC known as The Pizza Chef.
But for almost a decade, Oshi said he had followed a cycle where he breaks off from playing Fallout 4 to play Kojima’s new game upon release, completes it, and then… returns back to Fallout 4 once more. “There are no other games I want to play,” Oshii simply said.
“I once tried PUBG and racked up 250 hours,” he casually noted, but said that he didn’t really like online multiplayer games or first-person shooters that require quick reflexes. “They’re not for me,” he noted. (He does recall taking a commemorative screenshot after getting a Chicken Dinner in PUBG, but only once.) “After all is said and done, I prefer playing games on my own,” he said.
“Fallout 4 is just right,” he continued. “Although it’s an action game, as people who play it will know — it has the VATS system.” Fallout’s slo-mo aiming system allows even people who are no good at aiming to land shots, he suggested. “If the game didn’t have this, I probably couldn’t play it.”
Mamoru Oshii previously revealed in great detail to Automaton that he has a rather eccentric way of playing Fallout 4 – that he doesn’t ally with any factions, and has ignored the main storyline in favor of spending hours on side quests and raids with Dogmeat as his sole companion. His playstyle seems to be that of a community-minded lone wolf, stripping all the gear off raiders and gunners.
“It’s a win-win,” he noted, “I get to enjoy the pleasure of stripping scumbags naked while also contributing to the local community’s welfare.” He’s said that he is particularly hostile towards Brotherhood of Steel members (who he likens to Nazis) and always sneak kills whole units (at one point, he amassed so many Brotherhood of Steel Power Armors that he used them to build a moat). Back when he played on console, Oshii apparently gathered so much loot at his base that his PS4 struggled to run the game.
“Around 4 years ago, I ran out of things to do (in Fallout 4),” Oshii explained. “So I installed mods.” However, the Angel’s Egg director noted that Fallout 4’s new version (i.e. the 2025 Fallout 4 Anniversary Edition update) rendered his mods unusable. Upon launching Fallout 4 after the update, Oshii says that instead of his customized character, “some random bald guy wearing a suit suddenly appeared, and it took a lot of effort to get the game back to normal. I wish they’d stop changing things without asking.”
Verity Townsend is a Japan-based freelance writer who previously served as editor, contributor and translator for the game news site Automaton West. She has also written about Japanese culture and movies for various publications.
It Takes Two and Split Fiction director Josef Fares has posted the first photo from the set of developer Hazelight Studios’ next project.
The image shows Fares, dressed in a cosy-looking sweater, in front of three actors in performance capture suits. Clearly, work has now begun on Fares’ next game — and intriguingly, he seems to be doing his best to disguise who the actors are.
With his arm outstretched and thumb raised, Fares is successfully blocking most of all three actors’ faces — and this appears to be by design. “Next game in the making,” Fares captioned the post, with a thumbs up emoji. “We’re back in the kitchen, cookin’ up something really delicious,” the official Hazelight Studios social media account responded, adding: “Now with Strategic Arm Placement Tech.”
✌️We’re back in the kitchen, cookin’ up something really delicious! 🥘
Fans of Fares’ games have commented on the post to say they are suitably uncertain who the actors involved might be — though many more have noted the fact that Fares is using this first sneak peek to showcase three actors being visible. Could this signify a three-player game, after the studio’s recent focus on titles featuring a pair of prominent characters?
“Three-player Hazelight Game?” wondered one fan, Spenny99. “It Takes Three?????” questioned Jcbartlett25. “It Takes Three lookin great Mr. Fares,” added hotpicklepizza.
Co-op adventure Split Fiction launched last year to rave reviews, and went on to sell more than 4 million copies. Its story focuses on a pair of writers, Zoe and Mio, who become trapped in their interweaving sci-fi and fantasy narratives.
“An expertly crafted co-op adventure that pinballs from one genre extreme to another, Split Fiction is a rollercoaster of constantly refreshed gameplay ideas and styles – and one that’s very hard to walk away from,” IGN wrote in our Split Fiction review, awarding the game 9/10.
Fares’ previous game It Takes Two also proved popular, with its story focused on a husband and wife who plan to get a divorce. We called it “a beautiful, breakneck-paced, co-op adventure that’s bubbling over with creativity,” in IGN’s It Takes Two review, which also returned a 9/10.
Before that, Fares previously released prison escape adventure A Way Out, starring two convicts, and Brothers: A Tale of Two Sons, starring… two sons. Should Fares actually be making a three-player game, it would indeed be a break from the norm.
Tom Phillips is IGN’s News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social
Take one look at Zero Parades: For Dead Spies, the upcoming RPG from ZA/UM, and you can immediately see the similarities between it and the studio’s previous game, Disco Elysium. It’s an isometric game with a striking art style, featuring dialogue-heavy gameplay where conversations are displayed vertically on the right-hand side of the screen.
Take a closer look and there are even more similarities. There’s a “Conditioning” system that replicates many of the functions of Disco Elysium’s unique Thought Cabinet. Its story aims to be deeply political and introspective. And then there’s the skills system, which manifests as a sentient inner monologue, commenting on your choices and the world around you.
For some Disco Elysium fans, this overlap may feel uneasy. In 2022, game director Robert Kurvitz and art director Aleksander Rostov – creatives key to the look, feel, and vision of the celebrated RPG – were among a number of staff who left the studio in an “involuntary” manner. ZA/UM claimed they were fired for misconduct, while Kurvitz and Rostov accused the company’s majority shareholders of fraud. Many fans believe those fired to be victims of corporate conspiracy. Those same fans may now be concerned to see the studio building a Disco Elysium successor based on such similar design foundations without the involvement of those original creatives.
In a recent interview, IGN discussed these concerns with Jim Ashilevi, writer and VO director at ZA/UM, and asked why the studio didn’t consider finding a new direction for Zero Parades.
“I think it would have made sense for us to go in a completely different direction if the entire team was comprised of new talent,” Ashilevi said. “But since such a large number of the key players that built Disco Elysium are here to build Zero Parades, it just didn’t make sense for us to just disregard that part of our experience as amateur game makers and start learning new ways of telling stories.”
ZA/UM’s head of studio, Allen Murray, estimates that around 35% of the studio’s current staff roster is made up of people who worked on either the original version of Disco Elysium or the expanded “Final Cut” release. The studio’s total staff numbers around 90.
“We’re still the same people,” Ashilevi continued. “We still have the same interests. The stuff that interests us in the world of video games, but also in other media – in film and literature and theater – that hasn’t changed. Hopefully it has evolved, but I think we’re still basically the same people.
“We’re just going by our gut, basically, and we’re following our own obsessions,” he said. “And a lot of that was present in Disco Elysium. It will be present in Zero Parades as well, largely due to the fact that those are the same people who were there to build that cool world.”
In a previous interview with members of ZA/UM, which took place just prior to Gamescom 2025, IGN asked Ashilevi and lead technical artist Nicolas Pirot how they felt about fans who may be feeling cautious about a new ZA/UM RPG following the departures of Kurvitz, Rostov, and others.
“I understand why some people might have reservations,” said Pirot. “It’s not up to me to tell them what to think or what to experience. I think what we are trying to do is tell an incredible story. And I think all we can do is hope that, when Zero Parades is ready, that people like it enough to participate and to see who we are as a group.”
“We are here to write more stories,” Ashilevi added. “That’s all we’re here for. And if that upsets people or makes them feel cautious, fair. But there is a new game coming out soon and I hope you check it out. And if you don’t like it, that’s fine. That’s completely fine.”
Blizzard has said that its Warcraft-themed collectible card game Hearthstone is still not available on consoles because the team needs “a level of investment… to make that happen.”
That’s according to executive producer Nathan Lyons-Smith, who recently revealed that because of the 12-year-old game’s aging code — estimated to be 16 years old — any port to console must be done “right” and only when the team finds “the right time to do it.”
“There’s a level of investment that we need to make that happen, primarily in terms of UI and UX, and making sure that it’s very natural to go and play a card game on those platforms,” Lyons-Smith said, as reported by Eurogamer. “I know it’s possible — Duels of the Planeswalkers for Magic [The Gathering], many years ago now, was absolutely delightful with the controller — so I know we can do it.
“I asked an engineer who’d been on the project a long time, and he estimates the code is 16 years old,” Lyons-Smith continued, “and the team was 15 people 16 years ago. And so there’s more of an effort to go: ‘I want to make sure when we go that it’s awesome.’ That it doesn’t just feel like, yeah, they ported it here, and you can play…
“I want to make sure that when we go, we’re going to go, and it’s going to feel awesome for players that love that form factor, whether they’re leaning back on the couch or sitting on the couch with their handheld.”
Hearthstone originally launched in 2014 on PC, with a mobile and tablet version following very shortly after. Over the years there have been numerous calls for the game to launch on consoles — and particularly Nintendo Switch, for handheld play. But Blizzard has never gotten around to it.
Game director Tyler Bielman added: “If we’re going to bring it specifically to that living room big screen platform, we would want to make sure that the full experience is optimized for that mode that you’re in.”
Now, of course, with Blizzard owned by Xbox and parent company Microsoft, there could be more pressure than ever to bring the hugely-successful card game to console players. However, with Xbox’s high-level goal of enabling gamers to play “anywhere,” the Hearthstone team acknowledged an expectation to go “as wide as we could” to reach as many players as possible, regardless of platform.
“In the future, as we explore console and handheld, we’d probably go as wide as we could,” Lyons-Smith added. “Certainly, we have a different owner now than we did three years ago, and they’re more invested in Xbox and ‘anything’s an Xbox’. Their high-level goal [being] games playable anywhere.”
Hearthstone’s Cataclysm-themed expansion is set to launch on March 17, marking the return of Colossal cards and introducing a brand new story.
Vikki Blake is a reporter for IGN, as well as a critic, columnist, and consultant with 15+ years experience working with some of the world’s biggest gaming sites and publications. She’s also a Guardian, Spartan, Silent Hillian, Legend, and perpetually High Chaos. Find her at BlueSky.
Addressing fans in a video celebrating the open-world adventure game’s first anniversary, series producer Ryozo Tsujimoto teased that this expansion will be similar to Monster Hunter World‘s Iceborne add-on, but was otherwise coy about the details. He did, however, stress that this will be the “final update” for the monster hunting game.
“We are currently at work on a large-scale expansion similar to Monster Hunter World: Iceborne and Monster Hunter Rise: Sunbreak for Monster Hunter: Wilds,” Tsujimoto said. “We plan to share more information with you this summer.”
We also learned a little more about the update dropping on February 18, too, including details of Arch-Tempered Arkveld, 10-star Arc-Tempered monsters, a special collaboration with Monster Hunter Stories 3 — a spin-off series that releases next month — plus an anniversary event where all previous awards and quests will be “re-available.”
Players who log in during the anniversary event will receive a free item pack, and each previous seasonal event will return for a weekly rotation. “Almost all” previously released event quests will be made permanent from February 18.
“We have been implementing improvements to game stability and performance since Title Update 4,” Tsujimoto added, “and this update will introduce even further improvements.” Again, we’re told to expect more details closer to the time, so Capcom suggests you monitor its social media accounts for updates.
“While this marks the end of major content updates, the team is currently hard at work on a large-scale expansion to Monster Hunter Wilds,” the team added. “We look forward to sharing the first reveal of the expansion this summer.”
Monster Hunter Wilds has had something of a bumpy ride of late. Title Update 4 arrived at the end of last year and ushered in a long list of gameplay and balance changes, as well as CPU/GPU improvements, load reduction, and the optimization of “PC-specific processes and addition of options and presets to reduce processing load.”
Vikki Blake is a reporter for IGN, as well as a critic, columnist, and consultant with 15+ years experience working with some of the world’s biggest gaming sites and publications. She’s also a Guardian, Spartan, Silent Hillian, Legend, and perpetually High Chaos. Find her at BlueSky.
Here’s almost seven minutes of Black Myth: Wukong follow-up Black Myth: Zhong Kui. Well, kind of.
While developer Game Science has dropped the new in-engine trailer and labelled it as pertaining to the highly-anticipated sequel, it also features a “non-canon” disclaimer which suggests everything you see here could have no bearing whatsoever on the final game or its story, and has only been released by the team to celebrate Chinese New Year and welcome in the Year of the Horse.
But while you won’t see any gameplay or combat per se, the “non-canon, for entertainment purposes only” trailer nonetheless shows in-engine footage and gives us our best look yet at what to expect from the sequel, particularly in terms of how it looks and sounds. Let me take you through it.
It starts out normally enough as a young woman moves around an al fresco kitchen preparing a meal. Look a little closer, though, and you’ll realize that the figure that passes her near the beginning isn’t quite human, and the guy who opens the gigantic oyster-stroke-mussell shell reveals not a mollusc but, well, a little grey-faced man, uh, thing. She then prepares a slab of meat with blinking eyeballs embedded in it.
There’s more — much more — but it’s such a delight, I’d recommend watching it yourself. Just remember that it’s more of a tech demo and is unlikely to impact the eventual storyline of Black Myth: Zhong Kui, much like the spin-off story Game Science similarly released at Chinese New Year last year.
Black Myth: Wukong developer Game Science revealed sequel Black Myth: Zhong Kui at Opening Night Live 2025 last August. “Set against the backdrop of the classic Chinese folktale ‘Zhong Kui Banishing Evil,’ Black Myth: Zhong Kui is a single-player action role-playing game rooted in ancient Chinese fantasy,” GameScience said.
“The game will deliver distinctive experiences and gameplay features that push our limits, while also bringing fresh ideas and necessary changes to address past flaws and regrets.” As yet, there’s no release window, let alone a firm date.
Predecessor Black Myth: Wukong is the record-breaking action game that launched across PC and PlayStation 5 in 2024, selling 10 million copies in just three days. The Xbox Series X and S versions launched in August 2025. It returned a Great 8/10 in IGN’s Black Myth: Wukong review, in which we wrote: “Despite some frustrating technical issues, Black Myth: Wukong is a great action game with fantastic combat, exciting bosses, tantalizing secrets, and a beautiful world.”
Vikki Blake is a reporter for IGN, as well as a critic, columnist, and consultant with 15+ years experience working with some of the world’s biggest gaming sites and publications. She’s also a Guardian, Spartan, Silent Hillian, Legend, and perpetually High Chaos. Find her at BlueSky.
Less than a month after the launch of its free-to-play 2v2 tag-team fighting game, 2XKO, Riot Games is scaling back its development team.
Admitting the news was “difficult to share,” producer Tom Cannon said that despite securing a “passionate core audience,” the new game “hasn’t reached the level needed to support a team of this size long term.”
“With a smaller, focused team, we’re going to dig in and make key improvements to the game, including some of the things we’ve already heard you asking for. We’ll share some of our plans soon,” Cannon added. “Our plans for the 2026 Competitive Series are unchanged. We remain committed to partnering with tournament organizers and local communities. Our focus will continue to be on supporting the events and organizers that already power the [fighting game community].”
Cannon stressed that the team that built 2XKO “poured years of creativity, care, and belief into this game. Taking creative risks like this is hard, and the work they did is real and meaningful.”
“We’re committed to supporting impacted Rioters through this transition — including helping them explore opportunities within Riot where possible, and providing a minimum of 6 months of notice pay and severance where it’s not,” he explained.
Cannon closed on promising more information would come in time, and thanked players for playing 2XKO and “caring enough to ask hard questions.”
Riot has also confirmed to IGN that the cuts will affect approximately 80 roles globally, representing less than half of the total team. Figures are not final, however, as some staff may find roles elsewhere within the company.
Vikki Blake is a reporter for IGN, as well as a critic, columnist, and consultant with 15+ years experience working with some of the world’s biggest gaming sites and publications. She’s also a Guardian, Spartan, Silent Hillian, Legend, and perpetually High Chaos. Find her at BlueSky.
Control and Alan Wake developer Remedy Entertainment has named Jean-Charles Gaudechon as its new CEO.
The company’s board of directors announced the news with a post on its website today. Co-founder Markus Mäki will continue to serve as interim CEO until the leadership change takes effect March 1, 2026.
“I’m excited and honored to join Remedy at a pivotal time,” Gaudechon said in a statement. “The studio has a unique creative identity and a strong pipeline. My commitment is to protect what makes it special, deliver exceptional games, and scale Remedy in a way that builds lasting value.”
Mäki took over as interim CEO after former Remedy CEO, Tero Virtala, resigned from his position in October 2025. It was a sudden shakeup that arrived after the studio’s summer multiplayer FPS and its first self-published game, FBC: Firebreak, failed to impress on a commercial and critical level (we gave it a 6/10). Virtala was with Remedy for just over nine years, leaving the Espoo, Finland-based game company to search for a long-term replacement.
We now know Gaudechon has been picked to fill the role. His experience in the industry has seen him serve at EA as a studio head and executive producer over titles like Battlefield Heroes, as well as a general manager and executive producer for Eve Online developer CCP Games. Now, he’ll oversee a company he says “has the voice and the ambition to be a pillar of the industry’s future.”
“We will stay close to players, earn their time and trust, and strengthen our independence in how we build and publish our games, while continuing to work closely with the partners who have supported us along the way,” the soon-to-be CEO added. “I will be moving to Finland with my family and I’m incredibly excited about getting to work directly with the team at the studio.”
Meanwhile, fans of Remedy’s work are looking forward to its mind-bending sequel, Control: Resonant. Announced at the 2025 Game Awards, the follow-up is expected to launch sometime this year for PC and consoles. Max Payne 1 and 2 remakes are also in development and expected to launch at an unspecified point in the future.
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).
These are just the start of what’s available. Have a look through more of our favorite PS5 games that are currently on sale at Amazon below.
Select PS5 Games on Sale at Amazon
What makes these deals even better is that some of the games above have hit their lowest prices yet at the retailer. Price tracker camelcamelcamel shows that this is the lowest price Silent Hill f, Civ VII, Double Dragon Revive, and Sonic Racing: CrossWorlds (with its coupon) have all hit at Amazon so far. Similar to Sonic Racing: CrossWorlds, with the help of the coupon on its store page, this also marks a new low price for Space Marine 2 at the retailer.
And while it’s not the lowest price point it has ever hit at Amazon, Metal Gear Solid Delta: Snake Eater has matched its Black Friday price, which is certainly still a deal to celebrate. If you haven’t added it to your library yet, now is a great time while it’s still on sale for $30.
That applies to all of the available games: This is a great opportunity to scoop them up and save while they’re still on sale. They’re not the only game deals worth taking advantage of right now, though. If you’re looking for more outside of PlayStation, February’s Humble Choice lineup has dropped for PC players as well, offering the chance to add 8 games to your digital library for just $15 when you sign up for a Humble Choice membership. This month leads with Resident Evil Village, which is definitely worth grabbing ahead of Resident Evil: Requiem.
Hannah Hoolihan is a freelancer who writes with the guides and commerce teams here at IGN.
“Zero Parades is an exploration of failure,” explains Jim Ashilevi, writer and VO director at ZA/UM. “What it means to lose everything and then keep going regardless. And then, since it’s such a painful question, it inevitably becomes an exploration of what it means to be human. How uncomfortable and strange it is to exist in a body that has thoughts and feelings and responsibilities, and a past that they can’t go back and fix.”
“This is why I love working here,” says ZA/UM’s head of studio, Allen Murray, with a smile. “I never had these conversations making Halo games.”
The studio behind Disco Elysium was, of course, never going to follow up its 2019 “disaster cop” RPG with a game about heroes saving the world. That’s not to say that it hasn’t moved into slightly more traditional video game territory, though. Its new game, Zero Parades: For Dead Spies, is an espionage spy thriller set in a dark, almost psychedelic reflection of the Cold War’s closing years. Global powers conspire, enemy agents lurk in the dark, and the entire world sits on the doorstep of the end of history. But while that could theoretically be the elevator pitch for any number of mainstream, combat-forward RPGs, ZA/UM is doing spycraft the only way it knows: Disco style.
“I think the one North Star that we have is that we have to be genuinely interested in the stories that we are choosing to tell,” says Ashilevi. “If we were to start mimicking someone else, or go bigger and more expensive and add production value and fighting mechanics and multiplayer, I think we would just destroy ourselves in the process.”
This “North Star” means that, on the surface, Zero Parades looks almost identical to Disco Elysium. It’s another dialogue-centric, introspective, isometric RPG with striking art direction. But that’s not to say it’s the exact same game dressed up in a John le Carré skin.
“I think you can see the team has really wanted to exceed their production chops with Zero Parades,” explains Murray, “in terms of having the world seem more reactive, more lived in. There’s more action, more people walking around doing things.”
While ZA/UM had no intention of creating a “traditional” video game RPG, it did want to dig deeper into the genre’s more crunchy elements. This time around there are more skill checks, alongside a mental and physical health system that can be exerted to increase the chances of passing those checks. There’s further emphasis on multiple solutions to individual problems, the very foundation of BioWare’s celebrated Infinity Engine games. By pushing the depth of choice available and enhancing the world’s reactivity to those choices, the team saw the opportunity to create something that stood distinct from Disco Elysium.
“Sophomore efforts are really challenging,” Murray admits. “You don’t want to repeat your first hit, nor can you really.”
It took a lot of time for the team to come to terms with that. During the years following Disco Elysium’s release and subsequent “Final Cut” version, ZA/UM experimented with a number of concepts – some were effectively direct sequels, while others explored “a completely different direction,” according to Ashilevi. The path to Zero Parades arrived with the decision to “not fully reinvent the wheel.” The goal, Murray says, was to “expand on what we know how to do, and make a bigger game, both mechanically and in terms of production scope, and do it well.”
Mission Control
Murray acknowledges that there were “years of drama” before the studio got to that point. For many fans of Disco Elysium, that will mean only one thing: the firing of several key creatives in 2022 and their subsequent accusation that ZA/UM’s executive management had seized control of the company through fraud. It’s a complicated chapter in the studio’s story, in which those exorcised from the company – including game director Robert Kurvitz, writer Helen Hindpere, and art director Aleksander Rostov – are characterised as either toxic disruptors or the victims of corporate conspiracy, depending on your source.
But there’s more to ZA/UM’s troubled recent history than those controversial dismissals: this is a studio that has repeatedly cancelled projects and, in early 2024, made 20 of its staff redundant. It all paints a picture of an inexperienced studio struggling to adapt to life after releasing an unexpected mega hit on the first attempt, with the workers caught in the crossfire. Perhaps unsurprisingly, ZA/UM’s UK-based workforce unionised last year.
The artistry comes first, the storytelling comes first. It still feels like the whole video game development side of things is just like a happy accident.
But while collective bargaining is undoubtedly important, those workers also need strong leadership to avoid the woes of the past. Maybe they’ve found that in Murray, a 20-year veteran of the video games industry with previous tenures at Microsoft, Bungie, PopCap, and Private Division. He was appointed as ZA/UM’s new head of studio shortly after news broke about those painful redundancies, and over the past two years his goal has been “coaching the people in the studio, maturing our processes, helping people to really focus on what we’re making, how we’re making it, and why we’re making it.”
“It was easy to have a lot of things sort of floating around,” he admits. “But how are we actually going to animate this, or how are we going to light this? What does this story really mean? What are you really trying to get across to the player?”
Today, ZA/UM is made up of around 90 members of staff. Several of them have, like Murray, been recruited from established developers such as Rocksteady in order to arm the studio with specialist video game experience. But the remaining members of the Disco Elysium team, which makes up approximately 35% of the studio’s total roster, plus many of the new recruits, “come from a background that has nothing to do with game dev,” says Ashilevi.
“As a studio, we still view ourselves pretty much as a collective of artists,” he explains. “The artistry comes first, the storytelling comes first. To me personally, it still feels like the whole video game development side of things is just like a happy accident.”
The Price of Power
That brings us back to Zero Parades, which tells the story of Hershel Wilk, codename “Cascade”, who’s pulled out of retirement for the all-time classic spy trope, One Last Job. By moving into the espionage genre, ZA/UM has been able to work at a notably different scale than it did with Disco Elysium. While Zero Parades takes place in a physical space not too dissimilar to that of the studio’s previous game, by stepping into the shoes of a spy rather than a local detective, the story naturally explores a much grander stage.
“You do have to contend with world powers,” Ashilevi reveals. “It’s not just wallpaper, or stuff that you read from notes that people leave in drawers, or newspapers left on tables. You do have to come into close contact with some of the big players as well.”
This global stage is explored through Hershel’s very personal lens, so while the stakes are certainly heightened this time around, your actions are still conducted at street level. You may be able to turn the cogs of a mega corporation and shift the balance of worldwide politics, for instance, but to do so may require betraying your closest friend. Hershel’s own pain will be tangible, whereas those rotating cogs will feel distant, perhaps even unimportant, to her own life. Such is the toll of espionage.
To create something that reflects Disco Elysium’s triumphs, though, you can’t just tackle issues of the human condition. You’ve got to get at least a little eccentric. And that’s where Hershel’s hobbies come into play.
“She’s deeply fascinated with comic books, music, you name it,” Ashilevi reveals. “So the story is also an exploration of pop culture and what soft power means. Why is it important for us to be obsessed with pop artists and cartoons, and films and pulp novels, and things like that? Why are people so deeply obsessed with retro tech and bootlegged media, like underground forbidden films? What does it do to your soul, and how does it define your identity?”
While music, fashion, TV shows, and retrofuturistic music formats all contribute to the city of Portofiro’s vibrant texture, there is a dark side to it all. What is a consumer as a political entity? How do tiny decisions, like tuning into a particular show or buying a certain magazine, tie into the movements of the big powers? These are potential avenues for Hershel – for you – to investigate.
The battle for soft and hard power, waged between international banks, imperialist states, and communist unions, is something that goes beyond just Hershel’s current mission. “We need to come up with an inspiring enough sandbox so that whatever we choose to do with those characters or this universe next, we can just jump right into it and keep telling stories because the groundwork has been laid,” says Ashilevi. Zero Parades is the starting point for something bigger, then.
At least that’s the hope. The world of Elysium was also envisioned as a space for multiple stories, but it seems that book is now eternally closed. And while Zero Parades may not necessarily need to be as significant a breakout hit as Disco Elysium was to unlock the potential for sequels, it does need to stand tall in a world where the “Disco-like” is a rising genre, made up of games developed both by fans inspired by that RPG masterpiece and new studios set up by the scattered former members of ZA/UM’s original creative team. But by following their own creative North Star, the team behind Zero Parades hopes to captivate players once more.
“We have no clue what kinds of games or stories people are hoping to get out of ZA/UM,” Ashilevi says. “The only thing we can control is whether we’re staying true to our own vision and voice. And that’s what we have done with Zero Parades.”
Matt Purslow is IGN’s Executive Editor of Features.
