Review: Crow Country (Switch) – A PS1-Style Horror Homage That Blends Old With New

Caw blimey, it’s good.

Modern survival horror games looking to recapture the aesthetics and essence of classic titles from the ‘90s often make one fatal mistake. You see, when fans who were around to play Resident Evil and Alone in the Dark: A New Nightmare on the PS1 look back, they do so with a level of fondness that, frankly, makes the games sound like the best things since sliced bread.

The truth, however, is that the earliest survival horror titles, with their awkward controls and fixed camera angles, haven’t aged particularly well; heck, there’s a reason so many of them are getting modern remakes. Veterans will forever adore them (this writer included), but newcomers often come away wondering what all the fuss was about.

Read the full article on nintendolife.com

Persona Director Reveals the Secret to Atlus’ Beloved Games

Katsura Hashino knows exactly what he wants when it comes to video games. The legendary game director, who is responsible for the modern Persona games and more recently Metaphor: ReFantazio, believes that, in a world obsessed with pixel count and frame-rates, only one thing matters: the people who made it.

“I want something – even if it’s not complete, even if it’s really rough, even if it’s something really unfinished – to give me a glimpse of the humanity behind it. [I want to know] who created it and for it to give me a glimpse of the emotion that inspired it,” he explains.

It’s a philosophy that has served him well over the past 30 years and it’s one of the reasons the Persona games have such a devout following. Yes, the art direction is impeccable, as is the attention to detail, even down to the UI, but it’s the characters who populate this fantastical series that really make a difference. Chie, Junpei, Ann… They all feel like real people, with traits and emotions we can relate to, so much so they feel like old friends rather than characters from a video game. That’s entirely intentional and it’s what drives Hashino to make games – a personal approach that runs counter to some of the bigger projects out there that are required to meet the expectations of both fans and company shareholders alike.

I want something – even if it’s not complete, even if it’s really rough, even if it’s something really unfinished – to give me a glimpse of the humanity behind it.

Hashino is a longtime director at Atlus, having worked on several of the company’s Shin Megami Tensei games, the much-loved RPG series that merges the occult with more grounded settings. In a world dominated by ‘traditional’ Japanese RPGs like Final Fantasy and Dragon Quest, they’re a sort of goth alternative that has steadily grown in popularity over the years.

He took over the Persona series starting with Persona 3, following the departure of the previous Persona director Kouji Okada. Hashino brought over some of the darker themes from Shin Megami Tensei and mixed them with Persona’s more stylish pop vibe, resulting in a vibrant anime-influenced aesthetic, set against a high school backdrop that grappled with mythic ideas like gods and demons, as well as psychology. It’s a series that has established Hashino as one of gaming’s most respected directors. On the eve of his latest game, Metaphor: ReFantazio, IGN sat down with Hashino to look back at his past work and what drives him to make games.

Persona 3 catapulted the series into mass popularity and coincided with a renewed interest in anime in North America. However, despite its cartoon visuals there’s a lot of depth to the game and, importantly, the characters, as Hashino explains: “I think the gap between the kind of realism of the characters themselves and the anime aesthetic is a really interesting and important part of the game. You might first look and see these very anime-style characters and this anime-style world, but then might be surprised and interested to see there’s a very real [world] underpinning to them. Looking beyond the anime and seeing the realism is really a wonderful part of our games.”

I feel like if you have these super highly polished games that look like they were designed by a bunch of people in a CEO boardroom, that doesn’t really excited me

This realism – the effort Hashino and his team goes to, to ensure every character feels real – is what drives every decision in the design process, from broad ideas to specific dialogue, as Hasino explains: “There’s this little girl named Nanako [in Persona 4] who’s in elementary school. When we were first writing her dialogue, we wrote [it] to be really, really cute. But then we took a step back and thought, ‘Wait a minute, all of her lines are so cute and they’re so well done that it doesn’t feel like any actual human girl would [talk like that] at that age’. It just felt like too much.”

Rather than lean into the fact Nanako is a video game character and thus might have dialogue that doesn’t sound truly authentic, Hashino and his team went back to the writers’ room. “We started cutting back on those overly cutesy dialogues and tried to root it in reality instead. So even though Persona 4 is a modern fantasy game, we wanted it to feel closer to something that could be happening next door to you.”

One thing that becomes clear when speaking with Hashino is the love he has for the well-being of the characters in his games. When discussing his favorite moment in Persona 5, he tells us it’s when the cast of characters are able to hang out in the retro-style cafe in Shibuya that the Phantom Thieves make their hideout.

“In Persona 5, a lot of the characters don’t really have a place where they feel safe,” Hashino explains. “So I wanted to find a place where they can go and just really have that sense of security. And in Shibuya [a neighborhood in Tokyo] it’s really hard to find that location. There’s lots of roads, lots of corridors, but there’s not really a place where [you think], ‘Okay, you guys can just sit here and chill out and just use it as your base’. Finding a place [where] they’d be welcome is really difficult. So for the characters in Persona 5, I was trying to give them a place where they would be welcome. That’s when I came up with the idea of what we call in Japan a junkissa, which is an old-style cafe.”

Unsurprisingly, Hashino’s love for the characters he creates is something that’s echoed by fans, and even though Metaphor: ReFantazio steps away from the familiar Persona setting – it’s set in a new, fantasy world rather than Tokyo – it has a lot in common with the games he’s made before. Similarly, the characters you’ll meet in Metaphor, despite being different from the Phantom Thieves we’re familiar with, are faced with many of the same emotional pressures such as prejudice, fear, and anxiety.

“Metaphor is a game where the characters are around teenage age, but they’re not facing [traditional] teenager problems,” Hashino says, inferring that the characters you meet will struggle with a lot more than typical teen drama like peer pressure and romance. “They’re facing anxiety and all these other big things that affect everybody, no matter who they are, where they are, or how old they are.” So while Metaphor: ReFantazio presents a new world with new characters, many of its themes can be found in Hashino’s other games.

Indeed, whether it’s Persona, Shin Megami Tensei or Metaphor, getting under the skin of each character is core to the experience. It’s something Hashino believes comes from the people who make the games, and that he prefers projects in which you can see a developer’s true self: “I feel like if you have these super highly polished games that look like they were designed by a bunch of people in a CEO boardroom, that doesn’t really excited me — it doesn’t really interest me”, he admits, bluntly. “But when I see these sorts of games [which reveal a little about the people that made them], it really fills me with the motivation to keep developing,” he says. “That these artists, these creatives, had something they really wanted to say is where I get all of my inspiration from, and the drive to continue to be creative myself.”

Matt Kim is IGN’s Senior Features Editor. You can reach him @lawoftd.

Fortnite’s 2024 Halloween Event Arrives Today, Features Outfits from Saw, Texas Chainsaw Massacre

Fortnitemares 2024, Fortnite’s annual Halloween event, goes live today and will feature the return of Horde Rush, a pile of fresh quests and rewards, and a host of recognisable, horror-themed outfits hitting the Shop.

Horde Rush will be available for the duration of this year’s event, and players will be able to complete Horde Rush quests and Rocket Racing Nitemares quests for XP that will grant a variety of rewards.

Fornitemares 2024 also arrives with a new chainsaw weapon dubbed the Boom Billy, which can be used to carve through enemies (or thrust into the ground and revved to drag your character forward at “frightening speeds”). In addition to this, the Wood Stake Shotgun, Pumpkin Launcher, and Witch Broom are all returning for this year’s event.

New outfits include Billy the Puppet from Saw, Leatherface from The Texas Chainsaw Massacre, Pumpkin King and Sally from The Nightmare Before Christmas, Marvel’s Mephisto, She-Venom, and Agony, plus Cruella de Vil, Maleficent, Captain Hook, Ravemello, and Edward Scissorhands. There will be an opportunity to unlock the She-Venom and Agony outfits before they arrive in the Shop for players who take part in the Symbiote Cup.

Fortnitemares 2024, which will run until the end of Chapter 5, Season 4, is just the latest salvo of content in Fornite’s quest to absorb and homogenize all pop culture on the planet. Fortnite announcements in the past… fortnight alone include a new Fast & Furious vehicle and the arrival of… Shaquille O’Neal.

For what it’s worth, Fornite has also just introduced new time limit controls which will reportedly allow parents to cap the amount of time their kids play the game each day.

Luke is a Senior Editor on the IGN reviews team. You can chat to him on Twitter @MrLukeReilly, but not about Fortnite.

Ty The Tasmanian Tiger: Bush Rescue Switch Physical Bundle Out This Month

All three games on one cartridge.

To celebrate the 20th anniversary of the second Ty the Tasmanian Tiger game, Krome Studios has shared an update about its upcoming physical Switch bundle.

Following the initial announcement back in April, the Aussie developer has now confirmed the Bush Rescue Bundle will be arriving later this month on 25th October 2025 alongside a new trailer which you can check out above.

Read the full article on nintendolife.com

Dragon Ball: Sparking! Zero Review

A lot has changed about both video games and the way we play them since the last mainline entry in the Dragon Ball Z: Budokai Tenkaichi series. As the first direct sequel since the PlayStation 2 generation, that means there’s something charming about Dragon Ball: Sparking! Zero’s old school design and presentation compared to other fighting games on the market today. It’s tougher than Vegeta’s chest plate, and imbalanced in ways that are both annoying and lore accurate. Menus are labyrinthine, training tips are sparse and sometimes not very useful. But every battle is crafted with the sole purpose of putting the Dragon Ball fighting fantasy as it appears in the anime into our hands. The fast paced ki slinging, teleport kicking, and magical hair dying is great fun (when it’s not marred by responsiveness issues). The few areas Sparking! Zero does truly try to innovate, primarily with its branching story mode and create-your-own battles toolkit, are promising too. But playing this brawler can sometimes feel just as much like a labor of love as the effort to resurrect the series in the first place.

Arena fighters don’t have a lot in common with their traditional cousins like Tekken or Street Fighter. Instead of the fight taking place on a horizontal plane, they pair full 3D movement in largely open spaces with slimmed down movelists, trading technical complexity for spatial tactics. Tenkaichi further distanced itself from other games in its genre like Power Stone by turning up the speed, replacing throwable objects with big environmental features that can be blown up, and creating huge empty skies for wide open air combat. Other Dragon Ball games like the Xenoverse series have picked up the mantle of this particular form of arena brawling, but while both it and Tenkaichi capture the energy of Dragon Ball media – from how quickly characters can move the fight from air to ground, melee to ranged, and back again in these big beautiful spaces – the latter was always the more all-out experience without stamina bars and with tons of flair. Sparking! Zero certainly carries on that tradition.

At least in still frames, it’s undeniable how great characters and environments look. Every character, no matter what era of Dragon Ball they’re from, looks better than I remembered. In motion, things are a bit more dicey, with some cutscene animations in particular being awkwardly stiff. On the whole, the sound hits the mark as well. The raucous blasts of ki explosions and booming whooshes of Z Fighters flying at high speeds are ripped straight off of the screens of old TV episodes. Most of the iconic voices of the various series are recreated pitch perfectly by their original voice actors, too, which is an important detail to get right. (Although, in limited cases like Perfect Cell, even a returning cast member can make a change in line delivery that had me frantically googling to confirm that my memory hadn’t been punched into a cliffside by old age.)

Another win for my inner child was the truly immense roster. More than 180 fighters pulled from every nook and cranny of the series are playable, many needing to be unlocked first via the shop or story modes. There are so many folks on this roster from shows or movies I haven’t watched in ages (or in some cases, at all) that I had to wonder why the very few that didn’t make the cut got snubbed. Many of these characters are repeated in some fashion – there are 19 versions of Goku, for example – but they aren’t all simply reskins. They can have different special techniques and transformation trees, meaning base level Goku from the Saiyan invasion days has a different set of moves and much lower upside than Buu Saga or Super-era Goku, who can transform into various technicolor versions of Super Saiyan. These abilities can’t be changed, but I could modify each warrior with ability items that boost things like attack power and health, though I barely noticed any benefit at all when doing so.

Canonically strong opponents can be just as oppressive as you’d expect.

The controls are universal for all characters, but some on the roster interact with the standard systems slightly differently than others, which is an appreciated layer of nuance. For example, Android characters can’t actively regain their ki in order to launch blast attacks, while gigantic characters like Janemba can’t be grabbed. Sparking! Zero makes no attempt to balance these differences, either; every time I was forced to fight a character that was canonically stronger than mine in the manga or anime, they were just as oppressive in-game as I’d expect. I didn’t always like that, but I respect the commitment.

Unfortunately, the bar to execute the varied techniques of its diverse cast is very high and extremely frustrating. Inputs are simple overall, but early on I often felt lost when combat picked up the pace. Part of that is admittedly on me – the last entry of this series I played with fervor, but that was right after Barack Obama was elected. The fast pace of Sparking! Zero compared to Tenkaichi 3 mixed with a lax tutorial system threw my 17-years-older reaction speed out of the ring with ease. But even beyond that, things like the timing on nailing teleporting defenses or the various applications of some of the directional rush combo enders had me praying to Shenron for mercy.

I’ve spent a lot of time traveling back and forth between regular fights and the training mode to check and double check my understanding of when and how to use these techniques, but it hasn’t really helped me execute them consistently in battle. Also, compared to modern day fighting games, Sparking! Zero’s training options are rudimentary at best. There’s no expectation to layout frame data and hitboxes in a less competitively-focused game like this, but targeted drills or a more nuanced customization of CPU behaviors would go a long way to help beginners and returning players fly up to the high skill floor.

The skill points system is at least a welcome tool to your combat belt. As you do damage and gain energy, a meter will charge that grants a skill point every time it fills. There’s a handful of ways to spend these points, the most common being on the unique skills each brawler has – that could be an ability that fully charges the ki meter for Vegito or Yajirobe’s health restoring Senzu Beans. But points also need to be spent carefully on transformations and the new revenge counter system, which let me satisfyingly counterpunch foes while in the middle of a combo against me. An enhanced version of the perception counter from older games, called “super perception” here, allows you to block just about every kind of attack so long as you time it well and have a skill point to spend, too. The window for execution is razor thin and can be a bear to learn, but these are life saving options – and like ki, which is also used for a variety of offensive and defensive maneuvers, the resource management decisions you have to make on a moment-to-moment basis really add a welcome bit of strategy to an otherwise frantic fighter.

There is definitely an old school approach to a lot of the progression and menus.

There is definitely an old school approach to a lot of the progression systems and menus of Sparking! Zero. There’s a long list of achievements that can be checked off organically just by playing, which usually grant in-game currency called Zeni, items, or other light cosmetics. Just about everything can be bought with Zeni – from new characters to costumes to soundtracks and even CPU attack behaviors – and you get this cash at a healthy rate that never felt like I was being pressured to spend real money for any of it. There are microtransactions, like a $35 season pass covering three packs of characters, and two $15 music packs, but I didn’t see any option to buy them without leaving the action and going to the storefront directly, a rarity in 2024.

On the flip side, so many of the menus are a hassle to navigate, often taking you all the way back to the top layer instead of letting you go back one screen at a time. For example, you can customize characters’ abilities and costumes to be used in all modes, but those modes don’t have paths to the customization screen within them, so you have to exit one completely and go the long way to make adjustments. This was barely acceptable in 2005, and we certainly don’t have to live like this anymore.

The flagship single-player mode is called Episode Battles, which is a truncated retelling of the biggest Dragon Ball stories from various characters’ perspectives. Just about every Dragon Ball game has done this in some form or fashion, but this rather exhaustive version does a good job at keeping time between battles short, and prioritizing the important moments versus making you play every single skirmish (as Tenkaichi 3 did).

The standout feature this time around, though, is that certain events can actually be cleverly changed for sometimes dramatic new outcomes. That could involve making a choice during a cutscene, like I did when I decided to have Goku help Piccolo against Cell instead of waiting for Vegeta and Trunks to complete their training, which is the opposite of what went down in the TV show years ago. That lets you prevent the Cell Games from ever occurring, providing a cool glimpse at a “what if?” future where the androids live in peace with Goku and his allies.

I appreciated the effort to spice up stories that have been rehashed ad nauseam.

This clear choice is way easier to execute than the other, more frequent method you are given for an opportunity to alter events, which usually involves winning battles in specific ways to change their outcomes. Besides the fact that, and I must reiterate, these fights can be very difficult since powerful characters can become all but immune to your normal attacks and will always have the perfect defense to match your offense, it’s unclear upfront what conditions must be met to unlock these alternative stories. You can lower the difficulty on a fight-by-fight basis in order to progress if you really need to, but these special tasks must be completed on the standard difficulty, making finding them very much an endgame activity. But I did really appreciate the effort to spice up stories that have been rehashed ad nauseam.

There are also custom battles, which exist somewhere between Mario Maker and the Universe Mode in a WWE game. Using a tool box full of special modifiers that limit what characters can and can’t do in a given scenario, as well as some triggers that help program particular outcomes after conditions are met, these battles can potentially resemble more of a puzzle than just mashing digital action figures together in dream situations. There’s a shoddy system for putting together dialogue so that some sort of narrative can be added to them, but the best it can do is loosely set up the make-believe stakes. I had no plans to write my own entire Dragon Ball arc, but I’m not sure the tool is up to the task even if I wanted to.

There are quite a few custom battles made by developer Spike Chunsoft baked in, and they don’t really stretch the imagination that much. A few of them present interesting scenarios and specific parameters for victory, like seeing Kid Goku spar with a Master Roshi who can only be beaten by the kamehameha. But I haven’t come across an “a-ha!” creation that really shows me the potential for this mode yet.

Sparking! Zero at least seems to break the Tenkaichi curse of truly abysmal online multiplayer by supplying some solid network play. When wired up, I found minimal latency and lag issues on the live servers, or at least not enough to blame it for me dropping a combo or missing a parry. There is a local split-screen option for people who want to duke it out in person, but it’s disappointingly limited to one stage: the white void of the Hyperbolic Time Chamber. Even still, playing Sparking! Zero with real people that you can hit with a dramatic one liner or a guttural power-up scream is still the best way to do it, by far.

Online modes are pretty straight forward, but the DP battle stands out as the most interesting way to play. It constricts your up-to-five-member teams by assigning a point value to every member of the roster, giving you 15 points maximum to split between them. Stronger characters are more expensive, so you could keep your team small and full of high-cost heavy hitters like the Kais or furry SSJ4 Saiyans, or hope a full host of cheaper characters like Krillin and Yamcha can overwhelm the opponent. I liked starting with a character’s cheaper base form, knowing that with decent play I would be able to transform them into the stronger forms over time, the early discount coming at the risk of getting beat down before I can get my power up to speed. That extra angle of strategy is something that takes good advantage of the untuned nature of a lot of these characters, and really doesn’t exist anywhere else in the genre.

Everything We Know About Ghost of Yotei

Sucker Punch’s Ghost of Tsushima was released in 2020 and introduced players to the world of samurai and stealth in the 13th Century and after four long years, PlayStation has finally announced a sequel, Ghost of Yotei. Featuring a female protagonist, a new mountainous landscape to traverse, and all set in a new time period 300 years after the events of the first game.

Jump to:

Ghost of Yotei will be released in 2025 on PlayStation 5

The exact release date is still unknown, but Sony has confirmed that Ghost of Yotei will arrive on PlayStation in 2025. Sony tends to favor fall release windows – see God of War, The Last of Us 2, Spider-Man: Miles Morales – and it wouldn’t be a shock for Ghost of Yotei to follow the same pattern. Expect the game to be a PlayStation 5 exclusive at first, but as with big Sony titles like God of War Ragnarok and Horizon Zero Dawn, it will almost certainly get a PC release at some point in the future too.

Ghost of Yotei has a new protagonist

The Ghost of Tsushima sequel will start a new origin story with Atsu, a young woman seeking revenge. Details on her story are few and far between, but the trailer did reveal some interesting clues about the newest warrior to take on the mask of The Ghost.

For a start, Atsu can dual-wield katana, a talent that was never available to Jin Sakai in the first game. It could suggest that Atsu might prefer the direct approach to the stealthy methods that Jin could use to avoid and assassinate enemies. For all you accuracy fans out there, this detail actually lines up with historical records that suggest dual wielding wasn’t a common practice in Japan during the time period in which Jin lived, but in Atsu’s 17th-century world, the swordsman Miyamoto Musashi created the “two heavens as one” niten’ichi technique with two blades.

While some fans reacted with surprise at the gender of Ghost of Yotei’s new samurai, female warriors called Onna-musha appeared in Japanese history as early as 1180. You can read more about on how Ghost of Yotei gets history right here.

There’s a new setting for Ghost of Yotei

The name gives away the new setting for the game, but for those of us that skipped a few geography classes Yotei refers to Mount Yotei – translated somewhat unglamorously as “sheep-hoof mountain” – a volcano located in northern Japan. Specifically on Hokkaido, the second-biggest Japanese island, which would have been called Ezo in Atsu’s time.

“When we started working on a sequel, the first question we asked ourselves is ‘What is the DNA of a Ghost game?’” Creative Director Nate Fox told The New York Times. “It is about transporting the player to the romance and beauty of feudal Japan.” The Sucker Punch team visited a number of locations in Japan for research, including Shiretoko National Park where Fax made recordings of the ambient sounds to take back to the studio.

“Inside the park, you have to watch a video telling you about the dangers of bears,” Fox said. “Being in this incredibly beautiful park with jagged cliffs and water, yet all the time being aware there were dangerous bears, was electrifying. We strive to bring that into the video game — that feeling of danger.”

Ghost of Yotei is set in 1603, according to the PlayStation Blog. That’s 300 years after the events of Ghost of Tsushima and a period when Ezo was home to the indigenous Ainu people and still outside the control of Japan. Perhaps not coincidentally, 1603 is marked the Tokugawa shogunate becoming the government of Japan after the Battle of Sekigahara.

Ghost of Yotei is Sucker Punch’s first game built completely for PS5

Ghost of Tsushima was notable for the way its incredible landscapes looked and felt as you explored the island, and it sounds as if we can expect the same from Ghost of Yotei.

“This is also Sucker Punch’s first game built from the ground up for PlayStation 5, and we’re excited to build on the visual foundation we established in Ghost of Tsushima by making the world feel even more real,” said Andrew Goldfarb, Senior Communications Manager at Sucker Punch Productions in a blog post.

“We have massive sightlines that let you look far across the environment, whole new skies featuring twinkling stars and auroras, even more believable movement from wind on grass and vegetation, and more improvements we’ll share in the future. Our new setting also gives us the opportunity to introduce new mechanics, gameplay improvements, and even new weapons.”

Rachel Weber is IGN’s Managing Editor.

Go Solo or Team up in Starship Troopers: Extermination

Summary

  • Swarm-based combat encounters, hundreds of Bugs on screen at a time, base building, and frenetic online 16-player online co-op FPS action.
  • New single-player mode with original Starship Troopers actor Casper Van Dien.
  • Liberate the galaxy with fellow Troopers in online Galactic Front campaigns with exclusive rewards.

Fight for the United Citizen Federation in Starship Troopers: Extermination, a 16-player online co-op FPS set in the universe of the 1997 cult classic film Starship Troopers. As a member of the Deep Space Vanguard, it’s your duty to defend the Federation’s planets from Bug incursions by establishing bases and battling swarms together with your fellow Troopers.

With the game’s launch on Xbox Series X|S, we’re thrilled to reveal two new ways to crush Bugs: by rubbing shoulders with a Starship Troopers legend in single-player, and together with many more Troopers in online campaigns.

Starship Troopers bugs

Welcome to the Special Operations Group

The Special Operations Group (S.O.G.) is a boot camp designed to introduce core mechanics like Bugs, resources, base building, and this expansive universe to new Troopers in a thrilling and engaging way. The single-player campaign features 25 missions starring the hero of planet P himself, General Johnny Rico — a role reprised by Casper Van Dien from the original Starship Troopers film.

The first chapter of the S.O.G. — ‘Answering the Call’ — has you following General Rico’s orders through a gauntlet of underground missions, winding down the infested tunnels and caves of Valaka that lead to an Arachnid hive.

Starship Troopers commander

Three original characters form the rest of your squad and will help you learn more about the importance of combat roles. Jackson “Moose” Callahan is a Demolisher, a master of explosives who believes force can be overcome with greater force. Taral “Scorch” Ashcroft is a Ranger, nimble and effective in close-range combat. Rounding it out, Olivia “Jensen” Jensen is a quick-thinking Medic who’s always got her fellow Troopers’ backs.

More chapters will be released in the future, so even if you’re a veteran Trooper, you’ll want to stick around to see what happens next!

Starship Troopers bug closeup

Storm the Galactic Front

Remember the mission: everyone fights, no one quits! There’s a wider galaxy waiting for you in the Galactic Front, a brand-new online campaign where many players can work together to overcome threats too big for your usual Trooper squads. Join a Company of players and enlist in Company Operations, where you can work together to achieve collective goals.

The first Galactic Front revolves around Boreas, a newly discovered ice planet in an unexplored system. It’s rich in resources that could turn the tide against the Bugs, so make sure you beat the Bugs to it.

Unique rewards await, including special cosmetics, and your actions may impact the ongoing story of Starship Troopers: Extermination. Check back often for new phases of the Galactic Front, and make sure you’re doing your part in this galactic struggle!

Starship Troopers screenshot

Come on Trooper, you wanna live forever? Starship Troopers: Extermination is now available on Xbox Series X|S.

The post Go Solo or Team up in Starship Troopers: Extermination appeared first on Xbox Wire.