Luigi’s Mansion is finally coming to the Nintendo Switch Online library. Debuting on October 30, the GameCube classic arrives just in time for Halloween, and means the entire trilogy, along with Luigi’s Mansion 2 and Luigi’s Mansion 3, is now playable on Nintendo Switch 2.
Luigi’s Mansion released way back in 2001 and sees Luigi win a creepy old mansion. It’s all very exciting right up until his brother Mario mysteriously disappears, leaving Luigi to rid the mansion of Boos and ghouls in order to find the missing Mario.
Luigi’s won a mansion! The bad news is that it’s crawling with ghosts… 😱
As yet there’s no word on how the classic game will make use of Nintendo Switch 2‘s most hyped features, including its new mouse controls, but we do know it’ll be playable for Switch 2 owners who subscribe to the Nintendo Switch Online + Expansion Pack.
Nintendo Switch Online is a subscription-based online gaming service for the Nintendo Switch gaming platform. Memberships include online functionality, allowing you to compete or cooperate with friends, as well as a collection of classic Nintendo games spanning four decades, including titles from the NES, SNES, Game Boy, Nintendo 64, and, most recently, the new GameCube library. A free seven-day trial is also available.
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.
“I think if we don’t embrace it, I think we’re selling ourselves short,” said Juinio, who recently vacated her role as director of product development at Santa Monica Studio after 10 years and two hugely successful God of War games. “AI is a tool, and something that will augment us. At least for right now, that’s how I see it. It’s going to evolve whether you’re onboard with it or not, so I want to be at the forefront of helping to guide how that goes and how we use it.”
Juinio went on to compare the use of generative AI to the procedurally-generated content that’s been a part of games development for decades now, pointing to SpeedTree – a tool for generating trees in real time – which was used as early as 2002 for the foliage in The Elder Scrolls IV: Oblivion. She also recalled a time when animators were pushing back against motion capture and the use of procedural generation to blend animation frames rather than key them by hand. Both procedurally generated assets and animations have long become standard practices in games development, and Juinio seems just as confident that generative AI will also find its place.
“Personally, I’m super positive,” said Juinio. “Like [Glen Schofield said in his keynote address], this is the next big technological advancement that’s coming. In fact it’s here already, and I think as leaders in the video game industry it is on us to figure out not just can we do it with AI, but should we? And it’s a case-by-case type of decision making process and what’s true for game X might not be true next year for game Y.”
When asked if she thought the increasing adoption of generative AI might help mitigate the swelling costs of AAA-games development, Juinio was clear that the use of AI in games development is unlikely to be the be-all end-all solution to the post-pandemic pattern of regular studio closures and the bursting of the blockbuster game bubble.
“I wouldn’t necessarily put it into an either/or kind of scenario in that way, because to me the size and scale and beauty of the game isn’t the main thing,” said Juinio. “At its heart, the game [needs] to be fun. [Ideally] at its heart the story is fantastic, it’s human, players connect to it, and it’s fun to play.”
“And yes it looks beautiful, and yes the music is immersive. But the music could be really immersive and the gameplay could be not good, or the story [might] not be engaging, and I don’t think it would resonate with players as much. And so at least for right now, I don’t see AI replacing the fun gameplay that is at the heart of a game like God of War.”
Although Juinio seems adament that generative AI in games development is here to stay, she also remains confident that it will never be able to rival the heart and soul that can only come from a human touch, and that the adoptance of AI will only be a positive if there’s an equal amount of investment made into developers to help them get the best results out of it.
“At the end of the day you still need game developers to come up with the ideas,” said Juinio. “The story of God of War is very much a human story that is based on human experiences.”
“At least as of today, I don’t see that going away.”
Earlier this month the makers of Battlefield 6 stated that there was currently no way to implement the use of generative AI into the daily work of its development team, despite regarding the burgeoning technology as “very seducing”.
Hot on the heels of Ninja Gaiden’s own 2D revival with the excellent Ragebound, Double Dragon Revive comes off more like a tribute band for the series rather than a proper reunion tour. It doesn’t play the hits how you remember it, instead putting its own spin on things – from how it looks, to how it sounds, to how it plays. All of those aspects not only fail to live up to my admittedly mild expectations for a new Double Dragon, but after hours of its out of tune meandering, started to cement the idea that maybe we should put a little more distance between attempts to revitalize this series.
Even though I’ve been playing these games for most of my life it’s sort of jarring how straightforward Double Dragon Revive is. Side scrollers of this arcadey, “belt scroll” variety have found a lot of ways to spice up the “punch your way to the right” recipe, and Revive seems interested in keeping as much of that new seasoning away from its plate as possible. It’s a basic protein packed with eight non-branching levels, accompanied by starchy combat that’s filling but has barely any sauce.
Picking up any of the four playable characters is simple and intuitive, with normal attack strings that can be mashed out on one button alongside special attacks and hyper blows that can be used to punctuate these combos, or in some instances extend your offense into wall bouncing juggles. All of these actions are unique to each fighter. Well, Billy and Jimmy Lee have distinctions that don’t translate into mechanical differences, but former damsel-turned-headkicker Marian and ninja frenemy Ranzo have attacks that are a little more flashy and utilitarian. I rarely felt it necessary to use more than basic combo loops on Normal difficulty, though. As long as an enemy didn’t have an annoying shield or hyper armor protecting them as they wound up a big attack (something ubiquitous in the later levels), they were reliably vulnerable to a good old fashioned fist to the face.
There are limited options for those who do want to attempt to style on these street thugs, but they all rely on bouncing enemies off of walls to keep them in the air long enough to string more hits together as they come down. It often felt like enemies kind of just went wherever they wanted after a launch or a throw as opposed to where you directed them to go, making a laborious task out of trying to set up simple combo extensions, jamming enemies into background environmental hazards that take them out of the fight instantly, or taking advantage of the super powerful wall strike and wall crash options.
It rarely felt necessary to use more than basic combo loops on Normal difficulty.
There’s no air combos to be had either, so chasing a launched bad guy skyward only allows you a single, disappointing smash down to earth so you can wait for them to stand up and let you hit them again. Everyone can get a free hit on downed enemies, if you can finagle the finicky button prompt to do so that is unresponsive and unreliable. If there’s the right kind of wall around – the right kind being the one they decide is right based on no reliable context clues – you can do a super sized air dropping attack, but even getting the wall kick off that’s required to get the requisite height is a dice roll.
Everyone has powerful, screen clearing finishing blow attacks that are charged up by all the fisticuffs, with boosts given when you make a timely dodge, counter an enemy’s big attack, or grow your combo meter. But no playable character, not even with Ranzo’s cool explosive kunai or Marian’s charging knee, can make Revive’s combat feel special, or even interesting, across long stretches of time. It took me around three hours to finish my first playthrough, and I lost interest well before then, with three more playthroughs after that, one for each playable character.
That said, enemy variety is at least diverse and effective at making you use the small menu of options you have. As levels progress, old bad guys show up to mingle with the newer ones to form a sort of street thug gumbo that can get a little spicy towards the end of your run. It’s largely a numbers game, with you often getting overwhelmed by the sheer amount of incoming blows from all angles. I liked the little brain puzzle of having to identify the most dangerous threat to take out first, or needing to figure out the most efficient way to wrangle as many folks as possible into a big attack, but it wasn’t beguiling enough for me to forget that the process of breaking these dudes down was still rather dull. Even the array of limited use weapons, though strong tools usually worth the effort to grab if things get hairy, are your standard fare knives, two-by-fours, sledgehammers, etc.
As the challenge escalates, some of Revive’s jank becomes an enemy of its own. Small things, like the direction of your character sometimes defaulting to the opposite direction inexplicably, stops being a quirk to work around and starts being the reason you drop a combo or get punished.
Enemy variety is at least diverse, but breaking dudes down is still rather dull.
Bosses break the monotony up a little bit, introducing slightly more engaging stage hazards and pattern mechanics, like Linda, who you need to shake off of the pillars she’s hiding on top off before you can attack her directly. These get pretty brutal towards the end, though, specifically the chapter seven boss, which has to be the most aggravating fight I’ve maybe ever played in one of these games – truly a test of endurance against a ceaseless onslaught of the most cheating cheaters the game has to offer.
There’s not a lot of flash visually, either. Most character models look good, but the fire, wind, and dragon effects that come from their limbs when channeling their chi looks a step behind in quality. Camera work and sound design come together adequately to make big hits feel good and all that jazz. The sound track is decent, with a handful original riffy rockouts and remixes of old series jams that sound good in the moment but sort of leave your head immediately after they end. Overall, Double Dragon Revive lacks the visual identity that the 16-bit Double Dragon Gaiden and even pastel-punk Double Dragon Neon have, let alone its peers like Shinobi: Art of Vengeance and Ninja Gaiden: Ragebound from this year.
The stages you bash your way through run a much broader gamut. A colorful Japanese pagoda-style tower with a fun little perspective shift mid-way through is simple but much more stirring than a non-descript highway level, even if there is a wrestling ring at the end of it. Some of these zones require some platforming that I was never happy to see but in mercifully short bursts. It’s a bit of an eye-roll that most of these stages are just takes on series staple locations without much novel flair added this time around, but it’s truly disappointing how many of these locations are just bland and lifeless.
And not to be one of those “the story in this beat ’em up sucks” sort of freaks, but I mean, it does. It’s less that the plot is nonsense, the characters are bland, and the writing is lousy and more that Revive lacks the confident and chaotic energy that is necessary to sell this sort of thing to begin with. The post-apocalyptic villain of Neon was a gang-leading demon knight straight out of a heavy metal album cover named Skullmaggedon. The gang struggles in Gaiden made that version of New York City feel like Gotham City, complete with goons color-coded and themed after their outlandish bosses. By comparison, Revive is just a completely tame and underwhelming take on returning villains Willy and Raymond, who used black magic and the military industrial complex to experiment on people and make the Sousetsuken kid’s lives worse.
Gearbox has said the hotly anticipated Borderlands 4 patch that will finally dull crit knife builds is delayed again and will now launch alongside the Horrors of Kairos mini-event.
Borderlands 4’s ‘Day 30 Update’ was set to launch last week but was delayed to early this week. Fans had wondered when it would turn up after another no-show today, prompting developer Gearbox to say it’s now due out alongside Horrors of Kairos, which runs from October 23 to November 6.
The question now is when exactly the patch will be released. Horrors of Kairos is down to start on October 23, but it may end up releasing at some point between then and November 6.
Borderlands 4 is rife with overpowered builds that cause massive damage, even to the game’s toughest bosses on the hardest difficulties. The most infamous of these is the crit knife, which Gearbox has said it’s aware of. But there are many others.
The nerf sweep set to hit Borderlands 4 has sparked a debate within the game’s community about the rights and wrongs of balance changes such as these in single-player games. With no PvP component, Borderlands 4 is mostly about solo players — and occasional groups of co-op players — farming bosses for loot that makes their build ever so slightly better each time.
Builds based on the crit knife, for example, can essentially delete bosses even on Borderlands 4’s toughest difficulty, making farming for loot a trivial endeavor. Some believe there’s nothing wrong with such overpowered play because players aren’t competing with others in any way. Others argue it’s bad for the game.
Borderlands 4 creative director Graeme Timmins has responded to the complaints, pointing to the game’s upcoming Invincible boss, which the developers want to present a challenge.
“We have future content like the upcoming Invincible that we want players to find challenge/accomplishment in,” Timmins explained. “If we balanced that content around bad gear, it would remove build diversity, forcing players into specific builds using said gear.”
Specifically on the crit knife, associate creative director Grant Kao said this particular, hugely popular build “diminishes playstyle variety,” and confirmed changes are planned.
“We will be adjusting it,” Kao said. “The crit knife’s potential output diminishes playstyle variety. The gun builds that use the crit knife have other options and will have more options coming soon.”
Timmins then chimed in on the crit knife, saying: “Our intent is always to expand the number of builds, so any adjustment we make is in service of that goal.”
All eyes are now on Gearbox to see what changes it has in store for not just Borderlands 4’s crit knife build, but any build it believes relies on an “unintended interaction.”
And we recently reported on comments from Gearbox chief Randy Pitchford, who said if more developers better understood why gamers love making decisions about loot, “We’d have good competitors.”
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.
There’s plenty going on in Crimson Desert’s open world. From puzzles to castle sieges to blowing up enemies with a battle robot, there’s a wide range of activities to get stuck into. But from what we’ve seen so far, the real show stoppers are the boss battles. As part of this month’s IGN First, we’ve already shown you two new ones: the Golden Star mechanical dragon, and Fortain, The Cursed Knight. But there’s still more to see. Today, we’re showcasing three brand new bosses: Muskan, Walter Lanford, and Kearush the Slayer. You can see protagonist Kliff duke it out with all three in the video above.
The trio demonstrates a chunk of Crimson Desert’s enemy scale – Walter Lanford and Muskan are both human, but the former is pretty regular in size, while the latter is an eight-foot powerhouse. And then there’s Kearush, a massive, gorilla-like beast who’s actually one of Crimson Desert’s smaller monsters.
Those “weight categories” help distinguish each boss, but each is defined by their ability set. Muskan is a fierce pugilist, only providing you a few seconds of reprieve while he charges up his powerful punches and dive kicks. He’s not afraid to fight a little dirty, with sweeping kicks knocking your legs from under you, and choke slams sending you sputtering to the floor. When his fury meter maxes out, he’s able to unleash a chain of blows that repeatedly launch you into the air, so learning how to avoid his lighting-fast fists is the name of the game.
Walter Landford may be no bigger than you are, but he’s arguably the most sophisticated of the three bosses we’re showing today. Armed with a shotgun, he’s able to fight effectively at range. Dodging the wide-spread projectiles is key, but get your timing right and you can actually deflect his blasts back at him. Should your reflexes not be quite that sharp, you can spin up a magic barrier that collects incoming bullets and fires them back where they came from. Walter’s weak to grapples, so getting in close is vital – thankfully you can use the “deflect light” skill, typically used to find hidden items, to temporarily blind him and close the distance. You’ll need to act fast, though, as Walter’s armed with smoke grenades that can help conceal his rapid getaways.
Finally, Kearush the Slayer is a monster with no less than three health bars – a fight-extending trick that multiple foes across Crimson Desert’s campaign can pull. There’s a Hulk-like intensity to this fight, with Kearush being able to climb the walls and unleash clumsy-but-destructive leaps in his attempt to turn every bone in your body to dust. As a larger creature, you’re able to clamber onto his back and stab away, Dragon’s Dogma-style, but be careful – he’s more than happy to fall back-first from a great height, so let go of those shoulders before you’re forced to cushion his landing.
All three of these fights only reinforce my feeling that the bosses are going to be the real stars of the show in Crimson Desert. Every one I’ve faced so far across multiple hands-on opportunities has had a unique twist, a clever mechanic, or simply an exciting moveset that kept me on my toes. I’ve fought a powerful knight who I crushed with fallen masonry columns. I’ve faced off against an antlered snow beast who could cause avalanches that froze me in my tracks. And I’ve clambered up the side of a giant walking mountain, Shadow of the Colossus-style, seeking out its weak points in a battle of endurance. And I hope these are only just the start. I can’t wait to see what Crimson Desert’s most ambitious showdowns are made of.
Matt Purslow is IGN’s Executive Editor of Features.
If there’s one thing I’ve learned from the Jurassic Park movies, it’s that running a dinosaur theme park isn’t easy. It’s a constant balancing act of keeping your employees satisfied, making your park profitable, and meeting your guests’ needs, whether that means having enough bathrooms or just not getting eaten by a velociraptor. Jurassic World Evolution 3 once again puts you in the role of park manager, giving you a chance to do what the John Hammonds and Simon Masranis of the world could not: run a thriving, lucrative theme park with attention-grabbing dinosaur attractions and minimal violent deaths. With a complex set of management and customization tools, Evolution 3 gives you more control over your park than ever before. The result is an incredibly engaging management sim that’s a high point in an already satisfying series.
Like the first two, Jurassic World Evolution 3 shares a lot of DNA with other theme park sims. You’re responsible for laying down paths and electrical infrastructure, building amenities that appeal to your clientele, and creating experiences that get more guests through your gates. Rather than roller coasters and haunted houses, though, the attractions are all about the dinosaurs. Just about any species will garner business, but having a variety is the key to long-term success — and thankfully, you’ll have a wealth of different dino types to choose from. There’s always a bit of a thrill in seeing these legendary creatures come to life, especially when you unlock the more recognizable species from the films.
Of course, when you go to Disneyland, there’s almost no chance that Mickey and the princesses will escape their enclosures and maul the park-goers. That adds an extra layer of danger to Evolution 3, and park managers will have to maintain a high safety rating to continue to pull in money. Think of it as a chill, cozy management sim punctuated by moments of panic and terror. You’ll have to keep your dinosaurs happy by meeting their food, environmental, and cohabitation needs. Some need room to roam or prefer to live in packs, while others can thrive in small areas with only a bit of pasture to nibble on. Carnivores require either fresh meat or live prey, while herbivores need greenery, fruit, and nuts. Flying and swimming dinosaurs need special enclosures, since fencing in a pteranodon is about as useful as hiding from a T-Rex in a bathroom stall. It’s really satisfying to get into a loop of researching dig sites, sending expeditions to those sites, extracting DNA, and finally, finding the perfect spot to incubate your newly discovered species.
If that seems like a lot to manage, it is — but the campaign does a great job of walking you through the increasingly complex mechanics. Head of PR Cabot Finch, who you might remember from the previous Jurassic World Evolution games, returns as your guide as you visit existing parks in progress around the world and restore them to greatness. In a nod to the original Jurassic Park, the campaign begins in the Montana badlands and eventually takes you to Las Vegas, Hawaii, and throughout Europe and Asia, adding a lot of variety to the local scenery. Finch is accompanied by a team of scientists and dinosaur experts, but the real star is Jeff Goldblum’s Ian Malcolm pops up from time to time to remind everyone that trying to control nature inevitably leads to disaster.
Think of it as a cozy management sim punctuated by moments of terror.
Even if you’re already familiar with the series, the campaign mode is an effective way of familiarizing yourself with Evolution 3’s new features. The biggest addition is the introduction of in-park breeding. Previously, you could only synthesize dinosaurs based on how much of their DNA you extracted from fossils found on expeditions. Now, once you’ve synthesized compatible males and females of the same species, you can set up a cozy nesting area and wait for them to get busy.
This mechanic adds a few interesting new wrinkles to the tried-and-true Jurassic World Evolution formula. You can work with your scientists to create a breeding plan, or preferably just wait and see if nature takes its course. Who knew it would be so fun to play matchmaker to a bunch of prehistoric creatures? Once the next generation hatches, juveniles might have different needs than their parents. For example, while grown carnivores prefer to hunt their own prey, baby raptors and T-rexes will need stores of prepared meat in their pens. The tallest dinosaurs can reach the foliage on treetops, but their offspring will need nourishment closer to the ground. If you let breeding go on unchecked, pens can get overcrowded, which leads to breakouts and general panic among your guests.
While you’re managing these dinosaur family units, you’ll also have to curry favor with the entertainment, security, and conservation factions, another new feature. You can gain reputation by completing certain contracts, which are basically well-paid side missions, and improving the quality of your parks. Gaining a positive reputation with all three factions becomes very important in the last few chapters of the story, but they don’t necessarily want the same things. Pleasing them becomes yet another balancing act that adds more depth to the gameplay.
The campaign in Jurassic World Evolution 2 felt more like an extended tutorial, but this time around, you have more breathing room to find your own management style. Its objectives serve as a backbone to the overall story in which an activist group called Extinction Now! regularly hacks into your communications and sabotages your parks. As you make your way around the globe, you’ll also need to put a stop to Extinction Now!’s histrionics. The first few parks are heavily guided, but once the map opens up and you go international, you have a lot of welcome freedom to meet your objectives in whatever way you see fit.
Pleasing the new factions is yet another balancing act that adds depth.
Part of the fun of the management sim genre is being able to create something entirely from scratch, which you can do in sandbox mode. This mode has been a staple of the Jurassic World Evolution games, and Evolution 3 offers even more customization options. To start, you can choose any of the locations from the campaign, generate an island with its own unique topography, or use the square maps for a perfectly flat, obstacle-free mass of land.
You have control over almost every aspect in the sandbox, including your starting funds, certain dinosaur behaviors, and beyond. You can make it more challenging for yourself with a shoestring budget or choose unlimited funding to remove all cost barriers to creating the dinosaur theme park of your dreams depending on what you are in the mood for. You can take on contracts to make extra money, but for the most part, sandbox mode is an unguided experience. It’s easy to lose track of time when you’re making sure your paths are perfectly aligned or setting up an unforgettable park tour with maximum dinosaur visibility. And unlike in the campaign, where Cabot, Malcolm, and the rest of the cast are frequently chattering at you, the sandbox is quiet and zen. Well, at least until the indoraptors get loose.
The third gameplay mode, scenarios, was my least favorite of the three. These timed challenges, which can take anywhere from 12 minutes to a couple of hours, have specific objectives and restrictions. In one, you’ll have to take manual control of one of your ranger teams and take photos of wild dinosaurs; in another, you might be barred from editing the existing dinosaur pens regardless of the well-being of those inside. I couldn’t get on board with this time-trial approach to park management; for me, it was antithetical to the zen-like experience I’m looking for in a sim, and the objectives weren’t interesting enough to make them worth the effort. I found myself missing Jurassic World Evolution 2’s Chaos Theory mode, which sadly appears to be extinct.
But even though I didn’t personally vibe with the Scenarios, it’s impressive that Evolution 3 offers options for just about every kind of management sim fan. If you need a story to guide you through the gameplay, the campaign has you covered. If you want to build something that’s entirely your own, you can do so in the sandbox. And if you actually like high-pressure time trials, you’ll probably find Scenario mode more satisfying than I did.
I’m even more impressed with the quality-of-life updates Evolution 3 brings to the series. With the right infrastructure, you can automate maintenance and medical care, saving you from having to manually track down those units every time there’s a crisis. Aspects that were convoluted or confusing in the previous games, like creating park tours, are far more straightforward. There are more tours to choose from beyond the standard Jeep rides and gyroscopes from the movies; you can set up a hot air balloon tour or build a Cretaceous Cruise that allows guests to canoe through rivers and lakes. Boosting your transportation score by setting up monorail stations and tracks throughout the park feels much more intuitive this time around. As you expand, you can easily edit the existing tracks to expand their reach — or just set up an underground hyperloop to make traversing the park even simpler. A lot of rough edges have been smoothed out.
I ran into a few technical issues while playing, though most of them have already been addressed by a patch. Most notably, the “continue” and “load” options were missing from the menu every time I started it up, so I had to begin a new game and load manually from there every time I wanted to get back into my ongoing campaign. This meant more long load screens and hearing the opening voiceover over a dozen times, which isn’t ideal. Again, that thankfully appears to have been fixed, but I also experienced a few crashes when trying to revisit my Indonesia park, which meant going through that same loop of starting a new game and loading all over again.
Another drawback of playing Evolution 3 before release is that I didn’t get to check out the community creations. Because it has so many more customization options than its predecessors, it makes sense that players would want to share their creations with the world. It’s a fun idea on paper, though I can’t say for certain whether it works in execution since there was an extremely limited player pool before launch.
Nintendo has announced the second Kirby Air Riders Direct with director Masahiro Sakurai. It’s set for October 23 at 6am PT / 9am ET / 2pm UK time.
This one’s even longer than the 45-minute Kirby Air Riders Direct we saw in August. Expect roughly 60 minutes of information on the upcoming Nintendo Switch 2 exclusive, Nintendo said.
“You might be asking yourself if it’s basically Mario Kart,” Sakurai said. “You race and battle with familiar characters around courses with different features, or so they say. Ok, so it basically is like Mario Kart. I even mentioned this when I received the request to make the game. I asked them if they still wanted to do it. But as fans of the original know…the appeal of the game is not actually the races!”
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.
PlayStation Plus Extra will lose seven games in November 2025, Sony has confirmed.
As reported by Push Square, the seven games set to exit the subscription tier include 2018’s Battlefield 5, Digimon Survive, and Like a Dragon Ishin. Battlefield 5 leaves PS Plus Extra hot on the heels of Battlefield 6’s record-breaking launch.
The list of titles is expected to make way on November 18, when Sony will release the next PS Plus Extra update. As Push Square points out, it’s worth noting that games in PS Plus Extra can no longer be played once they’re rotated out of the catalog, even if you continue to subscribe. So make the most of these games while you still can.
The games set to leave PlayStation Plus Extra in November 2025:
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.
Halo co-creator Marcus Lehto has expressed his disappointment that former staff of the now shuttered Ridgeline Games were not “properly” credited in Battlefield 6, despite building the “foundation” of the game.
Fast forward to Battlefield 6’s record-breaking release, and Lehto has taken to LinkedIn to recognize the work done by his former staff at Ridgeline on the game.
“I’m disappointed to see that many of my former teammates from Ridgeline Games were not properly credited in the recent release of Battlefield 6,” he said in a post that included a list of names under the Ridgeline Games banner.
“These talented developers worked tirelessly for 1 to 2.5 years, building the foundation of the game, before I left voluntarily and the studio was subsequently shuttered. Despite their significant contributions, most who were laid off were relegated to a ‘Special Thanks’ section at the very end of the credits — and several were omitted entirely, including myself.
“Out of respect for my colleagues and the awesome work they poured into this project, I want to take a moment to properly recognize them — listing their names and roles as I would have preferred them to appear in the credits.
“Game development is a team effort, and every contributor deserves fair acknowledgment.”
IGN has asked EA for comment.
In an internal note issued at the time of Ridgeline’s closure, EA Entertainment president Laura Miele said that Criterion producer Danny Isaac and studio head of creative Darren White would replace Lehto to continue work on the planned narrative campaign, with some members of Ridgeline Games joining Ripple Effect to continue working on Battlefield.
EA would go on to announce Battlefield Studios, the four-strong developer collective working on the mega-publisher’s Battlefield franchise. It currently includes DICE, Ripple Effect, Motive, and Criterion.
Lehto is a Bungie veteran whose portfolio includes serving as creative director on Halo: Reach. He joined EA in the wake of criticism over Battlefield 2042’s lack of a single-player narrative campaign.
While Battlefield 6 has enjoyed enormous sales success and won plaudits for its multiplayer, the campaign was poorly received. IGN’s Battlefield 6 campaign review returned a 5/10. We said: “A safe, dull reimagining of what Battlefield once was, rather than a bold reinvention of what it could be.”
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.
Silent Hill series producer Motoi Okamoto has opened up on why Konami revealed three new Silent Hill games after a full decade of silence, saying the publisher was keen to stress to old fans and new that it was “serious” about resurrecting the flailing horror series.
“Three years ago, in 2022, we announced three titles: Silent Hill 2, Silent Hill f, and Silent Hill: Townfall,” Okamoto explained on Twitter / X, as transcribed by Automaton. “We didn’t want to just announce a single remake to ‘test the waters.’
“We wanted people to feel how serious we were about reviving the series. Developing a remake and a new title simultaneously naturally involves risks, but we wanted to convey our commitment first and foremost. Only when a new game is announced can the future of a series be seen. Users won’t feel motivated to engage with an IP unless they can sense it has a future. If the company takes a wait-and-see approach, so will the players. The company needs to show how serious it is so that users can get genuinely excited. I think that’s only fair.”
Silent Hill 2 Remake has sold 2.5 million worldwide, which pushes sales of the franchise overall to 10 million. Silent Hill f has sold 1 million copies. IGN’s Silent Hill 2 Remake review returned an 8/10. We said: “Silent Hill 2 is a great way to visit – or revisit – one of the most dread-inducing destinations in the history of survival horror.” Our Silent Hill f review also returned a 7/10. We said: “Silent Hill f presents a fresh new setting to explore and a fascinatingly dark story to unravel, but its melee-focussed combat takes a big swing that doesn’t quite land.”
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.
