Elden Ring Nightreign is out, and players are already diving into the shifting lands to fight the Nightlord. If they warmed up a bit on the original Elden Ring, though, they might be finding themselves a little turned around by some control changes.
While the controls in Elden Ring Nightreign are mostly the same as the original Elden Ring, a few changes have been made, either to accommodate new abilities or simply move things around a bit. Some of these are just for new moves, or updated versions of old tools. One in particular, though, seems to be causing at least a little confusion: the flask.
In FromSoftware’s Souls games and Elden Ring, the “flask” is a mainstay of your kit: a refillable potion holder that acts as your main source of healing in combat. Usually, the flask is one of several consumables, and you’d cycle through them and use them mid-combat. In Elden Ring Nightreign, the flask is a static element. You hit the left-most face button (X or Square, depending on your controller) to drink it, by default, while Up on the D-Pad becomes your ‘use item’ option.
Alongside the flask, there’s now the Nightreign-specific super-sprint mapped to L3. Though you won’t have your trusty steed Torrent in Nightreign, FromSoftware has instead given players a surprisingly fast sprint option. The wrinkle is, there’s also a sprint option from the traditional method of holding your dodge button. And as one player notes, they keep defaulting to the original Elden Ring sprint, rather than the new one.
The really odd change, though, is that there doesn’t seem to be a way to crouch now. I booted up Elden Ring Nightreign myself just to check and, sure enough, I couldn’t find a crouch option anywhere in the controller settings. While it was clicking in the left-stick on controller, by default, it seems like the option didn’t just move, but was completely ejected. Granted, Elden Ring Nightreign does seem like it’s more about moving fast and wiping out enemies than sneaking around.
Other players report that mouse-and-keyboard default controls also feel strange in comparison to the original Elden Ring. Granted, this is not the first time FromSoftware has shifted control schemes. Every Souls or Souls-like usually has some degree of change, especially for games like Bloodborne, which have very notable mechanical and systemic differences from other FromSoft Souls-likes.
Ultimately, controls are re-bindable, so you can still make things fit as comfortably in your hands as you’d like. Maybe take this article as a PSA, then, to spend some time acquainting yourself with your control scheme for Elden Ring Nightreign and fine-tuning it before heading out on your first venture. And maybe spare some sympathy for a player who keeps accidentally chugging their Estus mid-fight. We’ve all been there.
One should really never the doubt the tenacity of modders. Elden Ring Nightreign is now live, and within 24 hours of its launch, one well-known FromSoftware game modder has already demonstrated a Duos mode mod.
Luke Yui, the modder behind popular co-op mods for games like Elden Ring and Armored Core VI, uploaded a short video to their YouTube channel yesterday. It shows off an Elden Ring Nightreign two-player mod, allowing just two Nightfarers to team up rather than forcing the choice between one or three.
It’s important to note that, as of this writing, this is not a public or playable mod, but a short demonstration from Yui. They noted that the mod runs without connecting to the matchmaking server, so while it’s possible to use additional mods during gameplay, that also means you’re not running through the normal channels. Whether this becomes a real solve or just an interesting curiosity, we’ll have to see.
While Elden Ring Nightreign can be played solo or in a group of three, there’s no option to run it with just two players; you’d need to either kick your friend and run solo, or matchmake and find a third. It might sound like a small hindrance, but for those who like to play with just one pal, it can be a frustration.
Speaking to IGN, Elden Ring Nightreign director Junya Ishizaki said the team “kind of overlooked and neglected the duos aspect,” but it was something the Nightreign team was looking at and considering for post-launch support. With this much desire for a duos-specific mode, I’d imagine it’s hard not to take notice.
It’s early days for Elden Ring Nightreign, but already developer FromSoftware has announced a patch that will make solo play easier.
Patch 1.02, due out next week, will include bug fixes as well as improvements for solo expeditions, FromSoftware announced in a post on social media.
Elden Ring Nightreign drops players into the shifting lands of Limveld, exploring and fighting for survival either solo or in groups of three. There is no way to play two-player co-op. We’ve already reported on Elden Ring Nightreign’s ‘mixed’ Steam user review rating, with most of the complaints revolving around a lack of a duos option as well as no voice chat.
Playing Elden Ring Nightreign solo is proving to be a particularly difficult experience. As explained in IGN’s Elden Ring Nightreign review: “Let’s get the most important caveat out of the way first: if you are hoping to tackle Nightreign entirely solo, and are anything less than a hardcore Elden Ring player that actively seeks out ways to make that already difficult game even more challenging, Nightreign isn’t for you. Yes, there is technically a single-player option, but it is so poorly balanced that I would be shocked if it isn’t patched and adjusted within the first month of release. And this is coming from someone who lives and breathes these types of games.”
It seems FromSoftware is moving fast to address solo play. According to the early patch notes, below, next week’s update will add the effect “Automatic Revival Upon Defeat,” which allows revival once per night boss battle, to solo expeditions, and will increase the amount of runs gained.
Despite these issues, Elden Ring Nightreign has enjoyed a massive launch on Steam, with an incredible 313,593 peak concurrent users on Steam overnight. That was enough to make Elden Ring Nightreign one of the most-played games on Valve’s platform.
Elden Ring Nightreign update 1.02 early patch notes:
The following improvements for solo expeditions will be added to the game: – The effect “Automatic Revival Upon Defeat”, which allows revival once per night boss battle, will be added to solo expeditions. – The amount of runes gained will be increased. Thank you for your support.
Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.
Helldivers 2’s ongoing Galactic War appears to have reached another turning point, with the Federation declaring victory over the Illuminate.
“The Illuminate have retreated from Super Earth battlespace,” reads the in-universe message to the game’s community. “The Heart of Democracy has been defended. The Battle of Super Earth is won.”
The Illuminate’s invasion certainly took its toll on Super Earth, with only two Mega Cities left standing: Prosperity City and Equality-on-Sea.
“Remaining Illuminate forces were last observed making FTL jumps from Super Earth orbit,” the message continues. “The enemy has also vacated New Haven, Pilen V, and Widow’s Harbor, burning the surface of those planets as they fled. No stations detect Illuminate forces — the enemy has gone into hiding. They will be found.
“After days of nonstop fighting, Super Earth stands. The mettle of Managed Democracy has been tested; the will of the people has overcome the enemy. The Helldivers have achieved victory.”
The thing is, no-one actually believes the Helldivers have achieved a long-lasting victory here. As is developer Arrowhead’s way, Federation communication is by default propaganda, and further turmoil is almost certainly coming down the pipe. And players really want to chase the Illuminate as they retreat, potentially to their home planet to stamp them out for good.
Meanwhile, an in-game message revealed the President of Super Earth was killed while fighting back the Illuminate forces. But again, there was a healthy dose of scepticism from players, with some saying it might have been an Illuminate communication in disguise. What’s really going on here?
In the days since the Heart of Democracy update went live, players have fought to hold the various Mega Cities of Super Earth, which correspond to major cities in real-life. York Supreme, for example, corresponds roughly to New York, and Remembrance to Buenos Aires. As the invasion continued, more and more cities fell, leaving only Equality-On-Sea (Shanghai) and Super Earth’s capital, Prosperity City (Stockholm) standing.
Efforts rallied behind Equality-On-Sea to make a last stand. But Equality-On-Sea never hit 100%; the current arc closed with the cities’ percentage meter at 99.9783%. Many of the negative reviews are in Chinese, and while the machine translation doesn’t seem accurate enough to quote, there are some recurring points one can easily glean: frustration over driving the narrative, the perception of a thumb on the scale from Arrowhead, and repeat mentions of “99.9783%.”
What’s next? Well, for a start, the Federation needs a new president. Let’s see what Game Master Joel has up his sleeve.
Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.
Since its reveal, Hell is Us has been something of an enigma. As an action-RPG that hones in on detective-style investigations within a hauntingly alluring world filled with weird monsters to explore, it’s a type of game that tasks players to meet it on its strange and unorthodox terms. For its developers, Hell is Us also represents a game that pushes back against contemporary trends of gaming that places its story and gameplay in a neat package and instead trusts players to piece together just what the hell is going on within the corrupted land of Hadea, and how to survive it.
After playing several hours of the opening of Hell is Us along with some mid-game dungeon crawling, I came away with a clearer idea of developer Rogue Factor’s new-weird-influenced take on an action-adventure game that pushes players to mind the finer details of the world and maintain poise during some of the intense engagements. So far, Hell is Us is a game that makes charting out into a familiar yet deeply alien world feel captivating.
Hell is Us takes place in an alternate 1990s where the fictional European country Hadea is in the midst of a civil war following the events of a mysterious, supernatural incursion known as the “calamity.” Playing as Remy, a United Nations peacekeeper and former resident of Hadea, he’s detained by a mysterious organization following his mission into Hadea to find his parents. With the organization and its leader pressing down on Remy, he has to recall the fateful decisions he made with the surviving factions and how he fought off the seemingly otherworldly creatures known as Hollow Walkers.
The main plot of Hell is Us reminded me of a mix between Death Stranding and Prince of Persia: The Sands of Time.
The main plot of Hell is Us reminded me of a mix between Death Stranding and Prince of Persia: The Sands of Time, which focuses on immersing players into a world that takes a sudden and violent turn to the weird and with a seemingly unreliable protagonist recounting his interpretation of events. Hell is Us fully commits to its premise of a bleak setting and being a stranger in an even stranger land, one that feels familiar with its backwoods and small towns clinging onto survival, but feels so disorientingly strange with the rise of Hollow Walkers and portals that have turned the European countryside into an alien landscape.
What immediately drew me into Hell is Us was its unusual approach to storytelling and immersing players within its strange world. The sense of mystery is palpable in Hell is Us, and I was constantly walking into areas that had grotesque monsters or strange anomalies that drew my eye. I was especially taken in by the plight of the surviving characters, who struggled to endure in their ramshackle sanctuaries held together by duct tape and dwindling hope. This story very much chucks you into the deep end with its narrative and gameplay flow as you explore the different open zones filled with their puzzles and points of interest.
What I found most intriguing, and what I suspect many players will have to come to grips with, is how Hell is Us takes a largely unguided approach to gathering intel and charting out to complete quests with no mini-maps or waypoints to help you in your trek. This very ’90s adventure game approach puts the onus on players to listen to the details that the surviving characters bring up in conversations and read the well-organized intel from Remy’s personal datapad. It’s the type of game that demands a certain level of attention, or else you can find yourself wandering at length to figure out where to go next.
Outer Wilds is a particular example that inspired the dev team for its approach to a largely unguided adventure game that gradually expands in scope as more players use their growing knowledge. Speaking with creative director Jonathan Jacques Belletête, the approach the devs took with Hell is Us was all about trusting players with figuring out the mystery and embracing the campaign’s more methodical approach to progression.
“So at first we really wanted to go full hardcore with this game, like players would have a little notebook and a pen to write notes, because that’s where we came from when we played games in our youth, but what inspired us was the general fatigue we’ve felt with this new contemporary era, like games should never have a problem too big for players to solve because you have to reach every type of player possible,” said the creative director.
Hell is Us is equal parts an investigation game and an action-RPG, and there’s a surprising amount of combat to engage with while you’re on the desolate road. On the surface, Hell is Us has the makings of a soulslike – and it certainly has some of those elements under the hood – but it goes in a direction with combat and power progression that’s more about managing your poise and picking the best moments to strike against enemies that can easily take you out. Some of my favorite moments came using my powered-up weapons to dish out some chunky damage while sending in my drone to stun other enemies off in the wings.
Hell is Us is equal parts an investigation game and an action-RPG, and there’s a surprising amount of combat to engage with while you’re on the desolate road.
The Hollow Walkers in Hell is Us are some of the most visually distinct and unnerving video game enemies I’ve seen in a long time. They’re highly aggressive and can come in large numbers. Still, things get more unnerving once you face off against the powered-up walkers that can summon support enemies that were very much giving The Angels from Neon Genesis Evangelion vibes. Once these enemies appear, you’ll have to switch up to take them down fast before you can finish off the main walker.
Much like a souls game, stamina management is critical for survival, and I found myself constantly having to be decisive with my skills so as not to overexte nd myself against unforgiving enemies. One interesting wrinkle that took me time to get used to was the fact that health and stamina share a single bar. With your health being your primary source, the more health you lose in a fight, the less stamina you’ll have to fight.
While you have limited health items, the Lymbic Pulse skill is the best way to help you stay in the fight. Similar to Nioh 1 and 2, activating the pulse immediately after seeing a glow around Remy will instantly restore health and stamina based on the attacks you dish out. It’s a very risk-reward approach to combat, and depending on how intense the combat gets, it can be easy to forget to hit the pulse and lose out on health. I found the engagements surprisingly challenging and unrelenting, yet I still felt good about scraping through once I figured out how best to clear out the foes.
Combat took the most time for me to get used to, as it’s far more survival- and resource-driven than Dark Souls or Elden Ring. Some battles were so unforgiving that I felt unfairly outmatched by the numbers and aggression of the walkers. Still, I managed to rally and rethink my approach by going for it. According to the creative director, he likened their approach to combat with the act of boxing, which is also about managing stamina and dealing with decisive blows when you can.
“This is us trying to put our own spin on third-person melee combat, and we’re always a bit inspired by From Software, but it was important for us to put our spin on,” he said. “Like in real life, you pretty much just have one hit point, right? It’s all stamina, and when once you’re tired and you get hit, you’re done. Like, I boxed for a very long time, and when your stamina is done, you’re done. So that’s where we were coming at it. The more damage you take and the more health you lose, that’ll directly affect your efficiency in combat, but we also added in our balance to that with the Lymbic Pulse, to help your restore your health when you do take those risks to lay in damage – and that gives us a bit of a signature to the game as well.”
I was thoroughly impressed with the visuals and atmosphere of Hell is Us, and it presents such a compelling yet still bizarre mix of fantasy and science fiction. Along with the other games mentioned, another piece of media that served as a key influence was Alex Garland’s 2018 film Annihilation, which dealt with exploring an environment that underwent radical and violent change. It presents such an intriguing setting, but at times, the hardened and traditional adventure game approach Hell is Us takes to taking in the details and surviving this world felt a bit too stoic for its own good.
Still, I was very invested in the bizarre, new-weird setting that Rogue Factor has crafted, and it so far has the makings of being one of 2025’s more original and creative takes on the action-RPG experience. Given that this year saw the rise of Blue Prince’s reinvention of a roguelite puzzle adventure, it’d be fitting for Hell is Us to succeed with its own reinvention with its new type of role-playing experience.
This week, Capcom released a detailed analysis of Monster Hunter Wilds’ play data. Bearing the official-sounding name of “The Forbidden Lands White Paper 1,” the Japanese-language report covers player activities after MHW’s April 4 update, and reveals that Hunters have very strong preferences when it comes to the in-game food.
As well as adding new quests and monsters, Monster Hunter Wilds’ free April 4 update introduced the Grand Hub, an area where players can gather and meet up. The Grand Hub also has a canteen, where you can exchange Meal Vouchers for dishes from each region of The Forbidden Lands. Eating a hearty meal in Monster Hunter Wilds gives you various buffs depending on the dish, so the Grand Hub and Meal Vouchers provide a quick way to get your character ready before setting off on quests with other players (without having to trek out to a specific region to eat a particular cuisine). Meal Vouchers can pop up as daily login bonuses or as Arena quest rewards.
As reported by Automaton Japan, the Forbidden Lands White Paper 1 revealed usage data for each of the four regional Meal Vouchers. Spring Kunafa Cuisine was the most popular by far, accounting for a staggering 87.8% of voucher usage. This was distantly followed by Fresh Sild Cuisine (8.2%), Colorful Suja Cuisine (3.5%) and Hot Azuz Cuisine (with only 0.5%).
The report gives a major reason for the Spring Kunafa Cuisine voucher’s landslide victory. Five of these vouchers were given out to players at the time of the April 4 update, and it seems many players used up these freebies. Spring Kunafa Cuisine vouchers have a chance to give one of three buffs, and the report suggests that the Defender Meal (Hi) buff is likely popular with players taking on tough quests as it greatly reduces damage from monster attacks.
An equal number of these regional meal tickets have not been distributed though, which is thought to be why Sild, Suja, and Azuz lag behind so significantly. The data on the Pick-a-Meal Voucher usage gives a much clearer picture of which dishes players actually like and dislike.
As the name suggests, Pick-a-Meal Vouchers allow the player to choose a dish from any region. When using these vouchers, players’ top pick was Hot Azuz Cuisine at 41.3%, followed by Colorful Suja Cuisine (28.3%), Spring Kunafa Cuisine (19%) and Fresh Sild Cuisine (12%).
The white paper suggests that players chose to chow down on Azuz dishes due to the Tumbler Meal (Hi) buff, which greatly improves evasion. It notes that performing successful Discerning Dodges is particularly important for bow users as it fills up the Trick Arrow Gauge. The second most popular, Colorful Suja Cuisine, is well-suited to offensive players looking to max out their rewards, as bonuses from this cuisine include Caprice Meal (Hi), which ups your attack damage at random intervals, and Exploiter Meal, which increases the rewards you get from destroying monster wounds (you also get the chance to watch your character dig into some huge sushi rolls).
Although players are likely choosing which meals to eat based on the buffs that they give, the Pick-a-Meal coupon usage data has attracted some amusement from players as it seems to suggest that Sild Cuisine is unpopular. Most of the food in Monster Hunter Wilds looks mouth-wateringly delicious, with Kunafa’s banquet cutscene even making some players so hungry that Nepalese restaurants in Japan sold out of cheese naan.
However, due to Sild’s location in the barren ruins of Wyveria, the food is very simple and includes unripe-looking fruits and vegetables, such as white tomatoes and raw garlic bulbs. This stands in stark contrast to the indulgent feasts of the other regions, with the Sild cuisine being deemed “unappetizing” in comparison by players, such as in the following Reddit thread.
It seems that Capcom will release future “White Papers” on Monster Hunter Wilds, so it will be interesting to see if people’s in-game eating habits change in the future. Monster Hunter Wilds just got a new update on May 28, which even adds Street Fighter’s Akuma to the game — here’s what’s new in Version 1.011.
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.
Elden Ring Nightreign has enjoyed a massive launch on Steam, but the excitement was tarnished by a ‘mixed’ user review rating.
FromSoftware’s co-op spin-off saw an incredible 313,593 peak concurrent users on Steam overnight, enough to make Elden Ring Nightreign one of the most-played games on Valve’s platform.
But it also came with a number of negative reviews (67% of the reviews are positive so far), most of which point out Elden Ring Nightreign’s lack of duos, or two-player co-op, and voice chat.
Elden Ring Nightreign drops players into the shifting lands of Limveld, exploring and fighting for survival either solo or in groups of three. There is no way to play two-player co-op.
As explained in IGN’s Elden Ring Nightreign review: “Let’s get the most important caveat out of the way first: if you are hoping to tackle Nightreign entirely solo, and are anything less than a hardcore Elden Ring player that actively seeks out ways to make that already difficult game even more challenging, Nightreign isn’t for you. Yes, there is technically a single-player option, but it is so poorly balanced that I would be shocked if it isn’t patched and adjusted within the first month of release. And this is coming from someone who lives and breathes these types of games.”
In IGN’s interview with Elden Ring Nightreign director Junya Ishizaki, the Nightreign lead developer discussed the choice to lean on solos and trios as the core experience options. When asked why there’s no option for a pair of players to drop in together without a matchmade third player, Ishizaki said it was overlooked.
“The simple answer is that this is simply something that was overlooked during development as just a two-player option, so we’re very sorry about that,” said Ishizaki. “As we said before, we set out to make this a multiplayer co-op game for three players, balanced for three players, so that was the main focus and it’s at the core of Nightreign.
“Of course, I myself as a player understand that and often want times where I’m just playing myself, so this is something that we considered from the start,” Ishizaki continued.
“And so we did put a lot of effort into creating this experience that was playable for solo players in as much as the rules and new systems allowed. So in putting all our efforts into that aspect, we kind of overlooked and neglected the duos aspect, but this is something that we are looking at and considering for post-launch support as well.”
This means that if you’re playing with just your favorite duos partner, you have to accept a random third into your game. Playing trios is very much what Elden Ring Nightreign is built around.
Clearly, some players are unhappy with the situation. “Elden Ring co-op, but not really,” reads one negative Steam review. “You need three people, two isn’t allowed. And why? Because. How can something like this happen? I’m deeply disappointed and thought about a refund.”
“No duo option, had random people join to just run off and do their own thing,” reads another negative review. “Let me duo with my mate…”
“If you don’t have two other friends to play with in voice chat, don’t waste your time,” another negative review said. “Game is Elden Ring, but 3p, and the solo queue is abysmal (queuing up to play with randoms). Without VC it’s super hard to coordinate where to go, where chests/consumables are, trying to drop items for teammates, etc. Even though I really love Elden Ring and roguelites in general as well as Nightreign’s syle of gameplay, I wouldn’t see myself ever playing this game again without friends in VC, or if 1p experience wasn’t as hard as a ‘level 1 Elden Ring any% speedrun.’
“I think no matter how good you are at the game, it doesn’t matter if you’re bad at teamwork, especially in an environment where communicating is close to nonexistent (pins in a punishing fast-paced PvE game isn’t it lol).”
The voice chat issue keeps cropping up. Here’s another negative review:
“Impossible to make progress without voice chat. If you have three friends you can talk to and play regularly, you will have a great time, the connection is smooth, the map is full of events and the game loop is very interesting.
“However I am a 41-year-old man and I don’t have friends to regularly play this with, let alone two others (you need three people to go in as a team, two won’t work either).
“Even if they bring voice chat in the game (I’m not sure how there isn’t one at the moment) you won’t really enjoy this as much as if you were trying to fight with buddies, as your responsiveness with randoms will affect how you feel about your game a lot.
“Playing it solo queue with randoms is hard, it’s hard to communicate, it’s hard to share items, it’s hard to discuss tactics or decide on the next area to farm, it’s just hard.
“TL;DR, if you don’t have two more friends you can group up with regularly, it’s not fun.”
As Ishizaki suggested in our interview, duos is something FromSoftware may add to Elden Ring Nightreign in the future. Until then, you’re faced with solo or three-player only.
Ahead of the launch of Elden Ring Nightreign, FromSoftware warned PC gamers that they may experience framerate drops if they’re using “the latest graphics cards.”
In a vague note to fans included with Elden Ring Nightreigh’s day-one patch notes, FromSoftware said it was investigating the cause, and suggested those affected drop the graphics settings down from the default “High” to “Medium” or “Low” and lowering the screen resolution, as well as installing the latest drivers for your graphics card.
Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.
Seemingly born of a drunken night between Animal Crossing and The Legend of Zelda, Fantasy Life i: The Girl Who Steals Time is the latest take on blending easygoing life simulation and deep dungeon-delving. With its dangerously bingeable RPG mechanics and seemingly endless supply of charm, this cozy adventure stole plenty of my own time almost without me even noticing. The characters and story are both wonderfully goofy and much more substantial than I’m used to seeing in this genre, the process of leveling up your various individual jobs is really easy to get lost in, and it absolutely nails the balance between slice-of-life cozy activities, village building, and its more action-packed tasks, so I never found myself bored by any of them. After more than 50 hours chopping trees and slaying bosses, this has quickly become one of my favorite games of the year.
Fantasy Life i starts out as a pretty straightforward life sim: You’re introduced to the Life system in the first few hours, which has you switching between jobs where you’ll mine for ore, catch fish, and do favors for townsfolk. But just as I started to think “ah, okay, I’ve seen this sort of thing before,” it threw a curveball into that formula in the form of a giant open-world map full of brightly colored monsters to battle and puzzles to solve. Then, just a few hours after that, it sent me to an island to build my own village, lulling me back into a false sense of understanding before once again pulling the rug out from under me by introducing roguelike dungeon-crawling mechanics. This process of familiarity followed by delightful surprise repeats itself again and again, to the point where I was never sure what the next hour would bring. Chopping trees to increase my Woodcutter skill and gather wood seems like a fairly straightforward affair… until you run into a giant, ominous tree boss that doesn’t want to be cut down. Even after the credits have come and gone, Fantasy Life i continues to introduce new things to chase, which is just nuts.
But what’s more shocking is just how well many of these disparate activities work. It’s usually a pretty big red flag when a game tries to cram this much in, as it risks spreading itself too thin and not doing any one of them particularly well – but by the time I found myself delving into procedurally generated dungeons filled with a mix of combat encounters and cozy activities reimagined as boss fights, like a fishing minigame against an extremely elusive mega-fish, I was in disbelief by how well Fantasy Life i pulled everything off. The more classic life sim stuff, like leveling up various career paths (cooking, blacksmithing, mining, etc.), doing errands for villagers in exchange for new furniture and money, and building up your own home to put all your stuff in are all on par with some of the best in the genre. At the same time, the combat, open-world exploration, and RPG pursuit of new gear and skills may be quite simplified and mostly stress-free compared to full-on action-adventure games, but they are still engaging and have been nicely tuned to match the otherwise low stakes sensibilities. Both halves work on their own, and it’s all unified by a universally laid back vibe.
Fantasy Life i also has a surprisingly full story involving time travel, dragons, magic, and the strange mysteries of a fantasy land called Reveria, where devoting yourself to one or more of the 14 jobs, called Lives, that have existed since time immemorial is a core part of the area’s ancient culture. It’s silly, over-the-top, and fairly predictable, but also much better written than I was expecting and had enough interesting moments to keep me invested throughout its fairly short runtime. The know-it-all archaeologist, Edward, is an entertaining companion to have at your side during the plot’s most important moments, and a smarmy-mouthed bird named Trip never wears out his welcome with sassy banter as your sidekick. The third act does drag a bit and ends in just about the most cliche way imaginable, but it’s still more substantial and mostly successful in a genre where story is typically the last priority (if it’s even a focus at all), so it was a nice change to see it leaned into here.
Both halves work on their own and are unified by a laid back vibe.
Though you’ll spend some of your time saving the world in the main story, much more of your attention will be paid to the day-to-day business of leveling up your skills and helping out the residents of Reveria. Like any good life sim, once you start the grind it’s quite difficult to put down, as you leap from one profession to the other, unlocking new abilities, materials, and schematics as you go. For example, you might be asked to craft a bow to complete a quest and discover you need to harvest a new type of wood to do so, but you can’t do that until you craft a new ax, which requires some other ingredients altogether. This then leads you on a series of quests where you’re gathering materials and crafting one upgrade after another, leveling up your abilities along the way to make the going easier, until by the time you’ve crafted the bow you originally set out to make, you’ve now got about 20 other things on your checklist to pursue. The actual mechanics of doing all these cozy chores is nothing we haven’t seen in plenty of other life sims – you’ll catch bugs, reel in fish with a rod, and play a crafting minigame when it’s time to put it all together. But it’s all still oddly hypnotizing, like how I can never seem to pull myself away from the mundane day-to-day of The Sims.
That said, the grind in Fantasy Life i is pretty intense, and I did find myself occasionally annoyed by just how many trees I was expected to chop down and vegetables I was asked to farm in order to make what I needed for the next mission or upgrade. It can be especially irksome when it comes time to craft, since every crafting Life has an identical minigame where you spam one button. But Fantasy Life i walks this line pretty deftly, with options like the ability to skip the crafting minigames as you progress in each discipline, or allowing you to purchase raw materials that you’d rather not spend the time harvesting ad nauseum. This ultimately lets you avoid the more monotonous parts of the grind, setting your attention on hunting down the rare materials that can only be acquired from special resource nodes hidden in the world or by killing rare creatures.
You’re also given a small patch of land and asked to fill it with homes for both you and the friends you make along the way, decorating and upgrading the homestead as you go. If you’ve played Animal Crossing, then you’ll feel immediately familiar with this part of the formula as it follows the script written by its peers almost to the letter. You’ll craft furniture to customize your home, give fellow villagers gifts to improve your friendship and get goodies in return, and decorate the town to get a better ranking and unlock new things to add to your little community, like an art museum for residents to peruse. This aspect is a lot more shallow than something like New Horizons – residents don’t have much unique dialogue, there aren’t different weather or seasonal patterns, and there’s far less to do when managing the quite compact area you’re allowed to settle. But it’s definitely still serviceable and a nice way to spend your time in between hard shifts at the smithing forge and adventuring out in the world. Plus, you need a place to store all the loot and ornate furniture it likely took you a dozen or more hours to collect.
Of course, Animal Crossing doesn’t then also have simple combat, a large open-world area, and even a roguelike mode to grind to your heart’s content. Fantasy Life i leans into the action-adventure RPG side of things harder than I’ve seen in other hybrid life sims, with four of the 14 Lives devoted just to combat. There’s the Paladin, a classic sword-and-board class; the Mercenary, which trades the shield for an even bigger sword; the Hunter, a ranged bow class; and the obligatory magic-based class, the Magician – all of which are chock full of compelling abilities to unlock that make your battles easier.
It’s a nice breather from watering plants to slap around a dragon.
It’s also pretty neat how the adventuring components feed right back into the life sim mechanics, encouraging you to return back to town and craft a new sword or staff to improve your combat efficacy as you slay beasts and complete quests to advance these careers. There’s not a whole lot to fighting beyond dodging, blocking, and spamming the same attacks, plus it’s always extremely easy to the point where I never really felt imperiled, but it’s still nice to take a breather from collecting fruit and watering plants to slap around a giant red dragon for awhile.
The open areas you’re let loose to explore are brimming with resources to collect, enemies to fight, and the rare, extremely light puzzle to solve. They are very effective as a more adventurous outlet after hours of crafting and chatting with townsfolk. You’ll scale mountains to reach a rare mineral you saw glinting in the distance, chase down mimics filled with loot, and find little shrines that unlock companion characters when you complete their minigame, like a game of Simon Says or a winning a timed boss battle. These companions will join your homestead and accompany you on your adventures, and are a really awesome addition to both adventuring and leveling up your life sim skills. You can have up to three tag along with you at a time, too, each of whom specializes in a Life and will aid you in practicing it. For example, a Woodcutting companion will help you chop down trees, and a Tailor companion will help you craft new clothes. There are a ton to discover (I found over thirty in my time playing) and picking favorites that are best-suited to help out with whatever you’re doing is really satisfying. Unfortunately, they also do that thing where they repeat the same one or two voice lines every couple of seconds, so that aid came at the price of me losing my sanity and shouting “please shut up” the longer I played.
There’s also a very dope roguelike mode that cleverly reimagines what a procedurally generated dungeon can be in a game where most of your skills are gardening, fishing, and other disciplines that would seemingly be useless in a fight. But these are no ordinary dungeons, as each node on the map has a different Life-related objective to be completed before you can move on to the next zone. One room might require you to gather each vegetable, while another may challenge you to fish every sea creature out of the waters before you can advance – and the whole map must be cleared within a time limit, so you’ve gotta pick your battles when choosing what to collect and what to pass up on. While these levels are much more linear than the open-world map, they also give you a more predictable way to grind for XP and resources, and are an infinitely repeatable option once you’ve investigated every other nook and cranny.
Like many life sims, Fantasy Life i also has multiplayer that’s unfortunately treated mostly as an afterthought. You can have friends or strangers visit your settlement to show off what you’ve built, but they aren’t able to do a whole lot except look around, which makes the whole thing a bit pointless. They can also accompany you to one of the maps to assist with cozy activities or help you take down bosses in the open world, but for whatever reason these sessions are timed; they force you to end the activity after 30 minutes, regroup, and launch again, which is just really odd. Probably the best use of multiplayer is in the roguelike dungeons, where a group of four can clear out the map pretty quickly, and you are given better rewards based on how many players are with you. It’s really nice to be able to adventure with friends, but in a game that nails most of what it attempts, this aspect definitely feels a bit barebones.
The Epic Games Store is giving away a beloved indie title and the most recent Borderlands game as part of its weekly rollout of free PC games.
It’s an especially notable addition to Epic’s long-running free game promotion, which sees the company dropping a variety of titles for all Epic Games Store users at no additional cost every week. This week, PC users can add Playdead’s breakout video game, Limbo, and Gearbox’s Dungeons & Dragons-inspired Borderlands spinoff, Tiny Tina’s Wonderlands, to their libraries.
Both titles are available to nab from now to next Thursday, June 5, at 8am PT / 11am ET, at which point they’ll no longer be free to own. Even if you don’t find yourself playing games on PC very often, you might as well sign into an Epic Games Store account and claim both games for the future just in case.
Tiny Tina’s Wonderlands is a Borderlands side story that launched for PC, PlayStation 4, PlayStation 5, Xbox One, and Xbox Series X and S in early 2022. While previous entries in the series see players team up to loot and shoot across twisted sci-fi settings, this spinoff drops fans into a fantasy setting with a few gameplay shakeups, such as new weapon types and fleshed-out character customization, to keep things interesting. Thanks in part to a surprisingly star-studded cast that includes Andy Samberg, Wanda Sykes, Will Arnett, and more, we felt Tiny Tina’s Wonderlands was a fitting addition to the Borderlands universe, giving it an 8/10 in our review.
Limbo, meanwhile, is a much more scaled-down adventure that sees players controlling a small child as they trudge through an unforgiving, colorless world. It’s a short story that HowLongToBeat says takes just over three hours to complete, but it’s been more than enough to leave an impression on gamers for nearly 15 years. We gave it a 9/10 in our original review.
Michael Cripe is a freelance contributor 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).
The final stop for our IGN First trip to FromSoftware was the sound room where Lead Composer Shoi Miyazawa crafts the wonderful soundtracks that fill The Lands Between and Limveld with notes of hope, melancholy, and strife. Here’s our interview touching upon what goes into creating a FromSoft soundtrack, what specifically were the notes from the director given with regards to Nightreign’s music, and Miyazawa’s own personal influences.
IGN: So I just wanted start off by asking you about how you fell into the world of composing music for video games. Are you a big fan?
Shoi Miyazawa – Lead Sound Designer on Elden Ring Nightreign:
I was a fan of the Armored Core games. So when Hoshino-san approached me about recruitment at FromSoftware, I was very interested. I’m a big fan of the Armored Core music. Also, I like some other titles from my childhood such as Ganbare Goemon and Secret of Mana. So I’m always putting research and trying to find inspiration from these titles as well. The Castlevania series, as well, was a big musical inspiration.
Along those same lines, do you have any favorite composers that have also maybe inspired your work? Not just video games, just in general.
I’ve always been a fan of King Crimson and Marilyn Manson. I like these kinds of different sorts of vibes within music.
Switching gears to Elden Ring and Nightreign, what’s the process for composing for something like Elden Ring? Are you given concept art for a boss or a location and then use that inspiration for the sound? Or are you given specific notes of the feel or mood that the director is looking for?
There are several approaches we can take such as that you mentioned. Sometimes the director will give a quick description of the mood or the location he wants. Sometimes it’s from the existing concept art of the game. And sometimes it’s a simple text-based order such as a description of a boss’s backstory or the arena that they fight in or something like this.
Has working on the soundtrack for Nightreign been any different from the experience of working on the soundtrack for the main base game?
Of course it is an Elden Ring spin-off, so we wanted it to transfer or carry over certain elements from Elden Ring and the sort vibes it gives off. I had many direct talks with the director himself discussing the aspects of Elden Ring and how we should approach Nightreign. And I think while he wanted this to be quite distinct from the Souls titles, he also wanted it to be catchy in its own way as well. So this sort of catchiness and offering something that was distinct from Elden Ring was quite important in our work.
Can you describe maybe some of the notes that you might have been given from the director with regards to the sound and tone of this soundtrack? Were there any recurring themes that you wanted to hit?
Yeah. So seeing as night was an important theme of Nightreign, we wanted this feeling of being out of place, this feeling of loneliness, this sense that comes with the darkness or the sort of loneliness of nighttime. These were elements that we wanted to incorporate into the music.
Among the many projects that you’ve worked on so far at FromSoftware, which has been your favorite, and which has been the most challenging as well?
Of course I have lots of fond memories of working on titles at From and it’s really hard to lock in on a particular title. But there are a couple that have stuck with me, a couple of pieces in particular. One of them being when we composed Consort Radahn for Elden Ring. What I like to do is I actually like to compose in a sort of dark room, in a dimly lit room. So I had this feeling while I was composing that track of there always being somebody there in the shadows and looking over my shoulder. So this kind of came through in the piece for Consort Radahn.
I actually like to compose in a sort of dark, dimly lit room.
Another one would be the track Takes Me Anywhere from disc three of the bonus soundtrack from Armored Core VI. I know this is a bit different from the fantasy music that we’ve made with our games, but for me, as I said, Armored Core was a series I was particularly fond of. And as I entered the company, From just happened to kind of put that series on hiatus for a little bit. So I had something, had some ideas going there, but AC IV was a long-awaited game. It was a long time coming. And Takes Me Anywhere was one of the original tracks we produced for that bonus all-encompassing disc set. So it was something that brought back memory of those days and it was a track, it was a piece that I actually had in my mind since coming to From and since I started working a little bit on those titles but didn’t quite get to fully develop into those games. So it reminds me a lot of those days and everything we went through with Armored Core. And so hopefully people will give that a listen as well.
There are several composers that are credited with working on Elden Ring. Can you talk a little bit about how collaborative of an effort it is to compose music on games like Elden Ring and Nightreign? Do you each work completely separately or do you work closely together despite being responsible for different pieces?
Generally when we compose music at From, it’s one composer to one track. That’s the general approach we take. But of course we can get advice and sort of exchange ideas with the other members of the sound team. But ultimately on the credits, you’ll see the person credited to that track is the one who took it through to completion. But Nightreign was a little bit of an exception here. So we have multiple composers working on a single track in some instances.
One of the bosses that we got to check out today as part of our visit was Libra: Creature of Night. And I was wondering if you had any kind of insights or stories as to what went into the creation of that track.
Actually with Libra, it was one of the rare cases where a particular musical direction or ideas was given within the character brief. So that was one that stood out to me. We had these themes of trying to bring something as the appearance and as the boss fight itself suggests, some themes of an exotic nature or these impressions of madness or like a demonic nature to the boss. And again, introducing this duality that you find both before and during the boss fight, considering elements of victory and defeat, that trade-off, that risk and reward. We try to create a harsh contrast with a lot of our bosses, but in particular we wanted to take it to extremes for Libra.
The contrast between day and night during boss fights is very striking, and it’s apparent in the music as well. Could you tell us a little bit about how you approached composing these pieces?
So of course we have this day and night cycle and this three day structure to Nightreign. So as we mentioned earlier, we wanted the player to feel like there’s this imposing sense of danger. Enemies and bosses are getting stronger as the night approaches. We wanted this feeling of being more and more out of place, more and more out of your depth. These are things that we try to, feelings we try to convey through the music of Nightreign.
We wanted the player to feel like there’s this imposing sense of danger.
Is there any particular song or anything that you’re really excited players to experience for the first time when they play that you worked on?
So one thing that compares to the music we did for Elden Ring and the DLC was really focusing on the individuality of each of these boss fights that players are going to be encountering numerous times. So we wanted to really push the limits of the music as well for each of these fights. And sometimes it was a case of can we really push it this far? And I think in the end we did end up really expanding those limits and really pushing the boundaries of the music at From in our fantasy titles. So that’s one area that I hope players look forward to.
Going back to your own personal tastes, do you have a favorite musical instrument or something that you like to incorporate into your compositions?
It’s not an instrument, but actually when I first started dabbling in music, it was with a personal computer and it was with DTM software. So that was my first real contact with making music and especially professionally. So as a creator, software like this allows me to really concentrate on the finer elements and really fine tune these pieces down to every last note and pitch. So I think this is something that I’d like the player to understand or hopefully notice when they listen to these pieces. Because I really do get way too into it, probably too much that is healthy for work.
One of the things that I’ve been asking everyone that I’ve been talking to at FromSoftware has been what your favorite game is. We know we talked a little bit about video games from the music side, but do you have any games that really stand out as just your favorite game of all time?
One of the games I remember fondly is Myst. Adventure games like this, they usually have this quite, maybe only some readers or viewers will remember, but these kind of pre-rendered scenes that kind of transition one from the other. But you’re going through the world and you’re solving the puzzles on this adventure. This really stuck with me as a player. So yes, I think Myst would be a good example.
Mitchell Saltzman is an editorial producer at IGN. You can find him on twitter @JurassicRabbit
