Category: Video Games

Larian’s Reddit AMA on Divinity has concluded, and with it comes a number of new details on the Baldur’s Gate 3 developer’s next game.

We’ve rounded up all the new information revealed during the Reddit AMA from the various Larian members of staff who took part.

First up, Larian confirmed Divinity’s looting system will include handcrafted items, as Baldur’s Gate 3 did, as opposed to random and level dependent loot seen in the Divinity: Original Sin games.

As you’d expect, Divinity will have mod support via modding tools, but it’s unclear if they will be available for launch. Larian confirmed Divinity will have co-op at launch, and that modders will be able to up the player count. “Yes, coop will be available for release!” technical director Bert van Semmertier said. “The amount of players playing together will be depending on the final party size. But since modding is planned for this project as well, player will be essentially free to extend this. There is no hard limit to the amount of coop players.”

However, Divinity will not support native keyboard movement controls such as WASD right out of the box, which means modders will have to do their thing again, as they did for Baldur’s Gate 3.

Meanwhile, Divinity will run on Larian’s proprietary engine, which includes “significant changes.” “For each game, we are bringing significant changes to our engine,” head of gameplay Artem Titov said. “Since Divinity Engine is fully our own creation, it makes it easier to alter it to serve a new game rather than write a new engine from scratch.”

Divinity finally adds swimming to a Larian RPG?

As for new mechanics, head of design, Nick Pechenin, teased: “There was something that bothered me when I explored the starting areas of DOS1, DOS2 and BG3. It stares you right in the face if you think about it. In Divinity I can finally do the thing I wanted to do in every previous game.” Most believe this is about swimming.

As for the camera perspective, Divinity’s camera will work “very similar” to Baldur’s Gate 3’s, so expect a hybrid of top down and third-person camera.

Larian CEO Swen Vincke couldn’t say when we’ll see Divinity gameplay. “We’ll see,” he commented. “We’re in full production mode now but still have truckloads of work.” Larian wouldn’t be drawn on the playable races and classes, either, but did say there are clues as to Divinity’s races in the much-discussed announcement trailer.

Divinity tone, lore, and story

Writing director Adam Smith discussed the tonal difference between Divinity and Divinity: Original Sin 2, saying: “it’s more grounded and you might have picked up on some folk horror vibes in our trailer. But with games the size of DOS 2 and Divinity, there are lots of tonal variations as you move through the world and meet new characters. I hope it’ll make you laugh, frighten you, shock you and delight you.”

Smith also commented on Divinity’s place in the overall Divinity series lore. “It’s in the same continuity, but it’s a standalone story,” Smith said. “Long-term Divinity fans will find lots of familiar things but it’s never just fanservice – it has to serve the story we’re telling. The Divinity universe is full of weird and wonderful characters, and I’m really excited to be part of that legacy.”

Bert van Semmertier also touched on this, saying: “Divinity is a different universe than Baldur’s Gate. While you do not need to play the previous Divinity games, it would certainly improve your enjoyment if you do! You’ll perhaps recognize certain characters or situations or learn to explore the large universe the was already built for Divinity!”

Nick Pechenin confirmed Divinity Divinity will not keep the magic armor system from DOS2. “There will be ways to protect your characters from harm, but you will not have to wait before you can use your fun skill on enemies,” he said. “We are still cooking a system that makes sure that you have to work harder to stunlock solo bosses with.”

Divinity’s character customization will be “even better” than Baldur’s Gate 3’s, art director Alena Dubrovina said, “more colors, more options, more control!”

Size and scope of Divinity compared to Baldur’s Gate 3

Vincke touched on the size and scope of Divinity compared to Baldur’s Gate 3, saying: “Divinity takes everything we learned from BG3 & D:OS 2 and improves from there. In regards to BG3 – I think the main thing will be more agency and a rulesystem that was made for videogaming in addition to higher production values. Oh – and some really cool new friends to meet.”

Then: “more agency, more consequences. We don’t know ourselves yet how big it will be. We’re still making it.”

Larian will do its best to make Divinity playable on Steam Deck, given how popular Baldur’s Gate 3 proved on Valve’s portable game machine.

Here’s a fun one: will the new engine render moving ropes correctly and will we be able to look up in to the sky?

“There is no real engine limitation to allow looking at the sky,” technical director Bert van Semmertier replied. “How the camera works is entirely a design choice. Alternative camera angles are always considered. If they benefit the game, we will for sure add it. As for the ropes: you can expect substantial changes to our physics engine in the future games!”

Divinity’s combat and character progression systems

Head of design, Nick Pechenin, said Divinity will have a brand new combat system. “We went through our original ideas for DOS1 and DOS2, looked again at how they worked out in practice, picked up some inspirations from our BG3 EA and post-release journey, consulted the star charts to see what we need to do to stay competitive – and cooked a new action economy and character progression system,” he said.

“Feedback from BG3 players trying DOS2 for the first time has been especially interesting to us, seeing the two worlds colliding. We hope that both fans of BG3 and fans of DOS2 will find the new system intuitive but deep.”

It sounds like Divinity may indeed come to Nintendo Switch 2, eventually. “We have just released Divinity Original Sin 2 for Switch 2! We love the platform and we will certainly consider Switch 2 for the next Divinity game,” technical director Bert van Semmertier said.

Lizard romance?

As a Larian RPG, romance will of course be in Divinity. And it sounds like the developer expects lizards to get on well with each other. Vincke said he was particularly excited for players to experience a spot of lizard romance: “there’s a lot [he’s excited for players to experience] but we prefer to show and not tell. That said – Lizard romance seems like it’s going to be popular.”

And will the orcs have a special twist in Divinity? “Without saying which species are in the game, all of them have something unique,” is all Vincke would say.

What about Divinity’s gruesome announcement trailer? Vincke responded to one fan who said they were put off playing the game because the trailer is “so nihilistic and viscerally depressing.” Is the trailer an accurate depiction of what fans should expect from the game itself?

“We’re creating a dark world so you can be the light in the darkness. It’s a story about hope,” Vincke insisted. “But of course – we do want you to experience agency – so there’s also plenty of ways to take away that hope and be the darkness that snuffs out the light.”

Larian, Divinity, and generative AI

As expected, Vincke addressed the generative AI controversy that emerged following Divinity’s announcement. He insisted Divinity would not include any generative AI art, and confirmed it has ditched genAI tools during concept art development. However, Vincke confirmed Larian is using genAI across other areas of development.

Here’s Vincke’s full statement from the Reddit AMA:

“So first off – there is not going to be any GenAI art in Divinity. I know there’s been a lot of discussion about us using AI tools as part of concept art exploration. We already said this doesn’t mean the actual concept art is generated by AI but we understand it created confusion. So, to ensure there is no room for doubt, we’ve decided to refrain from using genAI tools during concept art development. That way there can be no discussion about the origin of the art.

“Having said that, we continuously try to improve the speed with which we can try things out. The more iterations we can do, the better in general the gameplay is. We think GenAI can help with this and so we’re trying things out across departments. Our hope is that it can aid us to refine ideas faster, leading to a more focused development cycle, less waste, and ultimately, a higher-quality game.

“The important bit to note is that we will not generate ‘creative assets’ that end up in a game without being 100% sure about the origins of the training data and the consent of those who created the data. If we use a GenAI model to create in-game assets, then it’ll be trained on data we own.”

Machine Learning Director Gabriel Bosque expanded on this last point in a bit more detail:

“This is all new technology, so I totally understand why it’s difficult to see where the positive uses are. We believe Machine Learning is a powerful tool to accelerate and make game development more efficient and streamlined. This means that our creatives have more time doing the work that makes their jobs more rewarding and the game a richer experience.

“The important bit to note is that we do not generate ‘creative assets’ that end up in a game without being 100% sure about the origins of the training data and the consent of those who created the data.

“With over 100,000 voice lines scheduled to be in the game, recorded by hundreds of actors, and even hundred thousands more to be recorded that will not end up in the game, there are useful tools for us to reduce the ‘mechanical legwork’ and free up time for teams that would be bogged down doing tasks that kept them away from what they really want to be doing. Additionally, our ML R&D team monitors and experiments with anything that is state of the art and that might influence game development pipelines of the future. This is important to us because we make our own engine.

“But we draw lines in the sand too. We explicitly committed in our actor agreements to not using the recordings to train or build AI voice modelers, because we are aware of how sensitive it can be to artificially generate an actor’s voice. Even if an actor were willing to agree to this if we’d compensate them, we don’t currently feel comfortable with including an AI-generated voice in our games.”

Writing director Adam Smith confirmed this stance on generative AI applies to writing, too. “We don’t have any text generation touching our dialogues, journal entries or other writing in Divinity,” he said.

“We had a limited group experimenting with tools to generate text, but the results hit a 3/10 at best and those tools are for research purposes, not for use in Divinity. Even my worst first drafts – and there are a LOT of them – are at least a 4/10 (although Swen might disagree :p), and the amount of iteration required to get even individual lines to the quality we want is enormous. From the initial stub to the line we record and ship, there are a great many eyes and hands involved in getting a dialogue right.”

So what areas do Larian use genAI on and what does it mean by a “creative asset”? “There is currently one example of ML generated assets that end up in the game and that is within our cinematics and animation pipeline,” Bosque explained. “In this pipeline we try to capture the actor’s performances as best as we can, so we use ML models to clean, retarget and even add motion when it’s not motion captured. These models are trained exclusively with Larian data.”

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.

Crimson Desert is an open-world action-adventure game set on the continent of Pywel. But how big is the open world, exactly? It’s “absolutely massive,” its developer has said, bigger even than that of Bethesda’s Skyrim and Rockstar’s Red Dead Redemption 2.

Speaking on the Gaming Interviews YouTube channel, Pear Abyss’ Will Powers said that describing the size of Crimson Desert’s world in terms of numbers doesn’t do it justice, because doing so fails to capture the scope and scale of the game. But he did go as far as to compare it to two of the biggest open world games around.

“I don’t think numbers really do it justice because, how big is that in terms of scope and scale?” he said. “But what we can say is that the world’s at least twice as big as the open world, the playable area, of Skyrim. It’s larger than the map of Red Dead Redemption 2.”

Powers went on to insist that the size of Crimson Desert’s open world won’t determine its quality. Rather, what you actually do in it is the key factor.

“The continent of Pywel is absolutely massive, but size doesn’t really matter if there’s nothing to do,” he said. “Open-world games are about doing things, having activities, having distractions. So we wanted to create a world that’s not only massive, but is also incredibly interactive.”

Unlike Skyrim and Red Dead Redemption 2, in Crimson Desert you can fly around on a dragon, so despite the size of its world, you’ll be able to get about quickly. And don’t expect RPG elements in terms of decision-making and choice and consequence as it relates to your character, either. The sheer amount of things to do in the world will facilitate the role-playing part of Crimson Desert, which players will form through “head canon.”

“You choose the type of character you want to play as in terms of your progression within the systems in the game,” Powers explained. “And then through head canon you’re having this very different experience than other players because of the scope and scale of the game. You’ll be distracted by something, you’ll go on this quest line, you’ll have an experience that’ll be radically different than someone else, even though they’re playing the same game and the same canonical storyline that you both are going through.”

Indeed, the part of Crimson Desert shown off to the media in previews is just “a tiny corner of the map,” Powers added. Crimson Desert is due out March 19, 2026.

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.

Over two years after it was announced, Ubisoft is still working on The Division 3. And while it has yet to show off the game, its chief developer has said he thinks it will have as big an impact as The Division 1.

The Division 1 was announced at E3 2013 with a trailer that went down as one of the most talked about of the show. After a series of delays, The Division released on March 8, 2016, breaking sales records for Ubisoft. The Division 2 followed in 2019, although it failed to make as big a splash at launch as its predecessor.

While there’s no release date for The Division 3, the hope is Ubisoft will show it off at some point this year. Now, Julian Gerighty, executive producer of The Division franchise at Ubisoft’s Massive Entertainment, has provided a brief but tantalizing update.

Speaking during the New Game+ Showcase 2026, Gerighty said: “So, The Division 3 is in production, right? This is not a secret. It’s been announced. It’s shaping up to be a monster. I can’t really say anything more than that. But this is, within these walls in Massive, we are working extremely hard on something that I think will be as big an impact as Division 1 was.”

That’s not much to go on, but clearly Ubisoft is hoping that The Division 3 will rekindle memories of The Division 1, which was certainly a hot topic when it was announced and enjoyed huge sales when it eventually came out. The pressure is on to deliver, especially with Ubisoft’s recent high-profile struggles.

Meanwhile, support for The Division 2 continues with various updates, and a team in Paris is putting the final touches of a The Division mobile game. The Division Heartland, a free-to-play spin-off, entered development in 2020 but was canceled in 2024.

Two months ago, Massive Entertainment introduced what it called a ‘voluntary career transition program,’ (the studio asked its staff to volunteer to be laid off) as part of a move to focus on The Division franchise and its Snowdrop game engine. It came as part of significant restructuring at Ubisoft that has seen multiple studio closures and rounds of layoffs. Massive Entertainment’s Star Wars Outlaws, released in 2024, was a big sales disappointment for Ubisoft, despite significant development and marketing costs.

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.

Let me level with you folks right up top: Code Violet is a bad game. No judgement (some judgement) if you saw tasteful (and sometimes not) screenshots and trailers featuring its beautiful brunette protagonist mixing it up with dinosaurs and felt compelled to pick this up just to ogle. But if you want anything else from Code Violet, like a compelling story with interesting characters or an engrossing crucible of tense and savvy action horror to conquer, then you’ve come to the wrong raptor-infested space station. The best it can give you is terrible third-person shooting, boring level design, and technical blunders that make stalking through this futuristic bloodbath feel prehistoric.

Code Violet’s story is unapologetically tropey science fiction, mixing far future space colonization, genetic modification, and more to make this final girl survival story as impenetrable as possible. Bits and pieces of the tale are interesting, though that’s mostly limited to side stories and lore found in the journal entries of victims scattered among the wreckage. But almost everything you play through and watch in cutscene form is derivative, awkwardly animated and acted, and forgettable. Avoiding spoilers, even when things get truly bonkers towards the end (in a similar fashion to developer TeamKill Media’s Quantum Error from 2023), all the new and drastic revelations that should be monumental to the story at hand instead feel rushed and full of twists and turns that are either undercooked or entirely too convoluted. The very few other characters you meet are barely more than one-note exposition dispensers who you’ll watch your hero, Violet, worry and cry over and never really understand why.

Violet herself is a hollow shell with no motivations outside of doing what others tell her to do, as well as being incredulous and weepy when weird and sometimes difficult events arise. She’s meant to fill a sort of Jill Valentine or Lara Croft archetype of tough gals that can think their way through most challenges, and shoot their way through the rest. But while those two video game legends have agency and capability developed through their laundry lists of heroic feats, snappy dialogue, and sometimes dense inner monologues, Violet’s own thoughts about the happenings around her seem absent from most interactions. She only feels particularly good at anything when I’m in the driver’s seat, tip toeing down hallways and filling dinosaurs full of lead.

This is doubly damning. Outside of being a missed opportunity to introduce a good new character into the greater video game lexicon, it also makes Code Violet’s leering, pervy camera work and extensive dress up options feel like it’s crossing the line from fun into creepy. There are tons of characters in games who successfully make being sexy or flirty a major part of their schtick, and the best ones are those that come across as completely in control of their own image while they do so. So its an unfortunate irony that in a post-Baldur’s Gate 3/Stellar Blade world, one where people have never been more ready to accept hunky himbos and skimpy seductresses, Code Violet found one of the few ways to do it wrong.

I played on a regular PlayStation 5 rather than a Pro, and at mid-to-far distances, a few parts of Code Violet really do look good. That’s especially true in the more creatively designed areas, like when you’re outside looking up as islands float in the purplish void of the sky. When you get up close, however, textures can get muddied and metallic surfaces reflect light in gaudy ways that seem off putting for the grunge and grime that sometimes smears them. And most of the heavy metal halls you’ll skulk down are uninspired sci-fi staples that don’t feel any different than any other game that asks players to escape from a locked down hellhole of a science facility. Doom 3 pulled this aesthetic off far more effectively over 20 years ago.

There’s occasional flair, some statues that would look more at home in a medieval castle than a space base, for instance. There’s no real explanation for them, though you can make inferences based on some late-game happenings, but at the moment they come off largely as “it’s here just because.” One curious thing I did always stop to look at were the soda machines and various oil paintings that stick out like a sore thumb in this setting. Not because I found them to be particularly riveting (some were admittedly cool-looking), but mostly because I couldn’t stop trying to determine if they were AI generated or not – I’m no expert, so the jury is still out on that, but they certainly give off that vibe.

Those cool outdoor skyscapes hang over the rote and bland grasslands you’ll have to trudge through to get from one building to another almost mockingly. The limited time you spend in these zones is transitory. They basically serve as long hallways with bundles of tall grass to crouch behind when enemies are on patrol. You don’t even get a map to use, and you won’t need one as it will be very obvious where you need to go next, with very little opportunity to diverge from this critical path. Maybe these sections were meant to serve as some reprieve from the dark, claustrophobic halls of the various facilities on this planet, but other than having a brighter color palette, they feel exactly the same to navigate through.

Back indoors, rooms that might have something to investigate or shoot are separated by long hallways with nothing to spice up the transition from one action zone to another. This almost never changes across the handful of maps you’ll explore, creating a predictable, slogging pace between rooms. Part of what makes games like Dead Space so tense is that any and every room feels like one you could be maimed in. In Code Violet, you can be reasonably sure that most of its rooms exist just to be walked through by you and nothing else. Scoping out extra upgrade materials to strengthen your weapons or finding hidden keys or combinations to open certain lockers are the only good reasons to stray off the path, and even then I learned to go without these things pretty early on because the effort often wasn’t worth the prize – they usually meant enduring the crumbling fossil of Code Violet’s combat system for longer than necessary.

Violet herself is agile and swift in line with most third person games of this ilk, and even has a Resident Evil-style back stepping dodge, which you will use a lot to create space between yourself and incoming dinosaurs. In a straight up skirmish with these scaly foes, a well-timed dash back can really befuddle the raptors, shattering their simple gameplan of running at you, taking a big swing, pausing, and doing it again. There’s limited space before you hit a wall or a door that might have automatically closed behind you, though, so you can only backdash so much before making yourself a much easier snack to catch. The camera will collide with these barriers far sooner than Violet will, rendering any encounter that doesn’t take place in the dead center of the room a completely unintelligible mess for as long as it takes you to get the camera refocused. Indoors, this was a frequent headache, and lingered like a second, scarier jump scare waiting to pounce after a raptor bursts out of the wall.

The variety of these jurassic jerks is a let down, with large or small velociraptors and poison-spitting dilophosauruses making up the bulk of the non-boss foes. Each type has its own behaviors, but they are shallow and predictable. Big raptors just run and swipe at you until either you or it are dead. Small raptors are usually in packs and make a conga line toward you, taking a swipe before running away, only to immediately turn around and do it all over again. The spitters just stand in one place and shoot, opting to close the distance only when you do so first. You’ll encounter some gator-like creatures in the last third of the approximately six hour campaign, but they barely bother to deal with you so long as you don’t enter their waters, making them extremely easy targets.

Any challenge I got from these mouthy menaces came from how erratic and stupid they could be, often getting caught in the environment while attempting to reach me or disengaging once I simply walked the other direction. Their bullet spongy, stun resistant nature also means that they can just run up and take a bite out of you before they die, not quite becoming a danger, but definitely becoming an annoyance since any hit from them could potentially cause you to bleed, which can kill you if you don’t treat it in time. This is all true for the remarkably few boss fights as well – you may be facing a scaly man-dino hybrid now, but almost nothing about the strategy of walking backwards, dodging on time, and then countering with a face full of lead has to change.

At the same time, all these lazy lizards have a sort of supernatural omniscience. Even when you make your best attempts to sneak into or around a room, there’s a great chance that they already know where you are and are on their way to kill you. On top of that, so many encounters involve you opening a door to see dinosaurs staring directly at you or are scripted events where they have the drop on you, so there aren’t many attempts to stay quiet to begin with. Unless you’re using the GlassVeil function of Violet’s suit, which can render you sometimes comically invisible for a short period, stealth is a large waste of time in most areas. I say comically because you can use it mid-fight with a dinosaur, and there’s a good chance they will simply give up any attempt to find you and return to milling around aimlessly when you do. Hilariously, this strategy even works on bosses, who will completely stop and wait for you to reveal yourself, usually with gunfire, and then make a half-assed attempt to follow up until you reappear.

The real enemy are the myriad bugs that can’t wait to bite and peck at your progress. Sometimes the sound mix will run off the rails or a very important skybox, one that might hold valuable information about a puzzle, simply won’t load. Weapons sometimes display the wrong ammo counts, or just disappear from your inventory all together – which I guess is a fair trade for the fact that every item I used directly out of my storage box didn’t actually expend it in the review build we were provided, meaning I could always heal to full at any safe room I made it to. (TeamKill Media tells us it’s already aware and working on fixes for some of these bugs, such as the infinite storage item issue, but didn’t say when those might arrive.)