Steam’s latest client beta has given you another way to quickly check whether you’ve got secure boot enabled before you hop into some FPSsing about. Enabling the setting’s become mandatory for the likes of Call of Duty: Black Ops 7 and Battlefield 6, as the possibly futile war on cheating continues to rage like, er, well, you know.
It’s a controversial way of going about trying to limit the amout of fraudulent 360 no-scopes, as it involves publishers mandating an aspect of how players’ hardware’s used, if a pretty easy one to check with a trip to your BIOS if you know what you’re doing. Not everyone’s used to delving into those settings though, which is why it’s nice Valve have made this useful addition to their game playing place.
After years of waiting, Hollow Knight: Silksong is finally in the hands of the people. By this point, many will even have completed it. Gone are the days of applying clown makeup during each major gaming event, replaced instead by widespread love for Team Cherry’s sequel. Yet, for me, I’m struggling to be excited about Silksong, despite the fact it’s the latest entry in one of my favorite genres.
For this issue of Access Designed, I’m not going to be analysing Hollow Knight: Silksong in the traditional sense. The game’s demands of speed and precision, combined with a lack of accessibility features and my own disability, has meant that I physically can’t play it. And so I’m unable to give an accurate analysis of gameplay, story, and even the art direction of different zones, all of which can be examined through an accessible lens. Instead, I want to talk about the overarching problems of the Metroidvania genre itself, and how Silksong is just perpetuating and reinforcing inaccessible barriers.
It Goes Beyond Difficulty
Like its predecessor, Silksong continues the trend of challenging players with complex platforming and boss battles. While difficult experiences have become mainstream successes in recent years, some Hollow Knight players have noted that Silksong can be particularly punishing. Those concerns have been at least partially addressed by the developers, who notably nerfed two early game bosses within the first week of Silksong’s release. And while difficulty is absolutely an accessibility issue, I’m not going to argue for or against it in Silksong.
Difficulty is the proverbial low hanging fruit of accessibility critiques. Accessibility consultants, champions and journalists have written articles about what difficulty is or isn’t, produced clips or reels talking about the importance of difficulty settings, and created countless threads on social media, advocating for more diverse accessibility tools to adjust a game’s difficulty. We spend so much time championing the inclusion of difficulty options that we often miss other crucial barriers that prevent a variety of disabled individuals from enjoying a new game. Is Silksong difficult? According to reviews and conversations, yes. Should we focus all our accessibility arguments on that alone? Absolutely not.
What Silksong Lacks
Aside from no accessibility settings for difficulty, Silksong’s overall settings options are minimal, especially for a game released in 2025. Volume can be adjusted through sliders, the HUD can increase in size, and some actions can be rebound, but only on specific buttons. For disabled players looking for a variety of accessibility menus, Silksong is objectively a disappointment.
While I acknowledge that studios do not all share the same engine and thus don’t have a unified toolbase to create accessible options, nor do developers all have the same level of knowledge to implement these features, I do wish Team Cherry had taken direct inspiration from Prince of Persia: The Lost Crown’s Memory Shards system. Ubisoft’s smart new addition to Metroidvanias allows you to take a screenshot of a location and pin it to the map, which provides a persistent reminder of previously-visited zones that may require specific items to traverse, or places to return to once you’ve become stronger. This option revolutionized the Metroidvania genre, with The Lost Crown becoming one of last year’s most accessible games. While Silksong does feature the ability to purchase and place markers on your map to help remember safe areas and other important points of interest, there’s nothing that comes close to The Lost Crown’s Memory Shards. I understand Team Cherry may not have the same resources as Ubisoft, but to offer nothing that aids accessibility beyond the bare minimum in the form of map markers is frustrating.
What Silksong Gives
As I’ve mentioned through previous editions of Access Designed, options are not the only form of accessibility. While Silksong fails to provide numerous accessible settings, its use of inclusive design, particularly through Tools, can give some relief. The Fractured Mask, for instance, prevents a fatal blow from killing Hornet. This is fantastic for physically disabled players that struggle with precise motions, or cognitively disabled players that need more time to memorize boss attack and movement patterns, allowing for a second chance at life before returning to a rest bench. The Fractured Mask is also great for difficult parkour sections, and the fact that this Tool recharges on rest means you always get that second chance on every attempt. The Compass, meanwhile, tracks your position on Silksong’s sprawling map, and is another helpful item for cognitively disabled players. And my personal favorite Tool that I’ve discovered through watching let’s plays is the Magnetite Dice, which randomly nullifies a single hit. Despite the random chance associated with this item, this is great for physically disabled players that may lack energy during extensive play sessions.
But these Tools aren’t offered immediately. Players are forced to progress through the game, beating challenging bosses and completing side quests before unlocking them. While I’m a firm believer that disabled people deserve to be challenged by the games they play, offering crucial pieces of accessibility from the very start of the game doesn’t limit that challenge – it just enables us to play like everyone else. In Silksong, some players may not make it far enough to unlock the Tool that would provide them with a vital accessibility feature.
The Overarching Metroidvania Problem
Silksong’s difficulty and lack of accessibility offerings make for an inaccessible challenge, but that’s not why I can’t play. As my disability progressed and I lost function in my hands, I found the speed and precision required to play Metroidvanias became too much. Even The Lost Crown, with its accessibility offerings, was too taxing for me to finish.
Before I decided to purchase Silksong, a friend advised me to wait until he could play. After several hours, he told me not to buy the game because the speed, combined with the dexterity needed to platform, fight, and use items, would undoubtedly leave me exhausted and frustrated. Therein lies my biggest critique of this genre – beyond what we’ve seen in The Lost Crown, no accessibility settings or system designs have yet to address the speed and inaccessibility of the core combat and platforming gameplay.
I am the first person to admit I am no game designer. I also acknowledge it’s virtually impossible to make every game accessible to every disabled player. Yet, as a lifelong fan of the genre, I genuinely miss playing these games. I’m not critiquing them out of baseless anger, but rather a desire to play one of my favorite genres once again.
Hollow Knight: Silksong, from the perspective of a sequel, is an achievement. Yet, for disabled players looking to dive deep into Team Cherry’s newest game, it’s an accessibility failure. Difficulty aside, disabled players have few offerings to help them navigate the map and defeat challenging enemies. And for those comments undoubtedly proclaiming that not every game is made for everyone, let it be for the individual to decide – not based on inaccessible practices, but rather just a fondness of the genre. For developers looking to Silksong’s success, I ask that they please use its lack of accessibility as motivation. As a lifelong fan of the Metroidvania genre, I hope someone will use Silksong’s failures as inspiration to make me return.
Grant Stoner is a disabled journalist covering accessibility and the disabled perspective in video games. When not writing, he is usually screaming about Pokémon or his cat, Goomba on Twitter.
I am gonna claw out your eyes, then drown you to death. I AM GONNA CLAW OUT YOUR EYES, THEN DROWN YOU TO DEATH. So goes the chorus to the hit single Hades 2 girl group Scylla and the sirens have been rehearsing in lethal fashion for a year and a bit. It’s one of the most pervasive earworms I’ve encountered in my 26 years on this Earth, the kind of ditty that’d make the Backstreet Boys blush.
Within an hour of returning to Hades 2, now that it’s morphed into its full 1.0 release form, those words were just as firmly lodged in my skull as they were when I defeated Chronos for the first time during the roguelike’s early access phase. By all rights, I should find the purposefully mocking tune annoying, but I don’t. Much like the rest of Hades 2, no matter how many runs I make through the depths of the underworld and to the summit of Olympus, moments when it’s actually, properly grated on me have been few and far between.
Nioh 3, the newest entry in the Warring States Period Soulslike series, is the first to use open field maps. Unlike the previous mission-based titles, Nioh 3 sets players free in an open space, allowing you to take on areas, enemies, quests and more as you please.
So, how exactly are the game’s open fields constructed? We asked the developers about the density players can expect from the map, interesting techniques they used during development, and the struggles they faced along the way. General Producer Fumihiko Yasuda and Producer Kohei Shibata tell us about the development philosophy that lies at the core of the Nioh series, like the difference between a brutally difficult game being “unreasonable” and being “stressful.”
Drawing on Team Ninja’s experience to create dense yet free open fields
IGN: Did you run into any challenges when creating this game’s open fields?
Fumihiko Yasuda: When we tried to create open fields early on in development, we found they had lost the kind of density you’d expect from the Nioh series. While we did have some experience from creating Rise of the Ronin at the same time, the goal of that game was to depict the Bakumatsu period. The Nioh series is different in that it’s a game about overcoming a world that’s crawling with enemies.
We went through a lot of trial and error in an attempt to create dense yet free open fields. One time we tried a bottom-up approach to development by starting with Nioh’s traditional stage-based maps and expanding them from there, but those ended up feeling a little suffocating. We spent a lot of time dividing up the pace and creating the backgrounds of the maps, such as dividing them into open areas and more difficult bottlenecks.
How did your previous experience influence this part of Nioh 3’s development?
Yasuda: That’s something we’re conscious of as we make games. Development generally takes three to four years, and Team Ninja puts out a game basically every year, so we share the knowledge we’ve gained from releasing those titles within our teams and across projects. I hope we use the experience we acquire from making Nioh 3 in future titles as well.
When I looked at the open field, it felt like a map that had multiple proper routes that I could take. There were places where I could fall to my death, though. I imagine that must have been difficult to design.
Kohei Shibata: We’ve made it so that it’s easy to look at a place and know that you’ll die if you go there. Take a cliff, for example. If we made it look too realistic, it would have protrusions and rocks all around, making players feel like they can climb up it. We’ve done everything we can to remove sections like that.
We’ve also made it as clear as we can when there are multiple routes available to the player. Crucibles and Lesser Crucibles will have clearly ominous auras around them. You’ll also be able to see what areas are full of wandering enemies, giving the player the option of where to go. I do think that the fun of finding your own route has been a part of Nioh, even when it was stage-based, so we’re using that experience as well to put together our maps.
“We’ve given players the ability to jump for the first time in the series, allowing them to move vertically onto roofs and adding variety to how they can play through the game.”
Yasuda: Until now, Nioh players instantly knew where they couldn’t go because there was no jump. But with this game, we’ve given players the ability to jump for the first time in the series, allowing them to move vertically onto roofs and adding variety to how they can play through the game. It is possible to mislead players about whether or not they can go somewhere, though, which is something our map designers had to be conscious of as they worked.
One approach that’s often used is to guide the player’s eyes by covering objects in yellow paint. I didn’t see any of that in this game, so tweaking everything to work must have been difficult.
Yasuda: Who knows, the game’s map might be bright yellow by the time it launches (laughs). Yes, the yellow paint problem is a difficult one. In a 2D game, players will notice things without needing to guide their eyes too much, but I can understand the desire of game designers to use yellow paint once you have a realistic 3D game.
Could you tell us once more about out-of-combat activities and collection elements in the game from the perspective of open-field density?
Shibata: We wanted to come up with elements that are trademarks of the Nioh series, and that’s where we added a number of activities involving yokai. These did exist before in the series as well, but you’ll be able to chase a Scampuss (a cat-like yokai) around or search for Kodama.
Yasuda: The world of the Nioh series is one where evil yokai have devastated a world during an age of war. That’s the kind of place you’re crossing, so you won’t find many peaceful towns there, even in an open-field game. That said, comical yokai do exist in addition to cruel ones, and we’ve used those as contrasts to give players a moment to decompress.
Shibata: The game has side quests known as Myths. Hell exists in this world that’s been overrun by yokai, and not many humans have been able to survive. The spirits of those who’ve passed away might ask you for help, beginning a side quest. Completing these will allow you to get a glimpse at the game’s backstory.
Yasuda: Early in development, we did have quests you could receive from living humans, since the game took place on an open field. While you do of course accept quests from major characters who are still alive, generally speaking, side quests now start with the spirits of the dead. This was something we decided on based on our focus on narrative, and it seems like a natural path for the series to take.
Is there text that will teach players overseas more about Japanese culture as they play the game?
Yasuda: History has always been a motif in the Nioh series, and so we’ve prepared a dictionary of yokai and people. It’s something we created so that players in the West can understand the games as well. There were so many characters in Rise of the Ronin, and we found ourselves feeling that there were a lot of people overseas who don’t know about the Bakumatsu period. When it comes to lore, flavor text and more about historical figures and yokai, Nioh 3 has even more of it than previous games in the series.
“History has always been a motif in the Nioh series, and so we’ve prepared a dictionary of yokai and people.”
Shibata: This dictionary will get updated as you progress through the story. Also, as you explore the field you’ll see places that become frozen due to the influence of Crucibles, changing the mood depending on the field. History and fiction are combined and depicted according to the Nioh way of interpreting them.
The difference between “unreasonable” and “stressful”
We’ve seen a lot of brutally difficult titles in the games industry as of late, but it seems to me that the trend lately has been to think about offering options for a wider audience, such as by adding selectable difficulty. What’s your approach to difficulty in this game?
Yasuda: I think there are a lot of ways to define the Soulslike genre. Players can of course learn and get better at the action in the Nioh series, but the games are also full of RPG elements. They can increase their level, gather equipment, and create specialized builds. Compatibility and player taste also play a role when it comes to individual bosses. There are even online elements to the game, and making use of all of these to overcome a difficult moment and feel accomplished is something common to all the games in the series. We want Nioh 3 to be no exception.
While selectable difficulty is a part of some of the other games that I’ve made, Nioh 3 continues to only have one difficulty setting. There are so many ways to make it through the game, to the point where I might even worry that we overdid it this time around. We’ve been very conscious of not making the game unreasonably difficult.
If we did include selectable difficulty, you might get situations where someone says, “I beat Nioh,” only to be a bit bothered when others show up to say “What, on easy?” That isn’t a desirable outcome, so we want there to be the same value to beating Nioh no matter how you did it. It’s something that’s been important to us throughout the series, and that includes this game.
I have seen players argue over other games in the genre that did include selectable difficulty. I take those discussions into account as I make games, and I do think that selectable difficulty is a valid approach to take in games. Though I keep an eye on how players and the media react, we won’t be taking the route of adding selectable difficulty to Nioh 3.
There was one boss on the open field that I struggled against. I finally defeated it once I used the Living Artifact transformation skill, though. There are really so many ways to approach the game.
Yasuda: That is something we’re trying to do. Nioh games until now have had a linear map design, and I think that ended up requiring players to simply grind out levels if they got stuck on a boss. While there are some linear maps in this game, it has open fields, meaning that you can take other routes if you think an area is too difficult to take on. By defeating bosses elsewhere and leveling up, you can grow stronger without having to do the same thing over and over. We’ve taken a step forward in that regard by having a wider variety of ways to beat the game. There are of course challenging moments awaiting players, though. Just because you’ve explored doesn’t mean the game will be easy, and there’s still plenty of toughness there.
I know that open fields and open worlds have become the standard in lots of games now, but making Nioh into an open-field game is a major change in the gameplay experience. We saw so many users taking a wide variety of approaches even in the alpha demo, and we want them to enjoy that in the full game as well.
It sounds like you took on a tough challenge there.
Yasuda: Yes, it has worked out well in some ways that we intended. But every time we release a new Nioh game, I always feel like the players manage to exceed my imagination (laughs). I’ll often think, “Wow, you can beat it like that?” While there are times when we have no choice but to make balance changes with updates, in general, we think that nothing is more valuable than the playstyles and strategies that players discover. Players who’ve put thousands of hours into the games have come up with strategies that we truly could have never imagined, and I’m looking forward to what those will be this time as well.
Shibata: There have even been times when something is so amazing that we decide to intentionally leave it untouched.
Yasuda: We now live in an age when players share their strategies for beating the game with one another, so there are times when specific unintended builds run rampant. As these are games that are fundamentally about creating builds to take you through the game, we of course don’t want to have to nerf specific builds, and we’re doing what we can to avoid that as we approach release.
There are often cases of bosses being too difficult and getting nerfed in high-difficulty games. What will your approach to post-release adjustments be?
Yasuda: In general, I don’t want there to be any nerfs. I want everyone to share the experience of beating the game’s bosses under the same rules and conditions. I don’t want there to be conversations where people say, “You did that post-nerf, right?” Camerawork is one common issue, and there are times when it becomes unreasonable in ways that we didn’t intend. We’ll fix the camera if there are situations where people feel like they lost because of it, and there are even situations where we might choose to nerf a boss. Nioh 3 isn’t out yet, though, so we of course have no plans to nerf anything at the moment. I’d say that the biggest determining factor is us wanting to avoid players feeling like they lost because the game was unreasonable.
You also used the word “unreasonable” when discussing your adjustment plans in the survey results for the alpha demo. Speaking as a developer, what would make something unreasonable to you?
Yasuda: When it comes to balance adjustments, I often talk to the development team about the difference between unreasonableness and stress. I don’t think it’s a bad thing for games to make players feel stressed. Nioh is designed to be a tough game that makes players think.
“Nioh is designed to be a tough game that makes players think.”
Say there’s a moment where players can dodge an attack with a slow animation. But if it was so instantaneous that you can’t see the animation, players wouldn’t be able to react. There’s nothing unreasonable about an attack if you know it’s coming based on an animation where the enemy is preparing for that attack. But I don’t think it’s good to demand that players avoid or otherwise deal with unpredictable attacks. Players also have resources like stamina (Ki) to worry about, and so we’re removing that sort of unreasonableness whenever possible. I think that might be the most critical balance approach taken by the development team assigned to action.
Shibata: There was an enemy in the alpha demo known as the Crucible Wasp that players hated. Though this game has jumps that allow for mid-air action, the pre-fix Crucible Wasp was so high up that jumping attacks couldn’t hit it. Performing a mid-air attack that still can’t hit a target in flight will make players think that the game is at fault, not them. It’s not fair, which is why we’re making tweaks to make sure that players don’t feel like they lost for any reason other than themselves.
Some players hate it when bosses in Soulslike games use feints, or delayed attacks. How do you feel about those?
Yasuda: Lately, Team Ninja has made parry-focused action games like Stranger of Paradise: Final Fantasy Origin and Wo Long: Fallen Dynasty. There are times when the development side uses those sorts of delays in these kinds of action games. Delays can be used in order to teach players about the quirks of an enemy’s actions. That’s why I’m not completely against delays. That said, I don’t think it’s good when enemies track you after a delayed attack, causing it to hit you even though you avoided it. That would probably count as unreasonable for me.
Yasuda: Delayed attacks with weapons that don’t even seem particularly heavy will cause any sense of their weight to be lost as well. They’d simply be nasty. For example, a delayed attack with a heavy hammer seems like the right choice both in terms of visuals and action gameplay. I do think there are delayed attacks that aren’t unreasonable.
It’s not particularly difficult to create an intentionally difficult game, you know. But they need to not be unreasonable, and their animations need to be convincing as well. What’s important is that players think that they’re the ones who messed up if an enemy defeats them. You can make a game that people can’t beat if that’s what you really want, right? But nobody would enjoy a game like that, and I doubt anyone would want to go back and keep playing it.
Fans of the genre do like rating their bosses.
Yasuda: There is someone on the development team assigned to action who oversees boss creation. Like all of our people in charge, that person is on an emotional rollercoaster while seeing how people react to the game on message boards and social media.
The topic of Zhang Liang in Wo Long: Fallen Dynasty’s demo acting as a wall for players often comes up in the genre. Do you think Takeda Shingen will become a boss like that?
Yasuda: I’m not sure about that yet. You’ll be able to face off against Takeda Shingen as a boss challenge at Tokyo Game Show 2025, but if the clear rate there is too low then we might adjust him to be weaker for release. He is the character who shows up at the end of a big chapter, so I doubt he’ll ever be an easily defeated boss. A model of Takeda Shingen who’s transformed into a yokai will be waiting for you all on the TGS floor.
Additional control methods and other improvements from the demo
I understand you’re going to add a system to the options that allows you to use Burst Counter without a Style Shift. Why did you decide to do that? Is there a reason you’re so insistent on being able to Style Shift using one button?
Yasuda: In Nioh 2, Burst Counter was performed with R2 and the circle button. I’d wanted to make it a one-button action ever since we created 2, like a lesson learned upon reflection. The decision had been made because there was a somewhat limited degree to the moments when enemies used major attacks in the previous games. I told the team that I wanted to make it a one-button action from early in development and had them experiment with it ever since then.
Shibata: We added it as an option because of requests from players who wanted to play only Samurai or Ninja Style without having to switch to the other. The biggest reason we made Burst Counter a one-button move was to maintain the tempo of the game’s action. Nioh is a fast game, so having to change styles with a multi-button combination creates a problem where it inherently introduces a moment of delay. Being able to freely switch between the Styles with a single button is something we wanted to value a lot.
The demo I played today featured a Nioh 2-style control type that lets you Burst Counter with R2 and the circle button. So you added this based on player feedback?
Yasuda: That’s absolutely right. It seems there were some people who preferred the controls of the previous title. We also added a weapon swapping feature like those found in the previous games due to what we heard from players. Some new elements that we added and consolidated into Nioh 3 turned out to actually create unfamiliarity for players who were accustomed to the series, and so we accommodated them based on the feedback we got.
I was unsure until the very last moment, but we ended up adding a proper weapon swapping system.
Are there any tweaks or fixes from the alpha demo that you’d like to highlight?
Shibata: Going back to weapon swapping, that is something we were hesitant about because we thought it might become too complex when combined with this game’s switching between styles. But even with that switching, we did hear players saying that they wanted to swap weapons. As developers, we did know that there would be players who wanted to stick to one Style while switching between weapons. I was unsure until the very last moment, but we ended up adding a proper weapon swapping system.
As you saw in the alpha demo, players will unlock new elements in the game step by step. You don’t start with three Samurai Style stances as you did before, unlocking them yourself instead. We wanted to have this gradual unlocking system so as to not confuse players new to the series or those returning to it after a long time away.
Yasuda: I often compare it to the difference between a manual and automatic transmission in a car. Demanding that first-timers to the Nioh series immediately use all the various actions that have come together until now seemed like it could be too much. As this is the third game in the series, it does seem like many alpha demo players were Nioh veterans, and it became clear to us that they expected the feeling of manual control they had experienced in previous games. We’ll be developing a button configuration feature as well as a setting for simplified controls thanks to these realizations we got from players.
Please tell us about your personal feelings for the Nioh series.
Yasuda: Stepping back from the details about the games, the title of the original Nioh was actually announced a very long time ago. Even at the start, Nioh gave players the image of “two individuals as one,” being the Japanese term for the two Benevolent Kings (powerful guardians of the Buddha), and the initial pitch for the game did mention it featuring both samurai and ninja. The idea would be to scale a castle as a ninja, then fight one-on-one as a samurai. In the end, though, we decided we needed to focus on the theme of fighting yokai as a samurai. At the end of the original Nioh, there’s a moment where you’re told that you are the true Nioh, which is to say that what William has done as a samurai together with Hanzo as a ninja is the embodiment of those two Benevolent Kings. So this theme of samurai and ninja has in fact always been foundational to these games. We were also sure to make the story of Nioh 2 about two individuals acting as one.
While I wasn’t the one to propose the themes of Nioh 3, it does feel like we’re calling back to those original themes now. Of course, I tell everyone that I’ve been talking about this from the start (laughs). So because of that as well, I hope that everyone will enjoy the action of both Samurai and Ninja Style, as well as making their characters. At the time, it was really hellish when the name of the game was the only thing set in stone. There was no meat at all to the game, but everyone knew its name (laughs).
Finally, do you have a message for IGN readers?
Shibata: We really did learn a lot from all of the alpha demo players and your feedback. We looked at many kinds of feedback, whether from commentary videos or on social media, and we’re drawing on your thoughts while working to improve the game. You’ll be able to try out a new stage in the TGS 2025 demo, and so we hope you look forward to future updates about the game.
Yasuda: There’s been a bigger gap than before between the release of Nioh 3 and the previous game. In part because of that, our development has focused around challenging ourselves to add open fields and the Ninja Style. After taking a look at the reaction to the alpha demo, I feel like I know where we are now, and so does the team. We’ll be working hard on the final adjustments to the game from here, and I hope everyone looks forward to its release.
Final Fantasy Tactics is probably, all things considered, my favourite Final Fantasy. As someone who isn’t really a huge video game lore person at the best of times, as in I forget most of it because my brain needs the storage space for memories of food, in my eyes it stands shoulder-to-shoulder with some of the best in the mainline series.
This is a game that gives me the tight, strategic combat fix that I want, you see, whilst delivering a world, characters and story that fit into the overall Final Fantasy vibe incredibly well, without requiring a degree in finalising all known fantasies to understand or fully enjoy. The narrative, which sees you slip into the shoes of Ramza Beoulve as he drops nobility for rebellion, is an epic one, make no mistake. It’s got all the twists and turns you’d expect, and a few more besides, making it easier to get into the groove of.
Hack and Slash with New Ninja Gaiden 4 Xbox Design Lab Controllers
Mekias BekaluProduct Marketing Manager, Xbox Accessories
As the endless rain of miasma hangs over a near-future Tokyo, a young ninja prodigy, Yakumo, must reconcile a destiny he shares with the legendary Ryu Hayabusa to stop the ancient curse that brought this city to its knees.
Embark on a cutting-edge adventure in Ninja Gaiden 4 with Xbox Design Lab and the all-new Xbox Wireless Controller – Ninja Gaiden 4 and Xbox Elite Wireless Controller Series 2 – Ninja Gaiden 4.
These designs have something for veterans and newcomers alike, featuring both Ryu Hayabusa’s legendary Red Dragon Katana and new protagonist Yakumo’s blue handled katana. Within the manga print-inspired top case, you’ll also find Yakumo’s striking Oni mask. Both controllers are available now with Xbox Design Lab.
As you hack and slash through enemies, the Xbox Wireless Controller on Xbox Design Lab offers endless customization to help you play your way. Choose from a variety of button styles curated for your chosen Ninja Gaiden 4 color scheme, perfectly accenting the red and blue textured side grips.
You can adjust your controller further with upgrades like metallic triggers and D-Pad, rubberized side and back grips, and even free 3D printed adaptive thumbstick topper files. Take your Ninja Gaiden 4 controller with you on all your adventures – with Xbox Wireless and Bluetooth, it can connect to Xbox Series X|S and Xbox One consoles, PCs, and iOS, Android, and cloud devices. Share pictures and videos taken in the heat of combat with friends through the dedicated share button.
The Elite Series 2 version of this design comes with all the features you’ve come to love. This includes shorter hair trigger locks, wrap-around rubberized grips, and adjustable-tension thumbsticks for even more precise gameplay.
For further customization, you can add back paddles for even more input refinement. Just as you swap between characters in game, you can easily swap between different button profiles with the dedicated middle button on the controller. You can listen to the action-packed OST through the 3.5mm jack – just connect any compatible headset to get further immersed in Ninja Gaiden 4.
If you’re prepared for a legacy reborn, head over to Xbox Design Lab today to design yours. These controllers are available today, starting at MSRP $94.98 for the Xbox Wireless Controller and MSRP $184.98 for the Xbox Elite Series 2 Wireless Controller exclusively here. Visit Xbox.com for more information.
Ninja Gaiden 4 arrives on October 21 – and is available for pre-order now. Coming to Xbox Series X|S, Xbox on PC, Xbox Cloud, Steam and PlayStation 5. Ninja Gaiden 4 is an Xbox Play Anywhere title, and you can play it day one with Game Pass.
Today, we’re turning our focus to the game’s Photo Mode.
Like its predecessor, Ghost of Yōtei will give players free reign to freeze the on-screen action at (almost) any point and access a multitude of adjustments to freely mould the moment into an eye-catching still photograph, an evocative cinemagraph, or an impressive tracking shot. Let’s look through the feature set, as well as some suggestions as how to use those settings to snap your way across Ezo.
Ghost of Yōtei’s Photo features
Tracking Shot
Record up to 16 placement positions for your camera for an animated tracking shot when you hit Triangle.
Note: The example shots below avoid any story spoilers, and are all taken early on into the game, and around the opening area.
Beginner’s guide and tips
If you’re interested in trying out Photo Mode, you’ll find a list of tips and example shots. It’s in no way exhaustive or a deep dive into the technical aspects of photography, but more reflecting on things I consider when taking photos myself. To my fellow virtual photographers: feel free to add your own tips in the comments section!
The basics
Photo Mode activation is activated by tapping right on the D-Pad. You can activate it at almost any point, be it exploring, in the middle of combat or even when lining up the perfect long range shot.
You can reset individual settings within their submenus, or reset to default with Square (a confirmation prompt avoids an accidental full reset). The game will save your last set of customisation settings even if you dip in and out of Photo Mode.
There’s an auto-focus mode that can be toggled on and off.
Try these focus lengths for portraits, landscapes
Ghost of Yōtei’s Photo Mode camera has a focus mode stretching from 12mm – 300mm, which covers pretty much any type of setup you need. There’s a general rule of thumb on which focal lengths are a good fit for certain shot types. But it’s not a hard rule: getting creative with focus lengths can lead to great compositions. My advice? Keep experimenting.
Landscapes: 24mm or below.
Portraits: 35mm is good for those environmental ‘slice of life’ snaps, 50mm for headshots, 80mm for full body portraits of single subjects (especially if you combine with a narrow field of focus, which turns everything in the foreground and background blurry, keeping attention on the subject).
Macro shots: In Ghost of Yōtei, 100mm upwards can help you zoom in on finer details, or bring us up close to moments in the far distance.
Take time to look around
Got your shot? Great. But before you leave Photo Mode, investigate the surrounding landscape with a pan of your camera around. You might catch sight of an until then unobserved detail – be it an NPC interaction, nearby wildlife, or even an alternate composition for your existing shot.
[right] This eagle was but a distant speck over Atsu’s shoulder during a portrait.
Play with natural light to get the shot right
You’ve got time on your hands. Cycle through a 24-hour day to test how the accompanying daylight or nighttime lighting impacts your shot. You may welcome harsher shadows due to a midday sun, the softer, warmer light of golden hour (the time just after sunrise or just before sunset), or enjoy the epic nighttime sky. You can also shift natural light until it illuminates a specific part of the photo that you want to draw attention to.
Same shot, a few hours apart. Overcast sky and weak sunlight makes for a strong, but cool first image. Scrubbing the timeline to golden hour coupled with a slight tweak of cloud cover makes for a warmer take in the second shot. Additional tip: tilt the camera angle by a few degrees to inject extra energy into the shot (called a Dutch Angle).
Day and night portraits. The first uses the rising sun to profile Atsu, with part of her body in shadow. The second, moonlight, with Atsu placed in the lower third of the shot, emphasising the sheer scale of the night’s sky behind.
Animated Vs Still Camera
As default, Photo Mode’s camera is set to animated. Atsu and other characters will remain still, but movement caused by the wind, or flocks of birds in flight, remain unaffected. Perfect if you want to generate a cinemagraph-style shot. A dedicated Particle option lets you introduce moving leaves, embers, insects, or birds (as well as the volume of each), with the Wind Direction option helpfully dictating which way particles will flow.
In the first image, we went with a wide focus (24mm or so) to capture the size of the galloping herd and used a Dutch Angle to add a sense of energy. Leaf particles suggested debris being kicked up by hoofs. One mistake I made: I should have chosen Violet Petals as Particles to keep consistent with the flowers in the field.
The second shot is the exact same instance, but using my own advice to pan the camera round to test a different composition, removed particles and changed time of day to golden hour.
Colour grading: set mood, direct focus, get artistic
Ghost of Yōtei’s excellent colour grade options is partly why my photo count is already in triple digits. I’ll snap multiple versions of shots with different colour grades. Let’s take a look at some executions.
Above are four photos at the same location. The only differences? Switching colour grades, and introducing heavy fog. A serene landscape scene is given an almost abstract artistic twist with a few tweaks.
I wanted to highlight the figures in the bottom left to better emphasize the scale of this landscape. I could alter the time of day to find a point when their stretch of field was flooded with sunlight. But a quick colour grade switch gave the area the pop I needed.
Here’s a more creative treatment of colour grading. The Maple Colour Grading desaturates an image of all but the colour red. It helped me notice – and highlight – the scratches on Atsu’s hands. Gingko Colour Grade does similar for yellow, as you can see in the second photo.
Get creative, experiment
As always, it’s how you put everything together to create the final result. I love discovering how Colour Grades and tinkering with Exposure and Contrast really adds extra oomph to a key moment, or sets me off in an entirely different creative direction.
Even a duel gone wrong offers opportunity. Caught by activating Photo Mode as my opponent landed the death blow, orientating the shot to portrait, dialing up contrast and leaning on Maple Colour Grading to emphasize reds.
Your turn
You’ll be able to test out Photo Mode yourself from October 2, and look out for a Share of the Week requesting entries for Ghost of Yōtei in the very near future!
Silent Hill f only launched in ‘advanced access’ on September 23, but modders are already at work, with one stripping out the series’ signature fog completely.
The horror adventure released yesterday for those who bought the more expensive digital deluxe version, but for everyone else, it goes live tomorrow, September 25 (check out the Silent Hill f global release times for more).
While you may be wondering why someone would remove such a key part of all Silent Hill games’ atmosphere, toning down the fog effect gives you a much better look at Ebisugaoka’s gorgeous environments (thanks, GR+).
You may recall a similar mod for Silent Hill 2 Remake and, like this one, gave us a better look at the titular town and its interior and exterior spaces.
Silent Hill f takes us to 1960s Japan, where we follow Hinako Shimizu, a teenager struggling under the pressure of expectations from her friends, family, and society. It’s official release date is tomorrow (September 25) across PC, PS5, and Xbox Series X and S.
IGN’s Silent Hill f review 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.”
In case you’re wondering, no, Silent Hill f is not a sequel to any of the existing Silent Hill games, so you can play it even if you’ve never jumped into a Silent Hill game before. Instead, it offers a standalone story “independent from the series.”
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.
It looks like we have one announcement set for Sony’s State of Play in already: the release date of Nioh 3.
As reported by Gematsu, listings on Amazon Japan revealed a February 6, 2026 release date for Nioh 3 on PlayStation 5 and PC via Steam. The listings, now removed, relate to the standard and Treasure Box editions of the game, and included box art.
The Treasure Box edition includes a B5-size official art book, a selection soundtrack CD, an original desk mat, and an Sunekosuri fur ball key chain.
PS5『仁王３』
2026年2月6日発売とAmazonが掲載してしまう。 「State of Play」で発表なのでは？
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.
My first game of Lost In The Open came to a sticky end in the borderlands, when my ragtag group of dog-eared bodyguards and hastily-recruited vagrants encountered the full flower of the Strathian military. Outnumbered, underlevelled and already bloodied, my warriors struggled to make a dent on the gleaming Strathian plate, and were swiftly surrounded and slaughtered.
It was at this point that I realised I had fled too efficiently through the mountains and forests. I should have spent more time grinding bandits, looting old forges, and putting aside resources for the inevitable midboss encounter. I’m not sure I can be blamed for my haste, though. After all, I am a nearly-dead king, the survivor of an assassination attempt during a diplomatic dinner, and there is a whole army sweeping over the countryside behind me.
