Annie Wersching, who voiced Tess in The Last of Us (opens in new tab) and also appeared in numerous television series over a 20-year career, has died of cancer at age 45.
Wersching was diagnosed with cancer in 2020, according to a Deadline (opens in new tab) report, but continued to make appearances in multiple popular shows. One of her final roles was as the Borg Queen in six episodes of the second season of Star Trek: Picard, which came 20 years after her first appearance on television in an episode of Star Trek: Enterprise.
Wersching’s IMDB (opens in new tab) page says her final credit capped off a multi-season run on the popular Nathan Fillion series The Rookie; she also had recurring roles in shows including Bosch, Runaways, Timeless, The Vampire Diaries, and 24. Her longest run on television came in 2007 as Amelia Joffe over 80 episodes of General Hospital.
To gamers, though, she was best known as Tess Servopoulos, Joel’s partner and a significant supporting character in the original The Last of Us. Tess is played by Anna Torv in the HBO TV adaptation of The Last of Us.
Neil Druckmann, the co-creator of The Last of Us, paid tribute to Wersching on Twitter. “Just found out my dear friend, Annie Wersching, passed away,” Druckmann tweeted (opens in new tab). “We just lost a beautiful artist and human being. My heart is shattered. Thoughts are with her loved ones.”
“There is a cavernous hole in the soul of this family today. But she left us the tools to fill it,” Wersching’s husband Stephen Full said in a statement. “She found wonder in the simplest moment. She didn’t require music to dance. She taught us not to wait for adventure to find you. ‘Go find it. It’s everywhere.’ And find it we shall.”
Other tributes to Wersching’s life and career came from 24 star Kiefer Sutherland, who described her as “one of the greatest actors I’ve ever had the pleasure of working with,” and the official Star Trek on Paramount Plus account.
Wersching actually had two videogame credits (opens in new tab) to her name: Five years after portraying Tess in The Last of Us, she also appeared as Tassyn in EA’s 2019 sci-fi game Anthem.
https://gamingarmyunited.com/wp-content/uploads/2023/01/1675150811_The-Last-of-Us-actor-Annie-Wersching-has-died.jpg6751200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2023-01-30 21:21:282023-01-30 21:21:28The Last of Us actor Annie Wersching has died
First reported by GamesRadar (opens in new tab), an Old School RuneScape player with the handle NC State (presumably not an official representative of the Raleigh-based university) finally sought his reward for grinding an infamous minigame, the Brimhaven obstacle course, for eight years. As outlined by a friend, user h0dgep0dge (opens in new tab) on Reddit, NC State finally brought his journey home, turning in all of his banked rewards at once and gaining 178 million XP in RuneScape’s suboptimal Agility skill in less than a minute. This was such a rapid influx that the game’s built-in experience per hour tracker couldn’t keep up: it tapped out at 2.147 billion even though NC State was progressing at a rate of 10.8 billion per hour.
Agility in RuneScape is not exactly the long-running MMO’s sexiest skill: It’s associated with cool rogue stuff like the Graceful Outfit (opens in new tab) in-game, but mechanically it just gives you more stamina and lets you access assorted shortcuts throughout the map. One of the primary ways you can level it up is the Brimhaven Agility Arena, a kind of skill vendor minigame.
My experience with RuneScape was limited to trying to make a middle school bully like me in 2004, failing, and going back to playing Paper Mario instead, so I never got here myself. But from what I can tell from assorted YouTube guides like this one (opens in new tab), it involves clicking around a grid-based arena to highlighted pillars and watching cute little skill check cutscenes of your character walking a tightrope or avoiding bladed traps. It seems like an ok thing to do precisely once. NC State has put in thousands of hours doing it since 2015. This project has spanned three American presidencies.
To hear NC State describe it, it actually doesn’t sound as bad as all that. “I do want to add that Brimhaven is a leisurely place or at least it can be if you don’t do obstacles while you wait,” he explained (opens in new tab) in response to user ElMico, who had estimated that this project required a ballpark 4,800 hours. “Many times you’re watching YouTube, reading news, browsing the web, etc. I almost never was on my computer for the sole purpose of doing agility but I almost always had Runescape up whenever I was on.”
So less a question of raw will and endurance, more patience and commitment. Like tending a garden. After all those years of work, What benefits can NC State expect from a godly 200 million agility XP, then? Stamina that never drains? Forbidden über-secret shortcuts? Well, for all practical purposes RuneScape’s skills cap out at level 99 or only 13 million XP, so this was all for the bit. Fair enough NC State, though I do gotta wonder what he’s gonna have on in the background while watching YouTube now.
https://gamingarmyunited.com/wp-content/uploads/2023/01/1675110473_MMO-player-grinds-god-awful-minigame-tokens-for-8-years-breaks.jpg6741200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2023-01-30 20:02:322023-01-30 20:02:32MMO player grinds god-awful minigame tokens for 8 years, breaks in-game XP tracker by blowing it all in 49 seconds
Call of Duty: Warzone 2 is bringing back the popular Resurgence mode in season 2, and we just got the first teaser for the new map it’ll take place on. By the looks of things, Warzone 2 (opens in new tab) is headed to Japan.
“Enjoy a moment of zen before battle,” the Call of Duty account tweeted (opens in new tab) Monday morning. “Tac map reveal tomorrow. #ResurgenceReturns #Warzone2” The video attached is a satisfying render of a marble rippling through sand, eventually forming what translation software says is the Japanese word for “sea lion” (as spotted by YouTuber Geeky Pastimes (opens in new tab)).
If that wasn’t enough of a clue for the setting of map, in a reply, the CoD account added, “Ashika Island awaits 🌊.”
Enjoy a moment of zen before battle 🌀Tac map reveal tomorrow. Notis on 💥 #ResurgenceReturns #Warzone2 pic.twitter.com/mYHH3hN7H1January 30, 2023
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So we’ve got a Japanese island and a reference to sea lions. That’s not a lot to go on, but it does suggest the Ashika Island map is set long before the events of Modern Warfare 2—that is, if “sea lion” is in reference to the real Japanese sea lion (opens in new tab). According to Wikipedia, the sea lion subspecies was hunted to extinction sometime in the 1970s, possibly dating the upcoming map. Considering Warzone 1’s original Resurgence map, Rebirth Island, was set in the ’80s, another 20th century island would be a fitting homage.
Activision plans to dole out more season 2 details ahead of the February 15 release, continuing with the Ashika Island “tac map” reveal on January 31. The tac map is unlikely to include actual screenshots of the map, but it should tell us the shape of the island and name a few points of interest.
https://gamingarmyunited.com/wp-content/uploads/2023/01/1675114142_Call-of-Duty-Warzone-2-seems-to-be-headed-to.jpg6751200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2023-01-30 19:18:062023-01-30 19:18:06Call of Duty: Warzone 2 seems to be headed to Japan
Life is Strange studio Don’t Nod recently teased a new game in development at its Montreal studio, and it looks like this one will be taking us on a trip back into the distant past of the early 1990s.
“Here’s a little glimpse of what Don’t Nod Montreal is brewing!” the studio tweeted. “Does it bring back childhood memories?”
Click the icon in the upper-right to see the image at full resolution. (Image credit: Don’t Nod)
The image in question is not exactly subtle. In the foreground is an old-timey game console that bears more than a passing resemblance to the Super Nintendo, which was released in Japan in 1990 and North America in 1991; the console is connected via colorful composite cables to a CRT television, which sits above a relatively modern-looking (I said relatively) VCR. There’s also a rack filled with videotapes, and a few game cartridges, to the left of the television.
The wood panelling behind the television also gives off a distinctly distant temporal vibe, although that’s a little less obviously on point: My mom’s basement is still rocking the same look, and I know she’s not the only one.
The one element of the image that throws me is the candy on the table. It looks like an open pack of Starburst, which I don’t think has any specific ’90s connection, but the name of the candy is interesting: Epop, which is French for Epic. (Don’t Nod is based in Paris, and French is the official language of Montreal.) Hinting at an Epic Games Store exclusive, perhaps, or is the candy just that damn good? I’m not inclined to conspiracies so I would guess the latter, but Don’t Nod did release Twin Mirror as a one-year Epic exclusive (opens in new tab) in 2020, so anything’s possible.
The tweet also points to job openings (opens in new tab) at Don’t Nod Montreal—unfortunately, none of them offer any further hints as to what the studio has cooking. Given the studio’s history across games including Life is Strange, Tell Me Why, and Twin Mirror, and the nostalgic ambience today’s image immediately churns up, I’d say there’s a good bet it’ll be some sort of character-driven narrative adventure. Bold prediction, I know.
Here’s a little glimpse of what #DontNodMontreal is brewing!Does it bring back childhood memories?We are looking for talents to join the team in Montréal on this new narrative game! Find all our job openings here: https://t.co/IJi6njvHiJ pic.twitter.com/IFBAkGPGFWJanuary 27, 2023
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Don’t Nod is also currently working on a new action-RPG called Banishers: Ghosts of New Eden (opens in new tab), a grim-looking tale of a pair of former ghost hunters who embark upon a search for a cure for a curse that’s turned one of them into a spirit. That’s set to come out later this year.
https://gamingarmyunited.com/wp-content/uploads/2023/01/1675158114_Life-is-Strange-studio-packs-gaming-nostalgia-into-a-little.jpg6751200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2023-01-30 19:17:172023-01-30 19:17:17Life is Strange studio packs gaming nostalgia into a ‘little glimpse’ of its next game
Nikolai Katselapov, the chief business development officer at World of Tanks studio Wargaming, appears to have been added to a list “of organisations and individuals involved in terrorist activities” (opens in new tab) by Belarus’ Committee for State Security (or KGB, yes, as in that KGB). In a move which was likely sparked by Wargaming pulling out of Belarus (opens in new tab) following Russia’s invasion of Ukraine, he is accused under article 290-1—”Financing of terrorist activities”—of the Criminal Code of the Republic of Belarus.
Katselapov was actually added to the list all the way back on December 30, but it was only when independent Belarusian newspaper Nasha Niva (opens in new tab) (via Game World Observer (opens in new tab)) reported on the story that it came to wider public knowledge. Nasha Niva believes that Katselapov is still free, which would make sense given that Wargaming hasn’t been present in Belarus for nearly a year now, but hasn’t been able to obtain comment from the company thus far.
I’ve also reached out to Wargaming to ask for comment on this story, and will update this piece if I receive a reply.
Belarus has long used its terrorist list as a political bludgeon. In the past, dissidents like opposition leader and former presidential candidate Sviatlana Tsikhanouskaya have been added to it as a pretext to justify repression of groups and individuals hostile to president Alyaksandr Lukashenka. It’s likely that Wargaming’s decision to vacate the country back in April last year offended the higher echelons of Belarus’ government, particularly given that Wargaming was the country’s largest game development studio: It was valued at over a billion dollars in 2016. (opens in new tab)
It’s unclear why Belarus has picked on Katselapov particularly, though Nasha Niva theorises he may at some point have donated money to opposition political figures. Regardless, he has become entry #993 on the most recent version of Belarus’ terrorist list, and it’s looking even more unlikely that Wargaming will return to its home country anytime soon.
https://gamingarmyunited.com/wp-content/uploads/2023/01/1675099432_Belarusian-KGB-adds-World-of-Tanks-studio-boss-to-terrorist.jpg6751200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2023-01-30 16:48:122023-01-30 16:48:12Belarusian KGB adds World of Tanks studio boss to terrorist list
On paper, Forspoken is a game that should have resonated with me. It’s a Luminous Productions/Square Enix venture, a developer I remain deathly loyal to despite its poor track record in recent years. It features some of my absolute favourite things in life: nail art, cats, parkour, and badass matriarchal rulers.
Yet, Forspoken is let down by its sheer unwillingness to break the mould. In many ways, it’s the exact type of game you’ve seen countless times across the last 15 years. An open world RPG with superpowers, mystical creatures, and a terrifying world-ending threat. It does play into some isekai tropes, with protagonist Frey Holland whisked away from her New York home and plonked into a fantastical world. Along with her talking bracelet companion Cuff, she navigates the world of Athia and the Break which threatens to consume the land and everyone in it.
A-Frey’d to evolve
It’s a pedestrian premise, one that never goes anywhere particularly exciting. Its twists and turns feel predictable. Game stories don’t necessarily have to have Bioshock or Nier: Automata levels of clever plot twists, but Forspoken too often fails to have fun with its premise. For what it’s worth, though, I enjoyed the latter half of the narrative. The beginning of the game is mired by some rather choice story beats, like making Frey a petty criminal who squats in an abandoned apartment and has some troubling run-ins with a local gang. Once it stops focusing so heavily on who New York Frey is and puts more emphasis on Athia Frey, it becomes a much more enjoyable story.
Despite a cringeworthy trailer (opens in new tab) that showcased some toe-curling dialogue, Forspoken isn’t really filled with many moments that made me recoil in embarrassment. The dialogue from the infamous trailer—which came from an early cutscene—is by far the worst offender. Everything else was fairly standard, though that may be my long-developed immunity to Square Enix dialogue a la Kingdom Hearts and Final Fantasy.
It’s made better by the fact that I really enjoyed Frey as a character. As a woman who also has some potty mouth tendencies and struggled to fit in as a young adult, I found her wonderfully relatable. Sure she says “fuck” way too much, but so do I! She’s one of the more relatable heroes I’ve played in games recently, and I really wish she’d been in a game that did her more justice. I also thoroughly enjoyed the rapport between her and Cuff, even if the frequency of their back-and-forth is a lot. Mercifully, it can be tweaked in the settings or turned off entirely.
(Image credit: Square Enix)
The most fun I had in Forspoken was when I ignored the story and explored Athia instead. Combat and movement is the best thing about this game, with Frey able to parkour at lightning speed around the world and fling spells of different elements at the enemies who inhabit it. Dashing across the map, flipping up cliffs and zipping around feels really good. But bring things a little more close quarters and it becomes finicky, with Frey regularly bouncing off walls and short platforms. I’m left to sit there waiting for her to calm down and come back down to Earth, which really broke my flow at times. Parkour is also bound to left Ctrl by default, which is a horribly inconvenient location for a button that’s used for both traversing the world and dancing around enemies. I ended up rebinding it around 15 hours in, my poor wrist buckling under the constant twisting.
Forspoken’s magic covers the four basic elements—earth, fire, water and air—with support and damage-based spells at Frey’s fingertips. I had a great time sidestepping or flipping over enemies, shooting a huge spikey boulder into their back or lifting them up into a bubble which, when shot, caused a huge area attack to any of their buddies unlucky enough to be nearby. I would’ve loved to see the elements play together and react with each other more, but the most frustrating thing of all is that you don’t get your hands on the full toolkit until the very end of the game.
Now, I can hardly fault a game for failing to come into its own until the very end—-I’m a regular defender of Final Fantasy 14’s slow start and I’ve tallied up a number of JRPGs in my lifetime. But Forspoken could have been so much better if it took where you end up 25 hours into the game and fed it to you 15 hours sooner. You don’t get your final set of spells until right before the final boss, which feels like a huge oversight to me. The way your moves are fed to you makes sense within the narrative, but it feels horrible for keeping the game engaging across its entire run.
Nailed it
Enemies are interesting enough, with some being weak to certain types or magic or susceptible to status ailments. When they’re not dotted around the world, they’re plonked inside very bland repeatable dungeons or fortresses scattered around the map in a Ubisoft-style range of objective-based pit stops. These at least offer rewards in the form of cloaks, necklaces and different nail art, which Frey can equip to bolster her health, magic and defence. But the dungeons are all samey, rarely offering up much challenge. Hop into an instanced area, run down a corridor to a room of enemies and batter them. Rinse and repeat. Fortresses are much the same, simply taking place in the overworld instead.
(Image credit: Square Enix)
Mutants were my favourite bits of combat in Forspoken—giant, ultra-strong beasts dotted around the overworld. They’re the toughest foes I faced throughout my playthrough, but I also found them a great way to get in the habit of memorising patterns and honing my evade timing. At least, when I could even figure out what was going on between the stutters.
I had an absolute mission trying to get Forspoken to run well on my PC, resulting in severe frame drops every time I entered combat. I don’t have a terrible rig by any means, my biggest shortcoming being the lack of RAM versus the game’s bizarre system requirements. It plonked me on Standard graphic settings by default, but I could barely pull anything above 12 fps during combat or while in the main capital city.
In fact, a significant early portion of my 32-hour playthrough was spent tirelessly tinkering with the settings. Forspoken’s PC port is horrifically optimised, and it felt like nothing I did was making it run any better. There are some pretty severe texture rendering issues, made even worse when attempting to play in my usual 1440p.
Stones blinked in and out of existence, and doors warped behind characters as they spoke. I was regularly working with sub-20fps and stutters that made me feel nauseous at the beginning of my playthrough. It really squandered my early hours with the game, especially when combat was so heavily affected. In the end, I had to give up on making Forspoken look nice and go all-in on making it play nice. If my screenshots here look like ass, that’s why.
Feline fine
Forspoken could have been so much more. I wish Luminous Productions had taken notes from their other game, Final Fantasy 15, and created fewer but more elaborate dungeons for me to explore. Instead, too much of the gameplay feels like a generic objective collectathon. If I wasn’t getting distracted by grabbing new gear between Point A and Point B of my story objective, I was making a quick detour to grab a stat increase at a monument or quickly exploring a derelict building, wiping out its enemies and gaining a new nugget of lore for my archive. Occasionally if I went really out of my way, I could find a handful of spells that were locked behind specific objective markers around the map.
The one filler objective I genuinely enjoyed—and went out of my way to do—were the cat monuments. They offer nothing for the gameplay, simply existing as companions who greet Frey when she enters a respite to recover health and upgrade her gear. But I’m a bit cat lady, and as I write this review my own feline friend Luna is next to me. I adored the slightly weird looking fur babies, all with their own little fantastical twist. One black cat in particular stole my heart, adorned with gold bangles and horns. The only part of Forspoken’s story that tugged at my heartstrings also centres around a cat, and their inclusion is much welcomed.
(Image credit: Square Enix)
The biggest mistake I made during my time with Forspoken was doing so much of my exploration early on. If you’re going to play it—and it’s a game I do think is worth picking up on sale… and also potentially on console depending on your rig—blitz through the story. The true enjoyment comes once you’re in the post-game, with Frey’s full kit at your disposal. When I spent several hours flinging around my one or two spells, I lamented how painfully basic its combat was. Had I been handed more elements earlier on, or simply ignored side tasks in favour of getting access to those, I think my time with Forspoken would’ve been more enjoyable.
It’s a game most fun when you’re not following its orders. Free of sudden stops for a fade-to-black cutscene, or the game randomly rooting you in place while you initiate dialogue that could have easily happened while on the move. Once the shackles of its limp narrative came off, I finally felt like I was playing the game Forspoken was trying to be. Don’t get me wrong, freedom can’t cover up vapid gameplay objectives. But hey, it sure does help.
A game shouldn’t have to end to feel like it’s just starting. Unfortunately for Forspoken, that’s exactly what happens.
Traditionally, if you wanted to nab yourself a box of tricks to help you for streaming and keeping your most used functions within easy reach, you’d buy an Elgato Stream Deck, and that would be the end of that. Well, if you didn’t want to shell out on a Stream Deck or want to try something different, the Loupedeck Live S I’ve got in front of me here might just be for you.
Loupedeck is a company best known for some more of its pro-grade decks designed to help out creative professionals as much as streamers, and the Live S is their cheapest product to date, clocking it at $179/£159/€179. For that, you’re getting a box that’s a lot dinkier than a Stream Deck, but one that also comes with a pair of knobs you can twiddle, three physical buttons, and 15 touch-sensitive pads, as opposed to buttons. The knobs here are nicely tactile and firm to press, with a solid amount of resistance, while the actual buttons on offer are pleasantly clicky, too. In an age where a lot of tech is becoming touch screens and capacitive pads, the Live S’s buttons and knobs are a reminder of the fun of actual physical controls.
Those knobs also house some clever functionality themselves with support for MIDI dial mapping, which allows you to use it with MIDI-enabled instruments such as a keyboard or synthesiser, or use the Live S with a DAW, or digital-audio workstation. As much as this is a device designed possibly for streamers at first glance, Loupedeck’s reputation for aiding creative professionals has also been crammed into this tiny deck, too.
The main pads offer similar functionality to a Stream Deck and can allow you to do anything from locking your device to opening programs, and they can be programmed within the Loupedeck software. The software arguably isn’t as intuitive as Elgato’s, but there is an excellent set of plugins natively supported, with presets for everything from Spotify for media playback to Final Cut Pro for video editing on macOS. There is also support for streaming platforms like Twitch and capture apps such as OBS, too, and that’s barely scratching the surface of what the Live S is capable of.
Live S specs
(Image credit: Future)
No. of buttons/dials: 4 buttons, 2 dials Connectivity: USB Type-C Cable: USB Type-C, detachable Dimensions: 140 x 138 x 110 mm Weight: 168g/ 0.37lbs Price: $179 | £159 | €179
Arguably one of the biggest things here though is native support for Adobe apps such as Photoshop and Premiere Pro, which Elgato’s decks don’t have, and signals again the idea of the Live S also being a solid product for creatives as much as streamers. It means that if you’re a creative and if you want a device that’s going to be a solid option to use for all manner of applications that you may well normally use in your daily workflow and give you easy access to functions, then you’re going to feel right at home with the Live S.
The Loupedeck suite features its own marketplace, where you can download a nice range of additional plugins and overlays to suit your needs down to a tee. There’s a good range of plugins, profiles, stream overlays and icon packs to go with the Live S, some of which are free, and some of which are paid for. It’s an intriguing system, similar in some ways to Elgato’s software, but one that allows Loupedeck to offer a sort of all in one solution for streamers wanting to get started with the Live S right out of the gate.
(Image credit: Future)
The Live S is also an especially slim device, with a much smaller and arguably sleeker profile than its competitors. It offers more of a minimalistic look that won’t be obtrusive in your setup, and also won’t take up too much space on your desk, either. Despite its smaller stature, the Live S is an excellent-feeling device when it comes to build quality. The textured plastic frame feels solid, and there’s no flex at all, although even with a few days’ worth of handling, can get a bit grubby, although maybe that says more about my hands that the Live S’s finish. Connectivity is kept nice and simple with a USB Type-C connector, complete with an additional USB Type-A plug for more of a legacy connection—that may seem like a small thing to point out, but if you’re using an older system with some legacy apps on it, then it can make such a difference.
My only real issue with the Live S’s design is that because it sits so flat, it can be a little difficult to simply glance down and press on the icons to input a function. There is a method of raising it up with the bundled stand that snaps to the bottom of the Live S, but it feels a little flimsy, being comprised of some thin plastics that may break easily. It does at least raise the angle of the Live S to something more akin to the fixed angle of the Stream Deck Plus (opens in new tab) I looked at a couple of weeks back, but beyond that, the stand isn’t the best thing in the world.
(Image credit: Future)
So, can the Loupedeck Live S knock the Elgato Stream Deck off its perch? Well, not exactly, but then again, it’s a slightly different device that attacks things from a different angle.
The Loupedeck is primarily designed for those creatives who want a smaller device they can use in apps such as Photoshop and Final Cut, or for musicians who want a box of tricks to control their MIDI-enabled devices. It is likely to be a hoot for streamers though, especially with the fun of the Loupedeck software marketplace and easy access to 15 buttons and additional knobs and buttons for extra functionality. It is an expensive device, but if you’re a streamer or creative professional, it may just be worth a pickup.
https://gamingarmyunited.com/wp-content/uploads/2023/01/1675106801_Loupedeck-Live-S.jpg6761200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2023-01-30 16:25:332023-01-30 16:25:33Loupedeck Live S
Head to any offline fighting game tournament and, for the most part, you’ll find yourself playing on a console. PlayStations have been the platform of choice for a hot sec, with games like Street Fighter 5, Tekken 7 and Dragon Ball FighterZ usually running sets on a PlayStation 4 or PlayStation 5. But Capcom’s changing things up for its upcoming Capcom Cup.
The publisher has announced that it’ll be switching to PC setups for its week-long tournament in February, as reported by The Verge (opens in new tab). It’s being done in an effort to combat input lag, something which has been a longstanding issue for the PlayStation version of Street Fighter 5. Despite the game being locked to 60fps, it still has a lower input lag on PC which is further aided by running it on a 144Hz monitor.
The move has been welcomed by the FGC, many of whom have been calling for the transition from console to computer at major events. One of the biggest pushers for change has been Arturo ‘Sabin’ Sanchez, who told The Verge that the decision was “100% the right move for several documented reasons,” including “better controller response.” On Twitter, Sabin added that Capcom had “made the right call” and “they should be applauded.”
It’ll likely be a while before we see any major platform transitions happening across the board, though. Consoles are generally a lot easier to set up, cheaper to get a hold of and simpler to keep consistent across setups. I’ve been to my share of locals that have been cobbled together through pals bringing their kit to boost numbers, and myself was able to run a very casual Tekken 7 tournament thanks to rounding up my friends and their PlayStation 4 consoles.
It’s still hard to deny the benefits of switching these tournaments to PC—it works to players’ favour with more accurate response times and less input lag. But when it comes down to an offline event, consistency is key. Every installed driver must be the same across every identical rig, giving everyone the same fair chance.
Cost has long been a barrier or a justification for not making the switch, too. But with PS5s becoming harder to get a hold of, and the price between a PS5 and suitable gaming laptop becoming ever closer, now’s a better time than ever for majors to start moving over.
https://gamingarmyunited.com/wp-content/uploads/2023/01/1675095780_A-major-Street-Fighter-tournament-is-ditching-PlayStations-in-favour.jpg6751200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2023-01-30 16:04:182023-01-30 16:41:28A major Street Fighter tournament is ditching PlayStations in favour of PC
You might spot the Kloros Guild pretty early on in Forspoken (opens in new tab). The entrance is high up on the side of the tower, so there’s no way you’ll reach it by conventional means. You’ll find the guild in Middle Praenost fairly early on in Frey’s adventures across Athia.
Guilds generally contain useful items, so they’re worth exploring if you can find a way into them. They can also house enemies, so you should be prepared for a fight once you find your way inside. Unfortunately, you won’t be able to gain access to the Forspoken Kloros Guild until you have a particular skill unlocked, so here’s what you need to know.
Forspoken Kloros Guild: How to get inside
First up, you’ll need the Zip ability, which is rewarded after you defeat the first main boss, Tanta Sila, in Chapter Five. With the skill learned, you’ll gain access to many previously inaccessible areas, including the Kloros Guild tower.
Once at the Kloros Guild, look for the huge rock formation nearby with golden crystals attached to it. You can use your newly acquired Zip ability on these to propel you to the top of the rocky outcropping. Once you’re up there, look back towards the tower to see the flat-topped rock just to the right of it.
Jump across to this conveniently placed platform, and you should see that you’re practically level with the doorway into the tower. Now it’s just a case of jumping and grappling across. If you’re having trouble seeing where you’re meant to go, this video (opens in new tab) should help direct you.
Once inside, make your way down several flights of stairs and defeat the Nightmare enemy on the bottom floor. You’ll be rewarded with Decay Nails for taking it out.
https://gamingarmyunited.com/wp-content/uploads/2023/01/1675161762_How-to-get-inside-the-Kloros-Guild-in-Forspoken.jpg6751200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2023-01-30 15:59:532023-01-30 15:59:53How to get inside the Kloros Guild in Forspoken
Krafton, the South Korean mega-publisher that owns PUBG: Battlegrounds and most recently released The Callisto Protocol (opens in new tab), has published a strategy note about 2023 (opens in new tab) (spotted by Eurogamer (opens in new tab)) that’s based on a talk livestreamed to its employees.
The company says the key items were “sustainable growth” and expanding publishing operations globally, which it helpfully summarises as “more games, new publish[ing] strategies.”
“We remain steadfast in our ultimate vision to secure and expand powerful game-based IPs,” said CH Kim, Krafton CEO. “To achieve this, now is the time to concentrate our capabilities in 2023 and emphasize our need to innovate and focus organizational capabilities, strengthen our publishing capabilities and systems, and continue investing in the future.”
The important bit being games: Krafton is clearly not happy with how few games it has been publishing and how quickly, and slightly mixes its metaphors in vowing that it will be “nurturing a robust and compelling pipeline of new games.” It’s going to have an internal restructuring as well as stepping up efforts to work with second parties (ie, publishing other companies’ games), and is actively looking for external developers to invest in.
It’s hard not to see this in the context of one recent story, and a wider theme of the last few years. First of all The Callisto Protocol underperformed Krafton’s rather excessive projections, by ‘only’ selling two million rather than five million (opens in new tab), and showed that big bets don’t always come off. Krafton only published one other game last year, Moonbreaker (opens in new tab), which is not going to make up that kind of shortfall, so it wants a broader slate with more games.
The wider theme here is that Krafton has also bet enormously big on the PUBG brand and, following its IPO in 2021, made a core part of its strategy “expanding media and platforms centered on the PUBG IP.” The Callisto Protocol, almost unbelievably, began as a PUBG game, while there’s PUBG Mobile and New State Mobile (originally released as PUBG: New State), but the simple fact remains that this particular game and setting has never seemed an especially good fit for any kind of extended universe of spinoffs: With the greatest of respect to PUBG, Lord of the Rings it ain’t.
It seems like the suits at Krafton are beginning to come to the same realisation. “While PUBG will continue to be a major priority for Krafton, the company’s efforts in 2023 [will be] to develop a deeper catalogue of titles.” That does seem wise, and Krafton’s already got non-PUBG stuff on the way, like an extremely expensive-looking game based on popular Korean novel The Bird That Drinks Tears (opens in new tab).
More worryingly, Krafto has drunk the web3 Kool-Aid. It will be continuing to invest in “web3 and deep learning” technology which it believes will reshape gaming (no doubt noting that PUBG creator Brendan Greene is considering using the blockchain (opens in new tab) in his next game). “Growth in these areas cannot be guaranteed without investment,” said Kim, “and it is worth advancing into these technology verticals as they are closely related to game production technology, which is one of Krafton’s core competencies.”
You’d hope that game production would be a core competency of a game production company, but I digress. No-one can doubt the enormous and ongoing success of PUBG but, beyond a direct sequel, the game never seemed a good fit for the kind of ambitions Krafton had for it.
https://gamingarmyunited.com/wp-content/uploads/2023/01/1675165441_Krafton-belatedly-realises-making-every-game-PUBG-related-may-not-be.jpg6751200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2023-01-30 15:20:152023-01-30 15:20:15Krafton belatedly realises making every game PUBG-related may not be a great strategy
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