America’s gas stations aren’t always pretty to look at. They can often be a grimey lens into people’s most basic, and at times, unflattering needs. We rely on them when we’re desperate for a bathroom, or when we need to buy junk food, cigarettes, questionable beer, and a lottery ticket to pin hopes and dreams on before filling our car with gas and speeding off like we were never there to begin with.
Developer Monkey Moon’s new game, Flat Eye, looks at the gas station of the future–a very believable, even dystopian, future.
It takes place in a world on the brink of becoming a utopia, one where machines are sufficient replacements for human labor. Think self-checkouts, self-cleaning toilets, kiosks that take your order, and machines that make your breakfast sandwich before popping it out a little window. It’s a world where you seldom have to come face-to-face with a working human being.
In this alternate future, gas stations (branded as Flat Eyes) are still the place where you get junk food, gas, and use the bathroom, but it’s also where entirely new technology is used and showcased, so Flat Eyes are also referred to as “automobile fill-up stations and technological access points.” So as well as filling up gas and buying bad hot dogs, you can buy new organs from an organ vending machine, receive medical treatment from an automated medical module, or even clone yourself.
The game is a management sim where you overlook the needs and expansion of a Flat Eye location, where you point-and-click from an overhead view (though the camera is fully moveable), clicking on modules, and dragging and dropping things in place on a grid-like layout. In my short hands-on demo, I ordered a human employee to restock the shelves, repair equipment, and install new amenities like toilets, self-checkouts, and medical modules, all while cashing out other customers in the process. The customers are depicted as colorful, albeit characterless, silhouettes that scurried in and out to use the bathroom or cash out.
Flat Eye takes a hard look at humanity’s increasing dependency on technology. It depicts a scenario in which humans themselves become as automated and as mechanical as the very machines they rely on to exist through their day-to-day lives. Despite its bleak view of a possible future, developer Monkey Moon was clear in conveying it wanted to ultimately tell a positive story of humanity. Humans embody more of a machine-like presence in Flat Eye, operating on autopilot through a clean, perfect-looking world. But it’s still not without its distinct characters and personalities.
As you manage Flat Eye, special customers will visit, giving you the opportunity to talk to them and navigate branching conversations that present glimpses into the lives of those who inhabit this pseudo-utopian world. When I had initially felt like a floating manager ordering around an employee, these branching conversations had suddenly felt intimate as I was choosing the employee’s responses. It’s also during these conversations where you interact with Flat Eye’s AI, a character that I will not spoil, but one I anticipate will have a strong role in the game’s somewhat mysterious narrative.
It’s in the introduction to this AI and the conversation with it that I was left most eager to see where Flat Eye will go next. There’s a dual narrative working alongside an already interesting management sim here.
At the end of each day, you are able to dive into the data of the Flat Eye’s productivity and receive an overall score for how well you did. It’s also during the transition between days that you’ll have an opportunity to look through emails from Flat Eye’s corporate executives and look at messages within the company sent between other gas stations–a humanizing element in a rather detached position as a lowly clerk.
Developer Monkey Moon is building a knack for telling stories through the lens of working-class characters that rarely get the spotlight in games. In its previous title, Night Call, you played as a cab driver in Paris, hearing the stories of his passengers, engaging in conversation, and divulging in the intricacies of people’s most intimate stories. But like Flat Eye, Night Call goes beyond its surface level, with layered narratives and themes at play throughout.
Despite my short time with the game, its concepts, themes, and mechanics clicked instantly. Furthermore, seeds were planted for a greater overarching story that seems to be heading towards a redemptive look at a dystopian future.
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CD Projekt Red has confirmed that the medallion pictured in the official announcement art for the new Witcher game is in fact a lynx.
Speaking to Eurogamer, CD Projekt Red global communication director, Robert Malinowski, said, “Ok, some mysteries should not be so mysterious,” Malinowski said. “I can confirm that the medallion is, in fact, shaped after a lynx.”
https://t.co/XtbfqscMWr pic.twitter.com/eK6ZIbfLRa
— The Witcher (@witchergame) March 21, 2022
When the Polish developer announced that it’s developing a new Witcher game, many speculated that the snow-covered medallion, which only belong to monster slayers in the series canon, is a cat.
Although speculation did begin from the announcement image, there are references to the “School of the Cat”–a school formed by ragtag Witchers in the series canon–that made fans of the series believe that the medallion could be related. There’s also the theory that Ciri, Geralt of Rivia’s adoptive daughter in the Witcher series, will be the playable protagonist as her medallion featured in The Witcher 3: Wild Hunt is a cat and originated from the Cat School in canon.
However, now that CD Projekt Red has confirmed that it’s a lynx, the theories could lead elsewhere, as there is no reference to a lynx in the Witcher canon. As Eurogamer pointed out, the only reference to a lynx in the universe comes from fanfiction posted to The Witcher Fandom Wiki. The story explains that the witcher Lambert and sorceress Kiera Metz joined together and reformed the Cat School as the Lynx School.
It’s unclear at this time whether CD Projekt Red plans on creating its own unique tale revolving around a new character with a lynx medallion, but it did specify that the new game will be “a new saga.” It’s entirely possible that Ciri’s medallion has received a redesign and we could see the female witcher make her return, but it’s all just speculation right now.
The Cyberpunk 2077 developer also revealed that it would be ditching its REDengine software in favor of Unreal Engine 5 to create the new Witcher game, in collaboration with Epic Games. Following the news, there were discussions about whether the title would be platform-exclusive, but the developer clarified that it’s “not planning on making the game exclusive to one storefront.”
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Borderlands games have traditionally been lengthy adventures, each one capable of consuming dozens of hours of your time, and standalone spin-off Tiny Tina’s Wonderlands is no different. Like its source material, Wonderlands offers more than just its core campaign set in the tabletop world of Bunkers & Badasses, as you’ll be able to take a detour along the way and engage in some side quests. So how much time can you expect to pour into the game to reach the end credits?
How long to beat Tiny Tina’s Wonderlands?
In my own playthrough, I finished the main campaign for Tiny Tina’s Wonderlands in 14 hours, having played the game on normal. As an action-RPG, Wonderlands requires you to keep your character leveled up for the challenges that lie ahead and that resulted in me engaging in a few side quests to ensure that I was powerful enough to slay dragons, goblins, and at least one angry skeleton pirate boss. If the game is too challenging on its default difficulty mode, you can opt for an easier mode at any point in the game that lets you take 15% less damage while dealing 15% more damage to enemies.
Alternatively, you can increase the challenge by selecting Wonderlands’ hard mode, and after you’ve completed the campaign, you can further increase the difficulty by activating Chaos Mode. This option buffs enemy health and damage output, and is unlocked one level at a time from inside the Chaos Chamber.
The Chaos Chamber itself provides a roguelike-influenced experience that you can run through after the main campaign has ended. Similar to other games in the genre, you’ll face escalating odds, choose from skills that can hinder you while providing extra loot incentives, and replay a boss fight right at the end. Each run should take 20-30 minutes on average, but more challenging gauntlets can be attempted if you’re brave enough.
Finally, there are a healthy number of side quests that you can play through. Some of these missions will be locked behind locations that you have yet to visit, but if you wait until after you’ve completed the campaign, that won’t be a problem. Side quest lengths vary from mission to mission, with some of the longer adventures easily taking up an hour of your time to complete. Others are more digestible and can be finished in around 15-30 minutes, although there’s no telling just how long one of these missions is going to be when you first start them.
In our Tiny Tina’s Wonderlands review, we scored the game 7/10 and remarked about how it provided a fun fantasy experience within the familiar framework of the Borderlands 3 gameplay loop.
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With Erica, Flavourworks introduced a new way to make games by using film-quality live-action footage, with real actors, in order to tell its story. The studio is back again with Hush, a brand-new crime noir story sporting the same live-action format as the 2019 thriller Erica.
Hush’s first chapter, Crane, is now available, following a hitman named Bambi and his run-in with a femme fatale from a rival gang. It’s only ten minutes long, but it’s the first in what will be an anthology of stories all set in the same city during the same night.
Player choices will change the overall story, but rather than having major impacts in the heat of the moment, the choices here will instead ripple not only through the rest of the individual stories, but through the other separate stories as well.
While Crane is the first of the Hush anthology, there are plenty more stories to tell in this crime-ridden city. GameSpot recently spoke with Jack Attridge, creative director and co-founder of Flavourworks, about Hush, Erica, and why live-action storytelling is at the core of the studio’s vision.
We discuss how Flavourworks approached development on this new title, from the initial idea to its current Galaxy Store exclusivity. We explore why the team sees Erica as a “project zero” rather than a “first game,” what lessons the team took from Erica and implemented into Hush, and how the game approaches key mechanics like player choice and heavy action sequences.
This interview was conducted via video conferencing and edited for readability and clarity.
GameSpot: Walk us through Hush and its first chapter, Crane. How is it different from Erica?
Jack Attridge: It’s really an extension of what we planned to do with Erica. My background is in game design and also in filmmaking, and when I started this studio I wanted to do something that stood out in this space: marrying film and games in a way that was more progressive than the old FMV formula. We really took contemporary game design into consideration, while making sure that there’s a real cohesion and harmony between the film and game elements. We also built the Touchvideo technology from the ground up to be able to achieve that.
We’re building a team, building a studio, talking to publishers, investors, and lawyers, all while building a technology from scratch. It’s like building a train track while the train is going; figuring out all of these unprecedented problems is the exciting place to be for me, rather than working on a tried and tested formula. Erica was our first project, and it did a lot of what we wanted it to do while bringing millions of players, but we saw it as “project zero,” where Hush is “project one.”
Hush, for me, is really taking some of the lessons learned from Erica and using them to refine our storytelling capabilities through the technology, and to do something that was quite different tonally. Erica was a thriller, while this is more of an action-noir with romance mixed in. Hush is technically a guilty pleasure love letter to noir tropes, something like Sin City. The way that story is told, you’re spending five minutes with one character, then ten minutes with Bruce Willis, then ten with Mickey Rourke, etc. It’s telling separate and different stories about the city, and I love that idea.
It occurred to me that this approach could solve one of the problems with interactive narrative, namely the idea of “choice” and “consequence.” When you’re making choices in a game, you want to see them pay off as consequences. The thing that gamers have a sixth sense for, is that sometimes those choices are more shallow than others. Obviously if every choice mattered you’d be branching the game off to an infinite degree; Erica for example was serious in its branching and multiple endings. Normally though, the first ten minutes of a choice-heavy game are usually the most branching parts of the game that set up a precedent for how the game will play out, but after that the player sort of takes the game’s word for it. At some point they actually have to tell a story and tell you the most important parts of it.
What I realized is if I took a character on a journey for ten minutes, while I’m riding the subway or before I go to bed, if my character dies, or a love interest dies, or I do something there’s no coming back from, I don’t have to have that choice ruin the entire experience if the next 20 minutes of the game in a completely different character’s story. For me, it became less about a singular antagonist like in Erica and more about this nocturnal city with a lot of crime going on.
The first story is Crane, and it takes place during the same night as the rest of the Hush stories. You’re playing a character named Bambi, who is a hitman for a gang and ends up in a Romeo and Juliet-type situation with a femme fatale in another gang. You’re driven to a point in the episode where you have to choose between love or loyalty, and then you’ll get a couple of dramatically different endings depending on your choices.
With every game we want to push the technology more, so with Crane what I wanted to try and do was an interactive shootout in live action. Knowing that live-action gives you different leanings in terms of gameplay; in games we’re so focused on things like traversal, whereas in film I can do a close-up of lots of water, get all of the nuances of the bubbles, ripples, etc., and get a different sort of aesthetic. So in this firefight you’re not so much worried about how good you are at aiming, instead you’re looking at the guy through the bullet holes in the table you’re hiding behind. Film gives us a lot of freedom, and it’s all running on a mobile phone.
You’re exclusive to the Samsung Galaxy Store at the moment. What thought process went into going exclusive there? What about the Galaxy architecture, or even Samsung themselves, appealed to you?
While we’re big fans of Apple–we released Erica there and we have more projects coming there in the future–we hadn’t brought Erica to the Galaxy Store in part because it was a massive game. On PlayStation alone it was 40 GB, which is huge, and we didn’t want to compromise on quality. We said “we’d rather you wait for another game, which trust me will be a good thing.”
One of the technology breakthroughs we’ve had is a sort of game-streaming system, that means you can be playing while content is being downloaded to you, and then you can decide whether or not the content stays on your device or is deleted. That’s been a very big plus for us, as it solved one of the worst problems with using live video: the size of the files. We wanted to get Touchvideo working on Android, so we thought we’d try the streaming technology and Touchvideo together to prove we could get it working on that platform.
The Galaxy Store folks loved what we did and were really keen to give us support. We can also gather data on what people like and don’t like about it through analytics and the end survey, and it allows us to improve the game before launching the game in full. In terms of the broader release of Hush, we haven’t made any decisions on that yet but I imagine the goal will be to try and bring it to as many people as possible.
Getting back into making a “game” versus an “interactive movie,” do you find development costs to be higher, lower, or around the same using your format, as opposed to traditional development?
Neil Druckmann, who directed The Last of Us and has been a great support to our studio, once said that the sequence in Uncharted 2 where you’re trying not to fall out of a collapsing building cost just as much to develop as the photo booth scene from The Last of Us Left Behind with Ellie and Riley. Animating high emotions in games is usually very costly, with only a handful of games able to pull it off whereas animating an action sequence is the bread-and-butter of 3D despite being super expensive in real life. Erica and even Hush, as non-live-action games would have likely cost far more, but now we’re our own worst enemy and we like pushing the needle by adding shootout sequences to Crane, and it’s like doing one of the harder things in filmmaking, and then making it interactive.
There are some other benefits, like the quality of props and costumes, that save us on things like rendering costs and other areas. On the flip side, there are some disadvantages that don’t surface in games: For example, I can’t have an option that would result in my character getting a black eye, because then I’d have to shoot every scene after it twice, once with and once without the injury. We are rather obsessed with scene transitions, camera cuts, and how they can impact the flow of a scene, so adding a layer like a black eye would make production far longer.
Hush is an episodic story, with Crane being the first. Do you know how many episodes there will be, or is the story still being fleshed out?
The story is still being written, but I think our plan will most likely be that rather than release each 10-minute episode separately, we’ll just release one full experience under one game. When that game launches you’ll choose which story you want to play in any order, and the idea is despite them being different characters in different stories, the choices you make will affect the other stories. The events in Crane won’t have a major impact on the story, however. Instead we’ve employed smart and subtle ways the events of previous stories will surface. Perhaps you’ll overhear something that references a prior episode, or you’ll see a ticker scroll on a TV that mentions events you played through. Every story echoes into one another without completely shattering each other. You’re free to roam while inside the stories themselves, with Crane being a more modest episode among the rest due to it being our first one, but that’s the kind of experience we want to bring to people.
Depending on the order a player chooses to experience these stories, could the passing references to other stories also work to tease or hint at events that will take place?
There’s a little bit of teasing in Crane, though people won’t know what to look for or which characters to expect to pop up somewhere else at the moment. On the surface it’s Bambi’s story, but that world is considered deeper than that, like there may be a rival gang that gets a focus in a future episode that’s only mentioned here.
You mentioned that each episode is only about 10 minutes long, what went into that decision?
We wanted each experience to be bite-sized, rather than a full 2-3 hour story arc. One of the biggest problems in games is I could take a vacation just to play games, but if these were games I’d previously started I’ll have no recollection of where I was or what I was doing when I stopped playing it before. I’d be halfway through storylines with no thought on how to proceed, so not only am I stuck but I’m also disoriented. Erica was only a 90-minute playthrough with 300 minutes of content, so you only had to play five or six times to see everything, but even then you’d play through the first 90 minutes, have to play through the first 10 minutes or so of the game again, then start to branch to new content. With each episode being shorter, people can go through the motions each time with less friction between finishes. “Quality over quantity” is how we look at it.
Say I play through the 10-minute Crane episode and somehow he dies when I’m finished. Meanwhile, there’s a scene in a separate episode where Crane and a new protagonist cross paths. Will there be some sort of save game analysis that will know what happened in one episode and apply it to another?
Absolutely! We’ll be echoing the reality of things that happen in each episode, but if the events of one episode happened before Crane, then you may find yourself interacting with characters that you know have died, they just haven’t gotten to the part of the story where they died yet. That story idea echoes a sort of Pulp Fiction-esque non-linear approach to storytelling, where some characters will come back later in the movie.
Could you also then have a situation where the player doesn’t know where in the story an episode plays out until the very end? For example, at the end of the third season of Lost, we didn’t know the episode was showing a flash-forward until Jack meets Kate at the end. Could Hush explore a similar idea?
That’s an interesting idea, and the truth is I haven’t decided yet. The way I envision Hush right now is a sort of vista of the city, and each light in each building is its own story. You can tap them in any order, and when you tap in it might give you the title of the episode or the time of night it occurs, since they all happen on the same night. However, if we just turn that timer off, it could either get incredibly confusing or incredibly intriguing, and we’ll have to walk that tightrope. The flexibility of this format is what makes me so excited about it, I genuinely don’t think anyone has done anything like this before.
There are multiple endings to each of these episodes, but given the flexible nature of the game, is there one ending permutation that the studio considers to be “canon” or the “correct” ending?
You can imagine how much I’ve thought about this–and the whole space, to be honest–for the last few years. We have a “gold standard” book of guidelines for how our games tick and what we want to avoid. For example, you’ll play games where based on the choice you make, completely unrelated things in the reality of that world will change. It’s like the world is tailoring itself to you rather than your choices creating a butterfly effect. We’re very much “butterfly effect only;” we can’t change the color of these walls because you said you liked blue rather than pink, there has to be cause and effect.
With Erica, there’s multiple paths where you’ve seen a scene unfold, but you could have seen it from the beginning, halfway through, or the end, and from either this door, that balcony, or hiding in that cupboard. Perspective and timeline, everything you know and don’t know leading up to it, all color your reading of that scene. When we branch, we don’t want people to just see something different for the sake of it, we really believe in coherence across the entire story. There are coherent “canon” events that happen, but the player can absorb them from different places and at different times. There are moments that are cause-and-effect, but the moment there’s an established “canon,” then I feel like the other paths lose integrity and merit. The belief at Flavourworks is, if it can be done as rigidly as a movie, let’s not make it.
Even though all of these episodes are separate stories happening on the same night, will there be a point in the story where they converge? Is there an inflection point or endgame that each story leads up to in its own way?
It’s possible, I don’t want to lean one way or the other while we’re still writing the story. I think the important thing is that while you’re playing through the stories, you’re sort of writing them yourself. Everything is compatible with everything else, but sometimes that might mean an opportunity is closed off to you because the two characters that had to be there for it to happen are unable to be there at the same time because of the ripple effects of previous episodes you have created.
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Xbox Game Pass has proven to be one of the best deals in gaming, providing an all-you-can-game experience for a modest price every month. If you’re looking to top up your subscription or even start a new one, we’re keeping track of the best Xbox Game Pass Ultimate deals that are available now.
Right now, Newegg has the best deal we’ve seen on Game Pass Ultimate this year. You can get three months of Game Pass Ultimate for $367 with promo code SSBQ2326. This deal is only available today (March 23), so take advantage of it while you can.
Best Xbox Game Pass Ultimate deal
Considering that this tier of Xbox Game Pass–which includes access to its library on both PC and console, EA Play, and other benefits–costs $15 a month, you’re saving $20 overall on a single three-month subscription. Not only does this mean that you can access Xbox-exclusive games such as Forza Horizon 5, Halo Infinite, Psychonauts 2 and Microsoft Flight Simulator, you’ll also get Xbox Cloud Gaming and Xbox Live Gold.
Best Game Pass Ultimate deal for new subscribers
If you’ve yet to try out Xbox Game Pass, you can get a great deal directly from Microsoft. Your first month of Game Pass Ultimate will only cost you a buck.
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Epic Games and Microsoft have raised more than $50 million already for humanitarian relief efforts supporting Ukraine, the developer has announced. As confirmed previously, Epic Games is donating all proceeds from Fortnite to charity between March 20 and April 3 to support the country after it was invaded by Russia.
Connected to this, Xbox is donating its net proceeds from Fortnite during the period to support charitable efforts for the people of Ukraine. Xbox is understood to receive a platform fee at about 30%, and given the size and stature of Fortnite, this percentage is likely a major chunk of change. Epic’s blog post suggests the $36 million is a combination of the money donated by Epic and Xbox together.
As of today, we’ve raised $50 million USD together in humanitarian relief funds to support people affected by the war in Ukraine.
To see more about how the funds are being distributed visit https://t.co/aexRh7ZEWQ pic.twitter.com/IETgljrXV8
— Fortnite (@FortniteGame) March 22, 2022
Epic and Microsoft are donating the funds to UNICEF, Direct Relief, World Food Programme, and the UN Refugee Agency. These groups provide emergency aid through the distribution of food and water, as well as water and other essentials. The money will also help with legal aid and to provide shelter. Epic Games said it will add more charitable partners in the coming weeks.
Epic clarified that it is sending funds to these charities as fast as it can. This means Epic is donating the money before it even gets cleared into Epic’s own bank account. “We’re not waiting for the actual funds to come in from our platform and payment partners, which can take a while depending on how the transaction was processed. As transactions are reported, we’ll log them and send the funds to the humanitarian relief organizations within days,” Epic said.
The funds come from purchases of V-Bucks, Fortnite Crew, gifted battle passes, and cosmetics. Any V-Bucks cards or cosmetic DLC purchases from a retail store between March 20-April 3 will also be counted and donated to the charities.
And when Epic says it’s donating 100% of the proceeds from these sales, that means the gross purchase price minus taxes, refunds, returns, reversals, and third-party platform fees. For Xbox, the wording is similar: Microsoft will donate the gross proceeds of its cut after returns & chargebacks, billing costs, bandwidth cost, operations cost, and taxes.
In the wake of the attacks, Ukraine has asked PlayStation, Xbox, and esports organizations to stop supporting Russia. Multiple movie studios have stopped releasing new films in the country, while Apple no longer sells any products there.
If you want to help relief efforts, we’ve assembled a list of humanitarian organizations like the Ukrainian Red Cross and UNICEF that you can donate to.
This story has been, and will continue to be, updated as new funding totals are announced.
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The next update to featured experiences in Battlefield 2042‘s Portal will shake up how the featured modes work, with a change to both the number of featured experiences and how often they refresh. As announced on the Battlefield Direct Communication Twitter, the number of experiences featured at once will be reduced from five to two, but the modes will now refresh twice a week instead of once.
On Thursday, March 24, we’re changing how we’re rotating Featured Experiences within #BattlefieldPortal
Here’s a 🧵on what’s changing 👀 pic.twitter.com/6PHL0OmYmc
— Battlefield Direct Communication (@BattlefieldComm) March 22, 2022
The change will come into play from the next refresh, on Thursday March 24, when the featured modes will update to include 2042 TDM, 1942 vs 2042 Conquest, and Rush Hardcore. After that, featured experiences will update twice a week, every Monday and Thursday.
In the thread, DICE explains that the reason for the change is to put more focus on the game modes when they are featured, by reducing the number that are featured at any one time. The Battlefield developer is also introducing a new Friday Night Battlefield experience, which will be available for 24 hours every Friday through Portal, with a new game experience available every week.
If none of the featured game modes pique your fancy, Battlefield Portal also allows players to create their own game modes by mixing up maps, weapons, and vehicles from different titles in the Battlefield series.
Despite strong sales, Battlefield 2024 has had a rocky release period, with over 120,000 players recently signing a petition asking for a refund on the game. While DICE has released a number of patches addressing issues in line with player feedback, many players are still unhappy with the game.
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When it comes to the SPAS-12 shotgun in Battlefield 2042, overpowered is an understatement. In a new update, the high-powered shotgun has become well and truly broken, giving players the ability to one-hit-kills enemies from incredible distances, as demonstrated in a video by YouTuber JackFrags.
While the bugged gun isn’t playable in Battlefield 2042 itself, it has appeared in a featured BF3 game mode through Battlefield Portal. In the main game, players are unable to use frag rounds with the SPAS-12, but the deadly combination is still allowed in the BF3 Portal TDM mode. Making the balance issue even worse is the fact that this shotgun seems to have incredible range, with JackFrags regularly getting one hit kills from a distance–at one point even out-sniping an actual sniper.
JackFrags speculated that the bug had been added in a recent patch, however community members on Reddit claim the SPAS-12 bug has existed in Battlefield Portal since the game released. The YouTuber said that he is only uploading the video of his exploits with the broken gun to bring it to the developers’ attention, and his strategy appears to have worked. Since the video was released it has been picked up as a known issue by DICE, with community manager Kevin Johnson tweeting that “we’re looking into this one.”
We’re looking into this one going on in #Battlefield Portal, enjoy those memes while they last!
Make sure to keep an eye on @BattlefieldComm for further updates/changes made on the matter! https://t.co/JungN0pCm9
— Kevin Johnson (@T0TALfps) March 22, 2022
Until then, players can check out the BF3 TDM mode if they want the experience of being overpowered–or just avoid the mode until the broken gun gets patched.
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A massive Apex Legends leak has revealed nine new characters, new maps, weapons, and more, comprising of months, if not years of future Apex content, Eurogamer reports. The leak was uploaded to subreddit ApexUncovered from a throwaway account, and includes a folder that contains 15 unreleased gameplay videos and a multitude of text files detailing upcoming content.
The original download has now been taken down, but the files continue to be shared across social media, with numerous users breaking down the details contained in the leak. The leak may be the largest in Apex’s history, revealing nine seasons worth of unannounced Legends in just one of the 15 leaked videos.
The nine new Legends showcased in one of the leaked videos all seem to be pretty far along in development, with each of them already having a full set of abilities. The new characters are called Conduct, Scryer, Caliber, Jester, Phantom, Vantage, Uplink, Newcastle, and Catalyst, and users on ApexUncovered have already broken down their play styles and abilities under the original thread. Users have speculated that Newcastle may be the next character lined up for release, as their kit seems the most finished at this point.
Other leaked content includes two new arena maps, one close to completion and another still in the early greybox phase, as well as a third new map called Divided Moon. New weapons and heirlooms have also appeared in the leaked videos, as well as a new emote for Ash and another for unreleased character Newcastle.
Respawn hasn’t commented on the leak yet, though there’s little doubt that the leaked videos are legitimate. The amount of content that looks to be lined up for the free-to-play live service game lends weight to Respawn’s recent comments that it’s committed to updating Apex well into the future. Apex Legends is currently in the middle of its 12th season, Defiance.
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