In December, Conrad Grindheim of Conradical Games defaced the Steam page for his latest release (opens in new tab), The Outbound Ghost, and asked people not to buy it on other platforms. The unusual move came as a result of a dispute between the studio and publisher Digerati. Conradical accused Digerati of mishandling the console ports of the game and putting the Steam version on sale without approval, and demanded that it relinquish the rights to the game; Digerati filed a lawsuit against Conradical, accusing it of attempting to violate its contract.
The Steam page was restored (opens in new tab) in relatively short order, but now it’s gone again, this time due to a DMCA takedown request filed by Conradical. In a new video, Grindheim said he took the step after efforts to resolve the dispute amicably failed.
Grindheim reiterated his complaints about The Outbound Ghost’s console ports in the video, and defended his past criticism of Digerati. “The publisher misled us to believe that the version that was going to release was in accordance with the agreed quality standards,” Grindheim said. “We trusted them, being our publisher, but we never should have.
“If we had not warned players about the state of the console versions, my reputation in this industry would have been ruined forever by no fault of my own.”
Grindheim also accused Digerati of not paying “a single dollar in royalties,” even though he said the publisher has acknowledged owing the studio a specific amount, and claimed that it has been under-reporting revenues earned by The Outbound Ghost through a practice known as “sub-licensing,” typically used when a publisher wants to release a physical edition of a game or put it out in tightly regulated regions like China, where external partners are often necessary. Grindheim said he was familiar with the practice, but said he did not know that publishers often get up-front payments for signing such deals, which was apparently what happened with The Outbound Ghost.
“In short, the publisher sub-licensed the game out to third parties without disclosing to us that it had received upfront payments,” he said. “There is money that it received without our knowledge, before the whole porting stuff happened, and we are entitled to our share of it.”
Conradical has not yet been formally served with Digerati’s lawsuit, Grindheim said, and he currently doesn’t plan to counter-sue, in part because doing so would be “prohibitively expensive and time consuming.”
“Because of this, we have decided that issuing DMCA takedown requests to the platform holders is the best course of action,” Grindheim said in the video. “We’re essentially showing platform holders that we own the copyright to the game, and that the publisher does not have the right to distribute the game. They are committing copyright infringement by keeping the page up.”
The door remains open to further action if it becomes necessary, however. “Legal action doesn’t necessarily mean suing them. Issuing a DMCA is a legal action,” Grimdheim told PC Gamer on Discord. “We of course are considering all possible routes, and would prefer to solve this amicably.”
For now, Conradical is beginning work on a new game called Soul Stalker (opens in new tab)—”I need to make a living, especially since the publisher is not paying my company,” Grindheim said in the video—which will be funded through Kickstarter (opens in new tab) and self-published. As for what comes next if the dispute over The Outbound Ghost continues, Grindheim told PC Gamer, “We are currently talking to storefronts/platform holders and evaluating what our future actions are going to be.”
The Outbound Ghost has also been removed from GOG, although it remains available on the Epic Games Store for now. Grindheim said he has not had any contact with Digerati about the takedowns since he posted his video. I’ve reached out to the publisher for comment and will update if I receive a reply.
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While Like A Dragon: Ishin forgoes the usual setting of the Yakuza series, it does share the majority of its DNA with those games. In particular, it borrows from Yakuza 0, including its four fighting-style system, which allows you to switch between four distinct methods of fighting on the fly. While this allows a ton of flexibility in the way you approach combat, it also means you need to understand and balance four skill trees, along with relevant equipment and items. Here’s everything you need to know about combat in Like A Dragon: Ishin.
The four styles of combat
Like A Dragon: Ishin features four styles of combat: Brawler, Swordsman, Gunman, and Wild Dancer. The Brawler style focuses on unarmed hand-to-hand combat, while Gunman and Swordsman focus on the single weapon featured in their name. Lastly, Wild Dancer combines the use of a sword and a gun, creating a hybrid style of fighting. As for which of these fighting styles you should use, the combat in Like A Dragon: Ishin allows you enough flexibility that it primarily comes down to personal preference, although you will want to try and balance out your usage of each class. The reason for that is that XP and skill points are earned mostly on an individual basis for each class.
The four skill trees
Each fighting style has its own skill tree and its own level.
Each fighting style has its own skill tree and its own skill points in the form of orbs. There is a fifth type of orb called the training orb, which is awarded as you level up overall. Each orb type can only be used in its specific skill tree, while the training orb can be used in any skill tree, letting you either over-level your preferred class or keep another up to speed. Training orbs can be swapped with class orbs from their skill slot, so feel free to use them early on. The reverse is not true, so any class orbs spent cannot be swapped out with training orbs. While most skills can be obtained as soon as you reach them in the tree, there are a few locked skills and paths in each class tree.
There are two types of skills in each tree, stat boosts and new attacks. New attacks typically open up a brand new combo or move for you to use, some of which will have multiple tiers to upgrade to, improving the move. Stat boosts provide bonuses, some to health, some to the heat gauge, and most importantly increasing the base amount of damage that fighting style does. These are the most important skills to grab, as this is the only way to significantly increase your damage output other than upgrading or acquiring better equipment.
These locked skills must be learned from the relevant training grounds found around the city. The Brawler class studies at the Komaki Dojo in the southeastern part of Fushimi. The Gunman hones its shot at Unyuan in southern Rakugai. The Wild Dancer and Swordsman train at Ginryu Dojo in northern Rakunai.
Each fighting style’s best use case
While you can use any fighting style you prefer at any time, there are some situations where each style shines better than the rest. The Brawler class is best used when there is a large number of enemies in the area, as well as a number of objects nearby that you can use as weapons. The Wild Dancer falls into the same category, being a strong fighting style for taking on a large number of enemies at once. The Wild Dancer style has multiple combos that involve spinning and dealing damage all around you.
The Swordsman class is best used in one-on-one fights, or when there are only a few enemies present. This style excels when you can focus your sword combos on a single enemy, without needing to worry about multiple enemies attacking you from behind. The Gunman style is best used when you want to put some distance between you and your enemy. This means enemies using firearms or a tough opponent in a boss fight who you don’t want to get too close to.
If you find yourself getting overwhelmed by your opponents or taking more damage than you are dealing with, one of the best ways to shift the momentum of a fight is to try a different fighting style. While each style has something it’s better at, there is no one size fits all, so switch it up frequently.
Trooper Card bonuses
When you reach Chapter 5 and unlock the Trooper Card system, one of the things you might immediately notice is the massive boosts you can receive from the equipped cards. You can equip up to four cards to each class–although you will need to unlock the ability to have that many at the Shrine in exchange for Virtue points–with each card provide a passive bonus and an active bonus. These boosts are present during combat outside of the special missions you can go.
The passive bonus provides health and one other trait, like having Trooper abilities charge faster. The active ability varies heavily, having Sakamoto either do a powerful attack, having a Trooper step in to do an attack themselves, or a stat boost. The higher rarity the Trooper Card is, the better the active ability is going to be. Once you unlock this system, you will want to make sure you always have the best cards equipped to give you the biggest advantage in battle.
In GameSpot’s Like A Dragon: Ishin review critic Michael Higham gave it an 8/10, writing, “By virtue of its brand of storytelling, Ishin forgoes some of the tropes that have glorified samurai but rides that line ever so closely. If the series is one thing, it’s consistent–because despite the shift to Edo-era Japan, there’s an unmistakable familiarity. The days of asking Sega to bring Ishin to the West are thankfully over. And although this revision uses an older foundation that shows its age, it’s nice to finally have a version of the game that has been tidied up for modern platforms. Like a Dragon: Ishin brings an all-star cast back together for a story that’s bigger than any one character, and it makes for a fine addition to the series’ deep history.”
The products discussed here were independently chosen by our editors.
GameSpot may get a share of the revenue if you buy anything featured on our site.
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If you’ve ever tried to mix audio digitally you’ll know it can be an absolute nightmare. It’s achievable to set up a working streaming setup with nothing more than a mic, some software and a dream, but be prepared to have to sacrifice easy-to-use sound settings on your PC to get it done. The other option is an external mixing device, like this Razer Audio Mixer.
The whole point of any mixer is to keep your incoming and outgoing sound levels in harmony. Whether you’re a streamer, recording video, or even want to record some music of your own, the Razer Audio Mixer delivers this functionality well and in a surprisingly easy-to-use package.
There are many mixers on the market, and the Razer Audio Mixer is a lot like one of the most popular today, the GoXLR Mini (opens in new tab). I’ve used both before, and they share a relatively similar shape, button layout, and connectivity. They’re a match in most ways, bar software support. The Razer Audio Mixer is controllable via Razer’s Synapse app, which offers output mixing, routing, and mixing for a range of inputs.
From the app you can choose which audio sources to map to the four fader slide controls on the Audio Mixer itself. By default, you’ve got Mic, Game, Chat, and Music. If you set Windows up to use each of these channels properly, you can use them to balance your whole PC’s audio with these hardware controls alone. That’s pretty neat if you’re tired of fiddling with Discord and in-game volume controls for every game or friend you’re playing with regularly.
Audio Mixer specs
(Image credit: Future)
Dimensions: 155 mm x 115 mm x 55.3 mm Controls: 4 x Channel Volume Slide Faders, 4 x Channel Mute Buttons, 1 x Microphone Mute Button, 1 x Bleep Button, 1 x 48V Phantom Power Button Connections: Hybrid XLR and 6.35mm port, 3.5mm Line In port, 3.5mm Line Out port, 3.5mm Headphone Out port. 3.5mm Microphone In port, 1 x USB-C, 1 x Optical Audio Cable Frequency Response: 10 Hz–20 kHz Weight: 468 g without cable MSRP:$250/£250 (opens in new tab)
That’s a handy feature to have, but the appeal here is having independent mixes while on stream. That means one mix for your own headphones versus another for your stream or recording software. The Razer software divides these up as Playback Mix and Stream Mix, to make things easy, and they work a treat. If you don’t want a particular audio source beaming out to your followers or your own microphone mix through your headset, just flip the switch to turn them off for each mix.
This isn’t revolutionary stuff for a mixer, but the Razer does offer the functionality in a pretty easy way to get your head around. Half an hour in the app fiddling with things and you’ll likely know all you need to get going with better balanced audio.
You can plug in both a single XLR microphone and a 3.5mm line into the Audio Mixer, though you can only select one at a time in the app. From here, you can enable 48V phantom power for mics that require the extra juice, or enable and disable a mic monitor. There are also nifty noise gate, equaliser, and compressor features, which saves the extra setup in apps like OBS Studio.
(Image credit: Future)
And, yep, there are some fun microphone effects to pick from. Though there’s only four and honestly the shine of these sorts of gag effects has long been lost on me.
Being a Razer product there’s heaps of RGB lighting to control on this thing. The logo, faders, channels, and buttons all light up all manner of colour and can be tweaked to act differently when muted, respond to volume, whatever you fancy.
There are a few sacrifices I’ve had to make for the Razer Audio Mixer though, and they’re worth bearing in mind. I use a pair of audiophile headphones, and the Razer Audio Mixer doesn’t support the 1⁄4 inch audio jack to drive them. So it’s back to a more mundane pair of headphones that came with the Scarlett mic I’ve been using with the Razer unit. Also you need to hook your headphones up to the mixer, so if you’re rocking a pair of wireless cans you’ll need to pack them away for a pair with a cable.
The Razer Audio Mixer also doesn’t drive the loudest output audio I’ve experienced, and there’s no specificity as to the specs of the chipset driving the whole mixer, which feels like this is simply the maximum oomph this amp can deliver.
Neither of those negatives are likely news to you if you’re looking into an audio mixer like this, but that leads me into how I feel about the target audience for a mixer like this. You need to have a pretty good reason to pick one up to actually get good use out of it, otherwise it can become a bit of an unnecessary addition to your desktop.
(Image credit: Future)
Which all brings me to the elephant in the room: the Razer Audio Mixer’s price tag. Razer asks for $250/£250 (opens in new tab) for the Razer Audio Mixer, but it goes for more like $216 now. That’s roughly the same as the going price for a GoXLR Mini in the US, but pricier than you’ll find one for in the UK. It’s also a significant chunk more than the Focusrite Scarlett 2i2 3rd Gen (opens in new tab) audio interface I reviewed last year. Although these are slightly different beasts due to the Focusrite’s more manual approach to external mixing and its musical background, you can get a similar job done with an XLR mic on it if you’re willing to learn how to navigate an external interface.
But I started by saying that digital mixing can be a nightmare, and there’s no doubt that the Razer Audio Mixer makes life a lot easier in that regard. The Razer Audio Mixer does everything I want it to and is surprisingly simple to set-up. If you’re already in the Razer ecosystem then I can see the appeal of plugging this device in and having it all load up automatically into the Synapse app you might already be using in your day-to-day. All I’d say is, at this price, you have to be absolutely sure you’re committed to using this mixer often to justify the cost.
New mid-range GPUs from AMD and Nvidia are just around the corner, including the Nvidia RTX 4060 and RTX 4070 cards and AMD’s Radeon RX 7800 and 7700. Well, we say mid-range and therein lies the problem. Where the heck are these graphics cards going to be priced?
All the indications are that the likes of Nvidia’s TX 4080 (opens in new tab) and RTX 4070 Ti (opens in new tab) along with AMD’s RX 7900 XT (opens in new tab) and RX 7900 XTX (opens in new tab) are pretty tough sells. After all, pretty much all of them have reverted to their official MSRP shortly after launch and they all seem to be in abundant supply.
That’s without appealing to rumours of particularly poor sales of certain examples of those listed SKUs. Of course, the cheapest of that quartet is the Nvidia RTX 4070 Ti. But even that is a $799 graphics card.
What with a global economic downturn and cost of living crisis, plus crypto-fuelled GPU demand evaporating over night, in part thanks to the end of ethereum mining as we knew it, it’s hard to imagine a sudden spike in graphics card demand to return any time soon.
Which begs the question of where AMD and Nvidia will position upcoming lower-tier boards. It certainly seems like they’ll have to go for one of two unenviable options.
First, they could price the new boards pretty much in line with existing RTX 40- and RX 7000-series graphics cards. In other words, double down on the new ‘normal’ of super high graphics card prices. That would put a the mooted RTX 4070 at $649 or thereabout, the RX 7800 XT possibly a little higher, the RTX 4060 at maybe $499 and the RX 7700 XT in perhaps a similar ballpark.
Those figures may be slightly off. But the broad gist involves very expensive cards given their relatively lowly position in the pecking order. Who wants to pay $500 for an RTX 4060 (opens in new tab) which is rumoured to be based on the feeble AD107 chip? Yuck.
Climbdown
The other option is to revert to what you might call traditional market positioning for these GPUs. That means much lower pricing compared to existing releases from the latest GPU architectures. Which in turn will make those existing next-gen cards look even worse value than they already do.
Then what? Slash prices of the RTX 4080 and RX 7900 cards? Or leave them looking like rip-off boards? It really is hard to see how AMD and Nvidia navigate out of this corner they’ve painted themselves into without either a massive climbdown or accepting dramatically lower unit sales.
The situation will only be worse if Intel’s upcoming Battlemage family of GPUs really does arrive early next year and offer RTX 4080 / RX 7900 levels of performance for far less money, as some sources suggest (opens in new tab). Whatever happens, it’s going to be a bit ugly.
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Blizzard developers who attended a recent virtual town hall meeting are outraged following comments made by Blizzard president Mike Ybarra, whose defense of controversial and unpopular policies like stack ranking and a return to office mandate has reportedly dealt a serious blow to morale at the studio.
As reported by Game Developer, a recent company-wide Q&A session where Ybarra answered pre-selected questions left employees reeling. Ybarra reportedly downplayed the news that employees would only be receiving 58% of their usual profit-sharing bonus, despite the last quarter being a record-setting one for Blizzard that saw the company’s “highest quarterly net bookings to date,” according to Activision Blizzard’s fourth quarter earnings report. Ybarra reportedly suggested that employees who thought executives were not affected by the bonus cut like rank-and-file employees are “living in a myth.” That statement did not go over well, as a slash in bonuses would obviously affect lower-earning employees more than executives making larger salaries.
When asked how company leadership planned to retain talent once employees are forced to return to the office for at least three days of the week starting in July, Ybarra reportedly didn’t have any such plan. Instead, he simply said that at the end of the day, people need to do what makes them happy, and if the company’s goals and an employee’s personal goals don’t align, that employee needs to “do what will make [them] happy.” Many employees saw his statement as encouraging people unhappy with Blizzard’s return to office mandate to simply quit the company.
In a statement provided to GameSpot, a Blizzard spokesperson said Ybarra also discussed how Blizzard will listen to feedback and balance what’s best for the business, and for players, when it comes to the subject of the current return to office plan. Additionally, the spokesperson clarified that all existing long-term remote work agreements will be honored under the current return to office plan, and that the company will continue to evaluate long term remote work requests for existing and new employees in the future. Additionally, Blizzard will offer relocation support for those who will be required to move in order to work from the office.
Ybarra reportedly downplayed and defended the company’s use of stack ranking for performance reviews, which recently made headlines when one of the lead developers on World of Warcraft Classic protested the policy and was quickly fired from the company. Blizzard reportedly enforces a mandate that requires a certain percentage of employees receive a “developing” rating for their yearly performance review regardless of their actual performance, a rating that can negatively impact profit-sharing and limit promotion opportunities.
At some point the conversation pivoted to concerns over how the return to office mandate and lower profit-sharing bonuses would affect those in lower-paying roles, typically those associated with customer service or quality assurance. Ybarra reportedly described some roles as “not long-term disciplines” in response, a comment that is said to have “cratered” morale for those working in quality assurance and customer support. A Blizzard spokesperson said Ybarra did not refer to a specific discipline or department, but that the comment was made in reference to Blizzard wanting its employees to “grow and take on expanded responsibility and opportunity.” The spokesperson added that the company appreciates “the important role our QA and CS teams play in serving the players.”
Numerous Blizzard employees have taken to social media in the last 24 hours to voice their outrage. Overwatch 2 senior game designer Dylan Snyder said on Twitter that in his over 10 years working in the game industry that he had “never been as embarrassed by leadership figures as I am in this moment.” Overwatch senior character artist Bryan Bedford said his confidence in company leadership only extends to his direct team and no further in the wake of the meeting. A visual effects artist working on Blizzard’s untitled survival gamedescribed the meeting as “just awful,” and that it “made a large number of employees feel extremely unimportant and unsupported.”
An Activision Blizzard spokesperson told Game Developer that the company stands by Ybarra’s comments and is “proud of Mike’s leadership in tough moments.” A Blizzard spokesperson told GameSpot that Ybarra “treated employees with his usual trust and candor.”
The products discussed here were independently chosen by our editors.
GameSpot may get a share of the revenue if you buy anything featured on our site.
Today, Roblox provides creators with a platform that enables end-to-end tools, services, and support to help them build the most immersive 3D experiences. With Roblox Studio, creators have everything they need, out-of-the-box and for free, to build their experiences and publish immediately on all popular platforms, reaching 58.8 million people daily worldwide. With the advent of generative AI techniques, however, we are seeing an opportunity to revolutionize creation on the platform, both by augmenting Roblox Studio to make creation dramatically faster and easier, and also by enabling every user on Roblox to be a creator.
As we all know, generative AI learns the underlying patterns and structures of data and generates new content, such as images, audio, code, text, 3D models, or other forms of media, that have not been seen before. With a dramatic acceleration in these tools’ effectiveness for everyday content creation, this technology is at an inflection point. It now has the capability to capture the creator’s intent, provide a broad range of digital editing capabilities, help create the content, and allow for fast iteration. We have already heard from Roblox creators about how they are using this technology to create. However, these off-the-shelf AI systems are not integrated with our platform and they often do not produce “Roblox ready” output that requires substantial follow on work from a creator. We see an incredible opportunity to build generative AI tools and APIs focused on Roblox.
The Value of Generative AI for Our Creators
Today a Roblox experience is created through a combination of 3D objects of various forms (constructive solid geometry, avatars, meshes, terrain, etc), connected in behavior through Lua scripting, and backed by a universal physics engine that provides core behavior on the platform. While the engine is an underlying portion of the platform, it is up to the creator to build or otherwise acquire everything in the experience. We see generative AI tools being applicable to each of these different creative processes. What we have already started to see through internal prototypes is that specialized generative AI tools can not only accelerate creator productivity, but can significantly drop the technical skill needed to bring ideas to life.
For example, some creators know how to code, but may have limited experience creating high-fidelity 3D models. Others may be more experienced with model design, but less experienced with code. In both cases, we see a future in which even a beginner (such as myself for example – I’m a terrible artist!) can get a running head start as they look to bring their imagination to life in a Roblox experience.
Even more powerful, the convergence of media supported by generative AI will allow creators to develop integrated 3D objects that come with behavior built in. For example, a creator could design a car through a simple statement such as “A red, two seater, convertible sports car with front-wheel drive”. This new creation would both look like a red sports car but also have all the behavior coded into it to be driven through a 3D virtual world.
This work involves unique technical challenges as we tackle the ability to generate 3D models with event handlers, an animation rig, and physical properties. This work is unprecedented because making interactive content requires a deeper understanding of the generated object. With the breadth of immersive content opportunities on Roblox, we also have the unique opportunity to create a generative model for all types of content at once – image, code, 3D models, audio, avatar creation, and more.
Everyone becomes a creator
We are building a platform that will enable every user to be a creator – not just those comfortable with Roblox Studio and other 3D content creation tools. We believe that many experiences in Roblox will become creation experiences where one can create a new shirt, hat, an entire avatar; a house or even an entire experience – all from within another experience. This vision requires a set of tools significantly more accessible to a typical user than exists in any environment today – things like voice and text or touch-based gestures rather than intricate mouse and keyboard movements. Generative AI tooling can help make creation intuitive and natural for users and be directly embedded into experiences, allowing any of our 58.8 million daily users to create unique content that can be shared across the platform.
We also see a huge opportunity for the AI community itself to become creators on the Roblox platform. By enabling 3rd party AI creation services to plug directly into Roblox (likely as a creation experience), we provide a mechanism for their unique creations to be directly offered to Roblox users. For example, if you develop an AI model that builds the most expressive superhero characters based on a combination of text prompts, graphical queues, and photo examples, that capability is something you should be able to offer directly to those Roblox users who want an incredible superhero avatar. We envision the community as a force multiplier for generative AI, creating an ecosystem that our creators and users can leverage to create content and tools more effectively.
This vision also involves some unique technical challenges. First, the tools have to be suited to things a user would create, and how they might fit into an in-experience creation environment. Second, in all cases we need to keep Roblox safe and civil. This means we need to build a fast and scalable moderation flow for all types of creation. Third, we need an economic system that encourages such creation. Roblox stands apart as a platform with a robust creator-backed marketplace and economy, and we must extend that to support in-experience user-creators as well as AI algorithm developers.
As we do this, we remain aware of the need to implement generative AI thoughtfully and ethically on the Roblox platform, in line with the value we have always placed on respecting our community. We are committed to using diverse and robust data sets to limit biased content and encourage safe and high-quality content output.
Learn More at DeveloperWeek
Our teams are working on rolling out tests for two new AI tools in the coming weeks: generative AI materials from a text prompt and generative AI code completion to help increase development velocity. These are just our first steps to bring the creation power of generative AI to our creator community. I’ll be sharing more this week at my talk on the Tech Stack for the Metaverse at DeveloperWeek. And Stef Corazza will also share more during his talk at the AI Summit of Game Developers Conference next month. We hope you are as excited as we are to embark on this journey together.
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Laptops running Nvidia’s super speedy RTX 4090 graphics are so expensive it makes us sad (opens in new tab). But what’s this? An RTX 4090 laptop for well under $3,000? Not exactly chump change, but far more affordable than the $4,000 to over $5,000 we’ve seen so far.
There is, inevitably, a catch. If you want a vaguely affordable laptop with Nvidia’s finest RTX 40-series GPU, it’ll be a generic whitebook system rather than something custom-engineered from one of the big brands.
That said, you can have an RTX 4080-powered laptop from both Asus and Lenovo for sensible money. Hold that thought. First, let’s square away the cheapo RTX 4090 portable.
The machine in question is the CyberPower Tracer VII Edge. Fitted out with an Intel Core i9 13900HX CPU, 16GB of RAM and a 1TB SSD, you’re looking at $2,851 (opens in new tab), or not far off half the price of the MSI beast Dave has just reviewed (opens in new tab).
OK, you don’t get a mini-LED backlight. But the 17-inch screen still clips along at 240Hz. It’s all built into a Clevo clone style chassis that’s available from several laptop retailers. But when most big brand RTX 4090 laptops are over $4,000, it’s hard to argue with the value proposition here.
Speaking of big brands, Asus RoG Zephyrus laptops are among our absolute favourites. So, it’s nice to see the RoG Zephyrus 16 with a QHD 240Hz Nebula HDR display and an RTX 4080 pop up on Best Buy for $2,699 (opens in new tab).
Asus’s RoG Zephyrus 16 with RTX 4080 graphics is up for $2,699 on BestBuy. (Image credit: Future)
For a whisker more, there’s also the Lenovo Pro 7i Gen 8. It’s pretty much a dead ringer for the Asus ROG Zephyrus 16, what with its 16-inch 240Hz display and the same Intel Core i9 13900HX processor and the aforementioned RTX 4080 mobile graphics, all for $2,749 (opens in new tab).
Not cheap enough? How about the MSI Katana 15.6-inch 144Hz laptop with an Intel Core i7 12650H CPU, 16GB, a 1TB Samsung SSD (from when those used to be a good thing…) and RTX 4070 graphics, all for $1,565 from AVAdirect (opens in new tab)?
It’ll certainly be interesting to see exactly how all these new mobile GPUs from Nvidia stack up. We already know the RTX 4090 is an absolute beast. But even though $2,851 is way cheaper than we’ve seen previously, it’s still a lump of cash. So, laptops built around the likes of the RTX 4070 or even RTX 4060 mobile GPUs are going to be more relevant, more of the time.
https://gamingarmyunited.com/wp-content/uploads/2023/02/The-good-news-is-that-you-can-grab-an-RTX.jpeg6751200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2023-02-17 15:49:482023-02-17 22:34:30The good news is that you can grab an RTX 4090 laptop for $2,851
Exploring alien worlds is not for the faint of heart, but with this Returnal (opens in new tab) beginner’s guide, I can offer a bunch of tips to help you avoid some of those unfortunate deaths. Returnal doesn’t let you keep your gear when you die, but I can at least equip you with knowledge and help you survive your next challenging encounter. So, with that in mind, let’s take a look at some of the most important things to remember when you’re dashing around the surface of Atropos.
Don’t save your resources or consumables
(Image credit: Housemarque)
The main resource in Returnal is Obolite, which you’ll find littering the surface of the planet and exploding out of enemies like the neon-tentacled piñata’s they are. You can use it to buy consumable items or temporarily upgrade your suit for the current run. Since every death kicks you back to square one, make the most out of your Obolites and consumables while you’ve got them. While there’s wisdom in saving important consumables for the boss of the biome you’re in, it won’t matter if you die before you get to them. And the longer you survive, the more opportunities you’ll have to gather more resources.
The only resource that carries over after death is Ether, which you can use on the Cthonos—the weird machine covered in eyeballs—back at the start, which allows you to unlock random consumables or artifacts. Each time you do, the new item will be added to the pool of items that spawn throughout the game. There are a few other uses for Ether, like establishing a one-time respawn point or removing malignancy from items, but largely it’s best to use it to unlock new stuff.
Move and dash aggressively
(Image credit: Housemarque)
Returnal doesn’t hold back with the speed, and right from the get-go you’ll move more like a scared roadrunner in a hamster ball than a concussed spacewreck survivor. That speed is essential, as enemies aren’t shy about spitting out a vast number of deadly glowing projectiles that you’ll need to outrun. Unlike some other third-person action games, you’ll be spending a lot more time running and jumping at top speed. Staying stationary and hugging cover is mostly going to get you needled to death from multiple angles—instead, dash behind cover to absorb bursts of fire or beam-style attacks, and then quickly get back on the move.
Your dash ability isn’t just quick—it also gives you a brief window of invulnerability while you jet forward. While it can be useful for getting across gaps or dashing away from enemies that rush you, it can also let you dash straight through projectiles or attacks that would otherwise be difficult or even impossible to avoid. With such a brief cooldown, it’s smart to get used to using it frequently so you have a good sense of when you can count on using it again. Establishing this muscle memory will see you dashing in between strings of plasma fire in no time.
If you didn’t have enough incentive already to be on the move, remember that the Obolites enemies drop will disappear pretty quickly—so dashing in to get them is important.
You don’t have to explore and complete everything
(Image credit: Housemarque)
The many randomized rooms of Returnal’s biomes change up every single run, and sometimes they’ll be downright unfair. If a particular room looks like a death trap, ask yourself whether or not you can just sprint through or otherwise bypass it. On your map, darker blue doors indicate the main path, while lighter blue ones are optional. This should give you a good idea of where you need to go, but you can also scan the area (‘T’ by default on PC) to get a better sense of what’s in the room you’re in and highlight doors you may have missed.
Similar to dangerous rooms, malignancy can also put the squeeze on your runs. Each time you grab an item with malignancy, there’s a chance of a suit malfunction. Each malfunction is a negative status—like falls causing damage, losing Obolites when taking damage, or disabling overload—that can only be removed by meeting the random conditions it gives or using a consumable. It’s tempting to want to maximize your run by grabbing malignant items or opening containers, but consider whether malignancy is worth the risk. Most of the time it’s simply not, since every third malfunction will destroy one of your artifacts and some suit malfunctions are bad enough on their own to kill you before you can remove them.
Watch for the (usually glowing) signs
(Image credit: Housemarque)
There are a bunch of locked or hidden cues throughout Returnal, all of which are easy to miss the explanations for, or are lacking cues entirely. In some cases, simply knowing what they mean will be enough to let you take advantage of them, but others require specific tools first. Here’s what to look out for:
If you’re frustrated by out of reach platforms with orange lights on the edge, you aren’t the only one. Eventually you’ll get permanent access to a grappling hook that will let you swing up to these, so until then just ignore them.
If you find a room with a glowing yellow ball, it’s probably worth checking out. The floor in these rooms will collapse and drop you into a room below with only a teleporter to return with. The room will also have Obolites, consumables, and other goodies. Just be aware that there’s a chance a challenging enemy will spawn in the room, too.
If you’re frustrated by out of reach platforms with orange lights on the edge, you aren’t the only one. Eventually you’ll get permanent access to a grappling hook that will let you swing up to these, so until then just ignore them.
You’ll encounter chests and other goodies locked up behind bars from time to time, but if you look around you’ll find a glowing yellow switch hidden nearby. Shooting this switch will let you get inside to claim some free stuff.
Like the grappling hook, you’ll get access to a permanent sword—albeit, much earlier on—that will let you get through any glowing red vines that are keeping you away from delicious items, and ditto to patchygray walls with red glowing eyes, as you can break them to find an alcove full of treats. The sword is also how you break through the glowing red shields on enemies that are otherwise invulnerable, so just avoid them until you get it.
Likewise, if you find a glowing orange barrier you’ll need the Blade Balancer artifact, which upgrades your sword to bust through them. Inside these rooms you’ll usually find loot to grab.
Don’t forget the rest
(Image credit: Housemarque)
While they may not be as important as the above, there are a few other things that can be helpful to know early on in Returnal’s bullet hell:
Don’t ignore Overload, the little reloading minigame. It speeds up your reload and lots of artifacts, and parasites will give you bonuses or otherwise interact with successful Overloads.
Keep an eye out for purple alien eggs while wandering around; they may seem like background scenery, but you can destroy them to get all kinds of useful things.
The red tentacles that can grab you Half Life-style can actually be pretty useful for getting around. You can let them pull you up to a height you want and then dash to out of reach platforms.
If you find a Datacube, they’re only useful if you find a Datacube Processor—doing so will let you trade it in to permanently unlock a weapon, consumable, or artifact for future runs. Plus, you’ll get whatever one you unlock right then. Like everything else, though, they’re gone if you die without using them at a Processor.
Don’t save your alt fire; it has infinite uses and comes off cooldown pretty quickly. There are a bunch of them to play with, but all of them should be part of your regular arsenal.
You can pick up more Ether by doing the daily challenge inside your ship.
If you aren’t sure what the Astronaut Figure artifact does, you aren’t alone. It does nothing at all until you die while you have it, at which point it will bring you back to life on the spot—making it a huge boon for tough bosses.
https://gamingarmyunited.com/wp-content/uploads/2023/02/1676648267_Returnal-beginners-guide-Starter-tips-to-get-the-most-out.jpg6751200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2023-02-17 15:24:432023-02-17 22:38:06Returnal beginners guide: Starter tips to get the most out of each life
The Hogwarts Legacy Solved by the Bell quest is one of the harder treasure maps in the game to puzzle out. It’s not that the map is hard to find, or that the location of the treasure is difficult to establish; it’s because it requires you to play a very specific melody with an assortment of bells, using a less-than-clear diagram.
If you’re puzzling out Hogwarts’ other secrets, you might want to know how to solve the mystery of the clock tower (opens in new tab), or that torch puzzle (opens in new tab) on the viaduct bridge. But for now, here’s where to find the Musical Map you need to start the Solved by the Bell quest, and the exact order you need to play the bells in to get your well-deserved treasure.
Where to find the Musical Map
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The quest begins in the far south of the map (Image credit: Portkey Games)
You can find the Musical Map in the Henrietta’s Hideaway dungeon (Image credit: Portkey Games)
You can begin the Solved by the Bell quest by finding the Musical Map hidden in the Henrietta’s Hideaway dungeon in the far south of the map. The quest marker appears on your map in the south of Manor Cape, so simply head there and enter the dungeon. The first puzzle you’ll have to solve involves placing spell cubes on platforms.
The first cube is already on the right, so just cast Glacius on it, while the second cube can be found by lighting the torch in front of the statue on the left. Move the cube to its pedestal and cast a fire spell on it to open the door. Now, you have to fight through a load of dark wizards and ashwinders to get to the map.
In the second big room where you fight some wizards, head over to the right-hand wall. It’ll open up to reveal a hidden room with the map on a bench inside. The map directs you to Clagmar Castle in the centre of the Clagmar Coast region.
How to complete the Solved by the Bell puzzle
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Play the bells in this order (Image credit: Portkey Games)
The Treasure-Seeker’s Longcoat is your reward (Image credit: Portkey Games)
To solve the Musical Map, you need to head to Clagmar Castle to the east of the dungeon where you found the map. These ruins are inhabited by some tough dark wizards, but you can ignore them and fly to the south-west part of the ruins, where you’ll spy some rows of bells, and a raised wooden platform just in front of them. The map contains a melody you have to play using these bells, and you can see that the bars in between them correspond to the same bars on the note diagram. The correct order to shoot the bells is in the screenshot above.
An even simpler method is, when counting from the lowest bell to the highest (1-9) this is order you need to play them in:
2, 5, 7, 6, 5, 9, 8, 6
If you play them right you should recognise the theme straight away as it rings out in full. Soon after, the treasure chest appears, and you can open it to receive the very snazzy Treasure-Seeker’s Longcoat.
https://gamingarmyunited.com/wp-content/uploads/2023/02/1676798575_How-to-find-the-Solved-by-the-Bell-treasure-in.jpg6751200Carlos Pachecohttps://gamingarmyunited.com/wp-content/uploads/2022/08/Website-Logo-300x74.pngCarlos Pacheco2023-02-17 15:09:362023-02-17 15:09:36How to find the Solved by the Bell treasure in Hogwarts Legacy
What is it? Drama, brawler, RPG, life-sim. More Yakuza, basically. Release date February 21, 2023 Expect to pay $60/£50 Developer Ryu Ga Gotoku Studio Publisher Sega Reviewed on Windows 11, Nvidia 2080 Ti, Intel i9-9900k @ 4.9ghz, 32gb RAM Multiplayer? No LinkOfficial site
The Yakuza series (now Like A Dragon, matching its Japanese naming) has always had a flair for the dramatic, featuring digitized actors, expressive facial capture and stories befitting a good mid-budget TV thriller. With the release of Like A Dragon: Ishin!, the series doubles down on its inspirations with a period drama spinoff, recasting Kiryu and crew in a 1860s samurai story, delivering a fresh theme, but perhaps overly-familiar fun.
There’s been some buzz surrounding Ishin, most of it from fans who were sure it would never come to the west. Originally a 2014 PS3 Japanese-exclusive, the version arriving now on PC (and simultaneously worldwide) is a largely-faithful remake, making some mechanical tweaks, re-casting some roles and giving it a graphical touch-up but not making any sweeping changes. This puts it in an unusual place. While the series races ahead into new territory (including going turn-based with Yakuza 7), this is a decade-old game dressed up for a modern showing. One foot in the past, but with a few modern niceties.
(Image credit: Sega)
Old doesn’t mean bad, though. If you’ve ever played a Yakuza game before, then Ishin is like putting on a warm and cozy (if slightly stretched) sweater, or perhaps a yukata. There’s a town to explore (Kyo, now known as Kyoto), lots of weird locals to befriend, eateries to visit and street thugs to pummel into contrition. The core cast of past Yakuza games return, playing largely analogous historical roles.
He might be called Ryoma Sakamoto here, but this is unmistakably best boy Kiryu with a new haircut and the same knack for conveying the full spectrum of human emotion with a manly grunt. It’s intentional typecasting in the same way that Danny Trejo is nearly the same character in almost every role he’s played.
The character may be similar, but the scope of Ishin’s story is a bit more ambitious than Yakuza standard. The 1860s were a busy time in Japanese history, with imperial loyalist uprisings, power-struggles between the fractious de-facto government and the looming threat of Dutch and British encroachment, and Ryoma juggles personal stakes in all of the above. It’s a grand platform for the actors to shine, and the performances are gripping, especially in the main story cutscenes.
(Image credit: Sega)
The differences in characters are interesting too, with Soji Okita (a historical reimagining of Yakuza favorite Goro Majima) getting to play a far more menacing and violent role with familiar stab-happy glee. Ryoma himself may share Kiryu’s heart of gold, but he’s a more worldly and focused figure, less naive and confused by his surroundings than his modern-day counterpart.
Ishin is an episodic period thriller. A murder mystery to be precise
Thanks to starting small and focused and offering a glossary of terms for reference, Ishin works as an easy starting point for the series, as it’s an entirely standalone, self-contained story. What newcomers are getting here is a game of two halves. On one hand, Ishin is an episodic period thriller. A murder mystery to be precise, set in the tail end of the samurai era. It’s full of compelling (subtitled Japanese) performances and dramatic twists and punctuated with real-time brawler combat similar to Shenmue. On the other hand, it’s a slightly rough-edged man-about-town simulator, setting you loose on a small but incredibly dense city full of weird locals, minigames and distractions, linked through lightweight RPG mechanics—levels, skill trees and loot.
There’s a little tonal whiplash where these two halves meet, as a high-pressure dash across town to catch a fleeing villain can easily be interrupted by a visibly lower-budget sidequest (seldom featuring voice acting or cutscenes), but it’s a formula that has worked for ten games already, and will continue to do so. Even as I resolved to burn through the main story to hit my looming review deadline, I still frequently lost hours to idly bumbling around the city of Kyo, getting roped into minigames and side-stories.
(Image credit: Sega)
Weapons of mass distraction
Compared to your Grand Theft Rows or your Elder Fallouts, the world of Ishin might seem tiny, but it’s hard to go thirty seconds without finding something or someone interesting to get sidetracked by. While the sidequests might not be as polished as the main story arc, they’re far more varied, running the tonal gamut from tragedy to screwball comedy, and frequently involving unpredictable minigames, but more often than not leaning on Ishin’s combat engine. Its fights are lent additional energy by the series’ traditional guitar-heavy action themes, anachronistic as it may be here.
Once again familiar to series fans, Ishin’s action combat lets you freely switch between four different fighting styles. In this case, there’s barehanded brawling (best for evasion), traditional samurai swordplay (huge damage, high commitment), trick-shooting with a revolver (ranged, obviously), and a hybrid sword-and-gun style that blends elements of all three for spectacular combos but lower overall damage.
While initially a bit stiff and limiting until you unlock more moves, I had a good time once I’d bulked up Ryoma’s swordfighting style a little, and got a hang of what range is best to swing or thrust from. It’s also pointedly unrealistic, with minibosses taking a comical number of slashes to knock down. Ryoma’s revolver never needs reloading, allowing him to fan that hammer all day long—hilarious in scenes when dozens of low-HP goons surround him.
(Image credit: Sega)
Despite the inherent wackiness of blasting thirty men in as many seconds with a six-shooter, fighting here is gorier and more brutal than Yakuza’s often-slapstick combat, with enemies getting impaled, sliced or shot point-blank. This goes double for the Heat Actions, the super-bar consuming special moves that defined the tone of the series. While there’s some funny and weird ones, Ryoma mostly just straight-up stabs a dude. It does introduce some ludonarrative dissonance.
It’s all the more jarring (and funny) when the four bandits you just shot ten times each all get up
While Kiryu brutalized his foes, he didn’t often appear to be trying to murder them. Ryoma, being a steely samurai, is no mad dog killer but also doesn’t seem to concern himself with whether his opponents live or not outside of cutscenes where he refuses to land a killing blow. It’s all the more jarring (and funny) when the four bandits you just shot ten times each all get up, apologize for their rudeness, give you an item and scurry off home.
One interesting mechanical difference here is the Officer system. As part of his quest to find a masked assassin that exsanguinated his adoptive father, Ryoma infiltrates the Shinsengumi, a brutal government police unit. This unlocks one of the two biggest minigames; full JRPG style dungeon crawling, clearing out bandit caves and forts free of story. It’s where you’d be doing your (optional) combat grinding.
(Image credit: Sega)
To aid this, you get to collect ‘officer’ cards that act like a rudimentary gacha-adjacent magic system, letting you equip and spontaneously call in healing, buffs or damage-dealing attacks. There’s even a few special cards that summon characters (or animals) for spectacular finishers. It’s not transformative, but it does add an interesting and customizable new layer to the combat that dovetails neatly with the optional content, even if Ryoma shooting lightning out of his hands does stretch plausibility during story fights.
Familiarity breeds context
Not nearly as glamorous or as involved as the cabaret club management of past Yakuza games, Ishin’s other major distraction gives Ryoma a small farmhouse to manage. You get to plant and harvest crops, turn them into home-cooked meals and sell the excess back to the town. It’s cute and relaxing and gives Ryoma a chance to bond with his teenage partner-in-farming/delivery-girl Haruka, but it feels tangential in a way that most of the minigames don’t, with the farm existing outside of the regular game map and only accessible by an NPC boatman in the corner of town. I found it far easier to casually roll into an (anachronistic) karaoke bar or gambling den and enjoy the minigames there than return to the farm.
Offering a good range of graphical options and tweaks, Ishin’s PC port doesn’t disappoint (as we’ve come to expect from the series), and it’s unlikely to tax your hardware either, but there is one notable problem. That persistent plague of the present-day PC platform; shader stutter. Due to the game not doing its homework up front, the first time a new effect is used, the game pauses a couple frames to process it for your specific GPU. Given that most new effects happen during dramatic fights, this can be frustrating, but it does get better over time as more gets cached. Still, it’s a regular irritation that can hopefully be patched.
(Image credit: Sega)
That one technical itch aside, there’s little to complain about with Ishin, beyond it feeling a little bit dated. The key problem it faces is a value proposition. This is a series with eleven English-language entries released in the past five years on Steam alone. Many of them are great, and most can be picked up for a pittance, compared to Ishin’s full-fat price tag. While an equally solid starting point to the series as Yakuza Zero or Kiwami, those are two $20 games frequently discounted down to mere pocket-change.
Is Like A Dragon: Ishin! a good game? Yes. Is it a good Yakuza game? Definitely. Do I recommend it? If price isn’t a concern, absolutely. But if you’re a person with limited time or funds, then unless you’re a long-time series fan absolutely fiending for more macho urban drama (with a historical twist), you might want to look elsewhere in the series, unless the samurai theme speaks directly to you
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