Dell has a great deal on a current generation PC that will get you ready for upcoming games like Battlefield 6. Right now you can get an Alienware Aurora R16 gaming PC equipped with the GeForce RTX 5080 graphics card for as low as $2,149.99 with free delivery. That’s one of the best prices I’ve seen for an RTX 5080 prebuilt, which is impressive considering you would typically pay more for the Alienware brand. Although GeForce RTX 5080 graphics card prices are trending downwards, you still can’t find it for under $1,000, so you’d be hard pressed to build your own diy PC for cheaper.

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Last month, Wuchang: Fallen Feathers developer Leenzee Games promised fans that a number of performance and optimization issues plaguing the game since launch would be patched out promptly. Now, patch 1.5 does seem to address many of these issues, but with a strange cost: it also makes sweeping changes to many of the game’s enemies, dialogue, and story that have fans even more unhappy.

If you look at the patch notes for 1.5, they initially seem pretty inocuous. There’s some bug fixes, and a lot of good improvements such as a sped-up healing animation and the ability to dodge cancel out of the recovery animation. There’s also an “optimization” in there that the patch notes say is in preparation to allow players to respawn closer to bosses they’ve died to, which will be another welcome change when it lands.

But tucked in the lengthy patch notes are a couple oddities:

Added dialogs for some NPCs to complete some plots. We will further optimize the exhaustion animations in the future to improve the plot performance.

Fixed the faction bug in Chapter 4, adjusted the level design, and increased the performance effect of BVB.

Added some ‘Wuchang’ voice to complete the story, and added some NPC dialogues.

So what’s all that about? As documented on Twitter/X by Lance McDonald, the update has made significant changes to certain NPCs, bosses, and enemies to make it so they canonically do not die.

Looks like the latest update to WUCHANG which makes dodging way easier and healing way faster also sadly censors the game’s story a bit. A historically significant character no longer dies but runs away happily ever after, and you can no longer kill innocent farmer enemies.

— Lance McDonald (@manfightdragon) August 13, 2025

Prior to the patch, you were able to target and kill certain human NPCs you encountered throughout the game. These characters were passive, uninteractable otherwise, and didn’t attack you, but you murdering them affected your character’s “madness” mechanic in a way that made for legitimately interesting gameplay. Now, that’s no longer true — the NPCs are untargetable and unkillable, effectively removing the ability to choose to interact with the madness mechanic in that specific way.

Additionally, this change also significantly impacts the game’s fourth chapter, which was previously quite chaotic and difficult to manage due to a number of human enemies trying to attack you. Now, a large portion of those enemies aren’t hostile at all, turning what was once a very challenging chapter into a bit of a cakewalk.

Oh wow, the entirety of chapter 4 is now insanely easy because 50% of the enemies are now non-hostile to the player and you can’t attack them during the rebellion outbreak. What a mess.

— Lance McDonald (@manfightdragon) August 13, 2025

On top of this, multiple challenging bosses no longer “die” when you defeat them. Instead, they simply stand there, “exhausted,” or run away to live happily ever after, or claim the intense battle that just took place was all just a “trial.”

One of the most difficult and epic boss fights now ends with the boss no longer dying but instead saying “it was all just a trial! And actually the path you are on is good! Hahaha!” Holy wow https://t.co/SYYFhlUkXm

— Lance McDonald (@manfightdragon) August 13, 2025

While the first two issues impact gameplay directly, the boss changes are being roundly criticized by players for how they impact the game’s story. Wuchang: Fallen Feathers heavily focuses on themes of death, and being able to accept the death of a loved one or a period in one’s life. Many of the enemies in Fallen Feathers are actively trying to thwart death, or prolong something that will inevitably come to a close. So in several of these cases, them not dying at all completely flies in the face of the game’s message of accepting death’s inevitability.

As of yet, developer Leenzee Games has not explained why these changes were made, or made any statement at all beyond the patch notes (IGN has reached out for comment). However, many players are correctly pointing out that the characters impacted by the changes seem to have something in common: they’re all humans who are affiliated with the Ming Dynasty in some way.

Fallen Feathers is historical fiction, and takes place in 1600s China at the end of the Ming Dynasty, the last dynasty ruled by the Han Chinese before the Qing took over. Though the story of the game originally used the ending of the Ming Dynasty to effectively frame its message about death and moving on, now, none of the Ming characters die or move on, rendering the premise ineffectual. As a result, a number of negative Steam reviews and posts on various social platforms are accusing Leenzee of self-censoring, allegedly due to feedback from a segment of largely Chinese players upset about the game’s treatment of the Ming characters.

“Improving game performance is welcoming,” reads one “not recommended” Steam review from August 13, by someone with 58 hours in the game. “But this must be the first time I’ve heard of story plot change post release. As far as I am aware. Plot change made the story completely different, and even make some of the characters motivation pointless. I don’t know what kind of pressure Leenzee got to go as far as changing the games plot. I’ve read that it was criticized by some gamers for not being historically accurate. But the story is ficiton is it not? I have decided to stop playing for now, and hope Leenzee undo the plot changes. Or at least make it possible to rollback to patch 1.4.”

Interestingly, the r/wuchanggame subreddit seems to be almost completely devoid of criticism of the patch, but users of other subreddits are claiming that the moderators of that subreddit have been deleting any posts that are critical of these changes.

IGN reviewed the release version of Wuchang: Fallen Feathers at launch and gave it an 8/10, calling it “yet another great soulslike to add to the ever-increasing pile, featuring excellent combat, wonderful level design, an incredible skill tree, and fearsome bosses.” So if you can find a way to play on the pre-patch version, it seems like that’s the way to go for now.

Rebekah Valentine is a senior reporter for IGN. You can find her posting on BlueSky @duckvalentine.bsky.social. Got a story tip? Send it to rvalentine@ign.com.

With so many great games coming down the pipeline, now’s a great time to hop on the Xbox Game Pass bandwagon. If some titles joining the catalog this year have caught your eye and you’re itching to join in on the fun, you can choose between one or three month Game Pass Ultimate membership options at Amazon. Unfortunately, there aren’t any discount deals available at the moment, but we’ll update this when a new one drops.

You can learn more about options for signing up, what’s coming soon to Game Pass this month, and the big releases still to come below.

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• Best Xbox Game Pass Deals
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Cal Kestis, the hero of EA’s Star Wars Jedi video games, will appear in a spin-off TV series — marking his first voiced appearance in another medium.

The redheaded Jedi will play a role in new episodes of Lego Star Wars: Rebuild the Galaxy set to debut on streaming service Disney+ next month. A non-canon spin-off set in a “What If?”-style remixed Star Wars universe, Rebuild the Galaxy previously introduced the world to Darth Jar-Jar. Who knows what this second round of episodes will see Kestis (or an alternate universe version of him) get up to.

As in Star Wars Jedi: Fallen Order and Star Wars Jedi: Survivor, Kestis will once again be voiced by Cameron Monaghan, in the actor’s first voice role as Kestis outside of a video game. News of Monaghan’s return, as well as Kestis’ appearance on a poster for the series, come amid fan speculation the Jedi may eventually turn up in live-action form — something Monaghan himself has said he is open to.

While Monaghan has said he would “absolutely” want to portray Kestis in live-action, the actor has also said the project would “have to be right” for the character. “By that I mean, it has to continue the story or the character in some way,” Monagahan said in March 2024.

“I don’t want him to just kind of show up to stand around and be there. I want him to mean something and for there to be a significance for the character itself. So, it would have to make sense. But in the right context then, yeah, absolutely.”

Kestis’ appearance in Rebuild the Galaxy marks the latest appearance of his popular character outside of Respawn’s Jedi series, alongside other elements from the games. Kestis already has a spin-off novel, Jedi: Battle Scars, and popped up in Star Wars: Galaxy of Heroes, a smartphone game also published by EA.

What I’d consider the best parts of horror in games aren’t jump scares or gruesome monsters chasing you, rather an eerie atmosphere or a lingering feeling of dread – knowing something is a little off. I’ve long heralded the 2008 cult-classic OFF, an RPG Maker (2003) game from developer Mortis Ghost, for how it wields its lo-fi art style to evoke that powerful sense of dread and reveal things that are truly horrifying. As a small-scale game that only had an English version via fan translation in 2011, this official remaster in 2025 is important for preserving an influential retro-style RPG, especially as it is largely faithful to the original. In some respects, it hasn’t aged quite as gracefully as I’d hoped (partially due to the hindsight of having played so many amazing games it inspired in the years since), but OFF’s blend of goofiness embedded in a deeply unsettling story has stood the test of time.

OFF is one of those games where its limitations are part of its strengths. Color and the absence of it are used to shift the vibe of the overworld in chilling ways as you progress. The hand-drawn sketch-like character designs give a deranged look to enemies that complements their desolate, off-kilter world. And the low-tech pixel art has a way of being a powerful tool for creating a foreboding atmosphere, letting your imagination tease out an underlying psychological horror. These are some of OFF’s defining features, and also remain effective as you unravel its disturbing truths.

You control The Batter, a guy rocking a baseball uniform and armed with a bat who is ready to hit some dingers, and you’re on a mission to “purify” a dystopian world of evil ghosts. Without much explanation, a nightmarish cat called The Judge speaks to you in a philosopher’s tone to ponder how your decisions will be accounted for. Aside from one specific moment, there aren’t choices to make, but it’s interesting context for a story that reveals itself through the actions you have to take. I, as the player, felt increasingly uneasy about where things were going – but to The Batter, it’s just another plate appearance. That contrast is still quite effective, and OFF makes this distinction clear in its breaking of the fourth wall from the very start.

It’s a fairly short game, taking about seven-to-eight hours to finish and defeat the secret bosses, including a few new ones. The world is made up of five zones, some of which represent industrial production where workers are ground to the bone by authoritarian figures. Liquid plastic makes up its seas, meat and metal are harvested ad nauseum, and the sugar mines bring about the worst parts of its society. A few dialogue sequences use obscure sketches like they’re out of an old textbook and items you inspect in the environment feed into its cryptic worldbuilding. More often, however, it’s the unconventional way characters talk to you and accept their meager existences, which grows more disturbing as you see the consequences of your mission.

Exploration is met with basic puzzles that often require you to pay closer attention to the clues embedded in the environment, playing into slightly bizarre changes in the world – door codes hidden in seemingly nonsensical texts, numbers scribbled on the wall guiding you in switch-hitting puzzles, or navigating sets of rooms that break conventional logic. I wouldn’t call these things particularly engaging, but it’s the surrealist subtext tucked within them that adds to its uncanny nature.

A mix of random battles and NPCs patrolling the overworld make up encounters, and this is one aspect of OFF that hasn’t really held up: its primitive turn-based combat system. The Batter and the floating circles called Add-Ons, which are very nondescript party members you gather throughout the story, each have a basic attack and special attacks with turns running on an ATB-style system. While The Batter is the heavy hitter, Add-Ons provide more of a support role. Other than prioritizing certain targets and accounting for a few elemental affinities, there isn’t much depth or strategic nuance to combat, which becomes a tired exercise outside of a few challenging secret bosses. OFF isn’t really about its combat as it’s more of a vehicle for everything else it does, but it’s a shortcoming nonetheless.

OFF doesn’t necessarily tell a complex story with tons of layers to peel away, nor is it a straightforward one where everything is spelled out for you. It doesn’t try to be too clever, yet leaves room for interpretation where all roads lead to a… well, really sad story. For all its accomplishments as a uniquely disturbing experience, something beyond that still sticks with me – it’s a strange kind of emotional resonance because of how blunt and unapologetic it is, increasingly off-putting especially with what it ultimately asks you to do. And with each bizarre twist along the way is a unique artistic vision that makes for a memorable experience.

There are a few things that have changed in this remaster, one of the biggest being the soundtrack, which is somewhat polarizing to those familiar with the original such as myself. In light of not being able to bring the original composer back on board, this version of OFF features new songs that try to capture the unsettling, industrial, and discordant sound it once had. It largely succeeds, even if I do miss the specific low-tech flavor of the original. In a full circle moment for both parties, Toby Fox (of Undertale and Deltarune fame) contributed to a few tracks, lending his sound in small ways, which was nice to hear. This isn’t a soundtrack you’re going to bob your head to or throw onto a playlist to evoke memories of a whimsical experience, but it’s an important part of OFF’s identity. It’s one that complements the ghastly barks of its characters and faint ambient sounds that feed into its discomforting vibe.

I appreciate OFF as a relic of the old gaming forums where it gained traction and tumblr blogs that harnessed dedicated fandoms, and as a product of a certain era of the internet I look back on quite fondly. Discovering the original felt like unearthing a gem you wouldn’t find anywhere else, shaping my taste in horror and helping identify what it is that activates that part of my brain, alongside other RPG Maker hits like Yume Nikki. Evidently, it resonated with others, having paved the way for games like Omori and being a stated inspiration for all-timer Undertale. Replaying OFF was like dusting off the blueprints of some of my favorite games, fascinating to revisit and one you have to put some respect on in spite of the ways it aged.

Coming hot off of Deltarune’s latest chapters and having been deeply moved by the series so far here in 2025, I have a certain fondness for its progenitors and I can’t help but see how OFF’s influence persists to this day. Indie games that delve into morality, break the fourth-wall, and subvert expectations have grown and evolved in the years since, meaning OFF doesn’t come across quite as deep as it once did in retrospect. But it is foundational material for the indie RPG scene, and this is a good excuse to play it all these years later regardless of your history.