Look, I’m not about to sit here and pretend Santa Monica Studio didn’t cook. That Norse run is gorgeous, well acted, thoughtfully written, and it moved a whole lot of grown men to tears in their living rooms. My problem isn’t quality. Whole issue here is what got traded away while everybody was busy applauding.

Back in 2005, when that Greek nightmare first dropped on PlayStation 2, we weren’t playing as a hero. We were playing as a problem. A walking catastrophe with the ashes of his murdered family cursed onto his skin and zero interest in your feelings about it. Ares tricked him into slaughtering his own family, and instead of processing that trauma in healthy increments, dude went to war with heaven itself. No therapy arc. Zero slow burn toward wisdom. Just a man who decided the entire pantheon would answer for what happened to him, and then made good on it.

That version scared people. Genuinely scared them. You’d watch him rip a soldier’s head off and feel something uncomfortable crawl up your spine, because the game never once asked you to admire him for it. Athena would show up talking about balance and destiny, and our boy would basically tell her to save the speech. Every conversation felt like negotiating with a live grenade. Nobody in Olympus knew what he’d do next, and honestly? Neither did we.

Then came Norse mythology, and suddenly the Ghost of Sparta became a dad with communication issues.

Here’s where my Blerd brothers and sisters start typing angrily, so let me be clear about the argument. Character growth in gaming is good. Absolutely necessary, even. We’ve spent decades watching muscle bound protagonists grunt through campaigns with nothing resembling an inner life, so seeing a franchise mature its lead into something complicated deserves credit. What bothers me is the specific direction that maturity took, and what the studio decided maturity had to look like.

Restraint became the entire personality.

Think about how often that Norse duology asks the old man to hold back. He teaches Atreus to control his temper. Apologies get handed out for his methods. Shame about his history sits visible on him across two full games while he tries to outrun the reputation he earned honestly. Modern God of War treats his former self like an addiction he’s managing, one careful breath at a time, and structurally the games reward him for keeping that beast in a cage.

Cool message. Terrible loss for a series built entirely on unleashing that beast.

Compare the pacing sometime. Greek era combat threw you into arenas stacked with enemies and let the chains fly in wide, reckless arcs. Chaos everywhere. You’d juggle three minotaurs while a hydra head swung overhead, and the whole thing felt barely survivable, like the fiction itself was fraying at the seams. Norse combat, for all its weight and craft, is deliberate. Measured. You’re managing stagger meters and cooldowns, checking your gear score, thinking about builds. Excellent design work, no argument from me. Different sensation entirely.

One system simulated a rampage. Another simulates a professional at work.

The bosses tell that same story. Remember the colossal set pieces from the trilogy? Cronos crawling across the desert with a temple strapped to his back. The Colossus of Rhodes towering over an entire city while you scrambled across its arm. Scale that made you feel like a bug that learned to bite back. Many of the Norse era’s most important encounters lean toward intimate duels against humanoid opponents of roughly comparable size, and while the Valkyrie fights are genuinely superb tests of skill, they don’t produce that specific vertigo the older games manufactured almost casually.

Something else disappeared too, and this part nobody wants to discuss at the cookout: the ugliness.

Original God of War let its protagonist be genuinely, unforgivably rotten. He’d shove innocent people into traps to solve puzzles. Allies got abandoned mid sentence. That infamous cage sequence where a man begs for his life and you use him anyway? Santa Monica put that in on purpose, because nobody was supposed to root for this guy. Watching a person hollowed out by grief become something monstrous, then sitting with how that felt in your hands, was the whole exercise.

Modern entries sand every rough edge into something palatable. Our guy still kills, obviously, but the fiction constantly reassures us he’s got reasons. Enemies attack first. Threats are established. Moral positioning gets handled before blood spills, so nobody watching a stream has to feel weird about enjoying it. Safe. Marketable. A protagonist you can put on a Father’s Day post without irony.

Unpredictability was the franchise’s actual signature, and it went out the door with the Blades of Chaos aesthetic.

Let me push this further, since I’m already in trouble. Ragnarök spends a shocking amount of its runtime having characters talk him out of things. Freya wants revenge, he counsels patience. Charging ahead is what Atreus keeps pushing for, and caution is the answer he gets. Mimir cracks jokes about how much the old man has changed. The narrative architecture of that game positions our Spartan as the voice of reason inside a cast of hotheads, which is genuinely funny when you consider he once murdered his way through Greece after years of divine manipulation, betrayal, and revenge.

Wisdom looks good on him. Danger looked better.

There’s a version of this story where growth and menace coexist, and occasionally the Norse games flirt with it. That moment in 2018 when he unleashes his rage after Atreus collapses during the confrontation with Modi, or the raw brutality of the Baldur fight, or those brief flashes where his temper slips loose and everyone nearby remembers who they’re standing next to. Those beats are electric precisely because they violate the game’s own rules about him. Santa Monica clearly knows what they’re sitting on. They just ration it like it’s rare.

Rationing was the wrong call.

My honest read? The industry shifted, and the franchise shifted to survive. Prestige narrative became the currency around 2013, and studios chasing critical respect learned quickly that emotional interiority scores better than spectacle. Every major series started giving us complicated fathers, quiet campfire conversations, and protagonists working through something. God of War played that game brilliantly and won. Awards, hearts, an entire new audience who never touched the PS2 originals.

Winning cost the series its weirdness though, and weirdness is worth something.

Nothing on the market right now feels like Greek era God of War felt. Doom gets close on pure aggression, but Doom Slayer is a power fantasy without the psychological rot underneath. Devil May Cry has style and flash minus the genuine cruelty. That specific cocktail of mythological grandeur, personal damage, and complete moral bankruptcy hasn’t been replicated, mostly because the studio that perfected it walked away from the recipe.

We got a better character and a smaller experience.

Ask yourself honestly what stays with you longest. Some of y’all will say the boat conversations, the way Mimir’s stories filled the silences, the ending of Ragnarök and everything it implied about legacy. Beautiful answers, all valid. Others will admit that what lodged permanently in their memory was Zeus getting beaten so thoroughly the screen went red, or the sheer audacity of a mortal dismantling an entire religion out of spite.

Both versions matter. Only one of them was singular.

So as Santa Monica Studio prepares God of War Laufey and continues working on a remake of the original Greek trilogy, I’m hoping somebody remembers that his rage was never merely a character flaw to be corrected. Rage was the thesis. Everything interesting about him grew out of that soil, including the fatherhood arc everybody loves. Strip it entirely and you’ve got a well written dad simulator wearing a legendary name.

Give me the old man who learned something. Keep the part that made gods nervous.

Staff Writer; Jay Baker

An older blerd with a lifelong love for anime, comics, manga, and gaming… Writing for fans who still believe great stories can come from a screen, a page, or a controller…

He can be contacted at JayBaker@AfroGamers.com.

That opening still lives rent free in my skull. Alex Mason, tied down, sweating, disoriented. Somebody keeps asking him about broadcast codes. He doesn’t know. He genuinely doesn’t know, and neither do you, and that not knowing is the whole point. Most shooters hand you a rifle and a reason. This one handed you a headache and dared you to trust anything you saw.

Here’s the thing folks slept on. Most of the story is being reconstructed through an interrogation. You aren’t playing missions so much as digging through a man’s cracked recollection while somebody with a rougher voice than yours pushes him to remember faster. Nearly every level is a memory, and memories, as anybody who has argued with a family member about who said what at Thanksgiving knows, are slippery little liars. Treyarch understood that. They built the whole experience on the idea that the narrator’s head was not a reliable place to stand.

Then came Viktor Reznov. My guy. Gravel voice, scarred up, dropping wisdom like a Soviet uncle who has seen too much snow and too much blood. He rides shotgun through Mason’s flashbacks, guiding him, naming enemies, telling him who has to die. Dragovich. Kravchenko. Steiner. The list becomes a prayer Mason repeats until it’s tattooed on his soul. You believe Reznov. Why wouldn’t you? He saved this man. He fought beside him. He feels realer than half the actual living characters.

And that’s the knife.

Because Reznov was dead. Had been for a long stretch of the timeline you were living through. The man riding along in Mason’s head giving orders was a ghost, a piece of psychological wiring somebody planted and somebody else never fully removed. The Soviets ran a conditioning program on Mason, tried to turn him into a sleeper, a weapon that walks around looking normal until the right sequence gets whispered and the trigger finger does what it was told. Reznov, the real one, got hold of that same programming and hijacked it. He couldn’t kill his enemies himself, so he rewired a captured American to do it for him, hiding his own vendetta inside the conditioning like a message tucked in a bottle.

Sit with how wild that is for a mainstream military franchise. The protagonist you steered through most of the campaign was a puppet, and the hand up his back belonged to a hallucination that was itself a smuggled revenge plot. You weren’t the hero saving the day. You were a loaded gun somebody else was aiming, and you spent hours thanking the phantom holding you.

Now let’s talk about the broadcast, the transmission, the endless recitation of figures that haunted the loading screens and the wall of a certain hidden room. Those weren’t set dressing. The broadcasts carried coded instructions meant to activate sleeper agents and order them to release Nova 6 across the country. Hudson and Weaver already had recordings of those transmissions. What they needed was Mason, because the Soviets had planted the ability to translate the sequences inside his conditioned mind. The whole tense back and forth, the flashing red room, the way that recitation gnawed at you, all of it was a man’s brain being pried open like a stubborn oyster while he fought to remember what the codes meant and where the numbers station was located.

I remember finishing it the first time and just sitting there. Controller down. Screen dim. Feeling like I’d been running through somebody else’s nightmare and only realized at the exit that the dreamer was me the whole time. Games rarely earn that. Movies barely earn that. The Manchurian Candidate did it. Memento did it. Get Out did it in its own way with the sunken place, that horror of your body still moving while your will gets shoved into a basement you can’t climb out of. Treyarch snuck that same dread into a product mostly known for teabagging and killstreaks, and somehow it worked.

What made it stick was the craft underneath the twist. The hallucinations weren’t a cheap rug pull tacked on at the finale. The clues were breathing in the margins the entire time if you were paying attention. Reznov appears where he shouldn’t. Timelines don’t quite line up. Characters react to Mason like he’s carrying something they can see and he can’t. On a second run the whole thing reorganizes itself in front of you, which is the mark of a story built with actual intention rather than shock for its own sake. Not every player caught it live. Plenty of us needed a forum thread and a homie explaining it before the pieces snapped together. That’s fine. Good mysteries reward the rewatch.

Here’s my honest gripe, and it’s less a gripe about that entry than a lament for everything after. Call of Duty returned to this well, especially with Black Ops Cold War, but it never recreated this exact feeling. The sequels chased spectacle. Bigger set pieces, more helicopters spinning out of the sky, more slow motion breaching. Fun, loud, absolutely. But loud isn’t the same as haunting. Later stories tried the “gotcha” structure, tried unreliable narration, tried to twist your understanding of who you were controlling, and a couple got close. None of them left me questioning my own perception the way that 2010 release did. None of them made the act of remembering itself feel dangerous.

Part of that is the franchise growing into a machine expected to satisfy an enormous global audience every year. You can’t build a slow, paranoid character study when the quarterly report demands a rollercoaster. I understand the business of it. Doesn’t stop me from missing the version of this series that trusted players to feel confused, to feel manipulated, to sit in discomfort instead of getting spoon fed a clean victory. That entry treated the audience like grown folks who could handle their own footing being pulled out.

There’s also something quietly heavy about who Mason turned out to be. A regular soldier turned into a vessel, his identity carved up and rewritten by governments on both sides treating him like equipment. As a Black man who grew up on stories about how power loves to reach inside people and turn them into tools they never agreed to become, that theme landed with extra weight for me. The horror wasn’t the gunfire. The horror was the erasure. Somebody reaching into your mind and deciding what you’d believe, who you’d hate, what you’d do with your own hands while telling yourself the choice was yours.

That’s the buried genius of it. Underneath the Cold War coat of paint, the real war was for a single man’s grip on reality. Every shootout was really a question. Is this true? Did this happen? Is the voice guiding me a friend or a splinter left behind by people who wanted me broken and useful? A shooter asking those questions in the middle of its own gunplay was rare then and feels damn near extinct now.

So yeah, I’ll say it plain. Later entries gave us prettier explosions and slicker menus and a multiplayer suite that ate years of our lives. What they never gave us again was that specific vertigo, that feeling of the floor of your own mind giving way beneath you. For all its rough edges, that 2010 title reached into the player’s head and left fingerprints. Everything since has been content to just entertain the hands. Give me the one that came for my perception. Give me the ghost, the chair, the recited code, the terrifying possibility that the hero was the crime scene the whole time.

That’s the one that stuck. That’s the one I still think about at two in the morning. And that’s the one nobody has managed to top.

Staff Writer; Jay Baker

An older blerd with a lifelong love for anime, comics, manga, and gaming… Writing for fans who still believe great stories can come from a screen, a page, or a controller…

He can be contacted at JayBaker@AfroGamers.com.

Rewind to May 2025. id came out swinging with a philosophy rather than just a product. Eternal had turned you into a fighter jet, so this one would turn you into a tank. Stand and fight. Plant your feet. Parry the green stuff, bash the little ones, let a shield do the talking. Hugo Martin recited that line in every interview like scripture, and on paper the swerve earned respect. Nobody wants a studio running the same play until the wheels come off.

Here’s what happened in a lot of living rooms, mine included. That tank got boring. Not immediately, mind you. Clanking across a gothic battlefield with a buzzsaw frisbee strapped to your arm felt like nothing else on the market for a good long while. Then arenas began blurring into one another. Then you noticed your movement had been trimmed down to walking, walking slightly faster, and occasionally shoulder checking a fool into a wall. Dodging? Gone. Verticality? Mostly decorative. You were pinned to a horizontal plane, running a very well produced version of the same encounter on loop, and that flow state which made 2020’s outing feel like drumming never quite arrived.

Plenty of folks loved it exactly as built. Genuinely. An audience exists that found Eternal exhausting, that resented being told to swap weapons like a barista taking orders, and for them a slower rhythm came as relief. I respect the position. I’m just not sitting in that pew, and judging by a year of forum arguments, neither are a whole lot of you.

So along comes this frozen purgatory story, and inside the opening level id does something almost cheeky. They break the shield. Betrayal, defeat, the big man dragged down into Hell’s core with his armor in pieces, and the centerpiece of an entire design philosophy gets snatched away from him. Call it a plot beat if you want. I’d call it a confession. Somebody in that building stared at their own signature mechanic and asked who the Slayer becomes without it.

What he becomes is the Chain Spear, and I need you to understand this thing is not a gimmick weapon. It stabs at range. It pierces defenses. It yanks you toward demons and lets you swing or orbit around them, which means the fight is suddenly happening in the air, above you, behind you, and in places the original campaign rarely asked you to use. Reviewers keep reaching for the same comparison because it’s the accurate one. It’s Eternal’s meathook energy welded onto medieval bones. The grapple is back. The dash is back. The pressure is back.

And pressure is the word I want to sit with, because the base campaign’s real sin wasn’t slowness. Slow can be terrifying. Slow can be Resident Evil. The sin was comfort. Once you learned the parry timing, most encounters stopped asking you anything. You were never truly cornered, never scrambling, never doing that thing where you’re at fourteen health, out of ammo, and improvising your way out of a coffin. The expansion puts that back on the menu with intent. New demons show up with actual job descriptions. Archviles summon reinforcements and teleport around like they’ve been holding a grudge since Doom II, which they have. Warlocks buff everything nearby while drowning the arena in fog. Cosmic Elementals harass you from above so planting and swiveling stops being an option. Triage becomes mandatory. Prioritizing becomes mandatory. Moving becomes mandatory.

Difficulty scales up too, and there’s a substantial endgame structure waiting after the credits with Master Arenas, newly opened paths, extra puzzles, additional challenges, and an ultimate boss encounter. Classic DOOM layouts return as rebuilt flashbacks, recreated with modern materials and effects while you’re rocking a shotgun that sounds like 1993. Ten to twelve hours of content, more if you’re the type who has to find every last collectible before you can sleep. Early reviews have been highly positive, although the critic pool remains small, with the difficulty curve and the backtracking heavy endgame structure showing up as the main sticking points rather than the combat itself.

Now the harder question, the one I actually want to argue about.

Should an expansion get credit for correcting the flagship’s biggest weakness?

My honest answer is yes, but with a receipt attached, and the receipt matters.

Give credit, because the alternative is a world where studios never course correct in public. Think about what id had to do here. They spent a year and a full marketing campaign telling everybody that the deliberate, grounded, shield forward approach was the point, the vision, the future. Walking that back in the sequel would have been easy and quiet. Walking it back in paid content nearly fourteen months later, in front of the same people who bought the original argument, takes a certain amount of nerve. Most companies would have doubled down and called the audience wrong. Instead they wrote a story where the Slayer loses the very thing that defined him and has to rebuild into something faster and hungrier. Good marketing doesn’t get you there. Listening does.

Now the receipt. Anybody who bought at launch paid full freight for an incomplete idea, and here comes a request for another twenty dollars to get the version that sings. Nobody in a press release wants to do that math out loud. If the mobility and the aggression are what make the combat sing, and if the developers now agree that they do, then the seventy dollar product was missing something essential and the fix has a price tag on it. You can call that iteration. You can also call it a toll booth.

A version of this argument goes too far, though, and I don’t want to slide into it. Truth is, the new material only lands this hard because of the foundation holding it up. Your spear thrills you partly by contrast. Freedom registers because the weight is still fresh in your hands. Parrying, shield bashing, that heavy footed pulse, all of it remains, load bearing as ever, and swapping back to the saw is one button away. One reviewer over at Gamereactor even argued that the expansion can sometimes feel better with the repaired Shield Saw, despite the extra options offered by the Chain Spear. That suggests the original design was never broken. Just unfinished. Nobody repudiated anything here. They wrote a second draft.

Here’s where it turns grim. Microsoft’s Xbox restructuring hit id Software immediately before this thing shipped. Initial reports said roughly half the studio had been dismissed, while a Texas WARN notice later identified 136 id Software positions, including 96 at the Richardson office and another 40 remote workers who reported to that location. The same notice included 22 additional cuts at Bethesda Game Studios in Austin, with 146 of the 158 affected workers represented by the Communications Workers of America. Best work these folks have done in years, delivered while colleagues packed up desks.

The studio has since pushed back on the framing, saying the reductions were spread across teams and that the crew today runs about the size it did during DOOM 2016, which is either reassurance or corporate throat clearing depending on how much faith you have left. Launch also brought some rough edges, including button binding trouble, minor bugs, and progression problems that prompted an early hotfix. None of that proves the corporate turmoil affected development, but the timing made the problems harder to separate from the uncertainty surrounding the studio. It doesn’t change what’s on screen. It changes how what’s on screen sits with you. Craftsmen at the peak of their powers, rewarded with a pink slip.

So where does that leave us.

If you bounced off the medieval detour last year, come back. Seriously. The complaint you had is the exact thing this content addresses, and it addresses it with more imagination than a patch note ever could. If you loved the original as it was, you’re not being punished either, since the toolkit expands rather than replaces.

But hold both thoughts at once. This is a triumph and an admission. It’s a studio proving they can still cook, and proving the first dish came out under seasoned. Praise them for hearing us. Just don’t let anybody tell you we weren’t right the first time.

Staff Writer; Greg Tucker

GT is an old-school blerd who loves anime, comics, manga, video games, and collecting indie Black comic books.

Contact him at: GregT@AfroGamers.com.

Yet on the very morning the ship sets sail again, a quieter question keeps surfacing. Is this a genuine celebration of one of the finest pirate epics the medium ever produced, or is it evidence that a struggling giant reached backward because it could no longer trust itself to move forward?

Let me tell you where my head is at, because the answer is not as simple as either side wants it to be.

You already know the backstory if you’ve been paying attention. The French publisher has spent the last two years bleeding. Star Wars Outlaws face planted. XDefiant got taken behind the barn. Whole studios shuttered, thousands of positions disappeared through layoffs, attrition, and restructuring, and a €1.16 billion Tencent investment helped shore up the company’s new Vantage Studios structure. Shadows sold fine, sure, delivering the second-highest Day 1 sales revenue in the whole series, but “fine” don’t erase a €1.3 billion operating loss on the books. When a company that big starts leaning on advisors to “extract value for stakeholders,” that’s corporate speak for the wolves are circling. My guy, they were prepping lifeboats.

Now here’s the part that stings if you love this hobby. Their answer to all that pressure was to reach backward.

Think about it. Reportedly, 15 Ubisoft studios contributed to rebuilding a title that already exists, representing a wide slice of the company’s talent and resources. A title people already adore. The safest bet imaginable. Ubisoft looked at their mess and decided the smart play was to hand you the thing you loved when you were younger and hope you’d feel warm enough to open your wallet again. And you know what? It’s working. According to estimates from Alinea Analytics, Resynced’s pre-release Steam sales ran more than five times higher than Shadows did at the comparable point before launch. Nostalgia sells. It always has.

But sit with that for a second, because it says something heavy.

The reason this remake lands so hard is the same reason it worries me. Kenway’s voyage came from an era when this developer knew exactly who it was. Back then the maps felt hand crafted instead of algorithm stretched. The naval combat, those swivel guns and shanties and the whole rhythm of chasing a Man o’ War across a storm, none of that existed to check a box. Somebody dreamed it up because it was cool. There was a confidence baked into that 2013 disc, a swagger, a point of view. That pirate fantasy wasn’t buried under seventeen menus and a battle pass. It just was.

Somewhere along the way the machine got bigger and the vision got smaller. Every open world release started blurring into the same checklist. Climb the tower, clear the icons, grind the loot, repeat until numb. The soul that made those older joints special leaked out slow, one bloated sequel at a time. Which is exactly why going back to Black Flag feels so good and so sad in the same breath. It’s a reminder of a version of this company that felt more alive.

I keep thinking about something a Kotaku reviewer wrote, about basically being two people at once while playing. One dude just floating around the 4K ocean having a ball, and another dude staring at all that gorgeous new animation asking a colder question. What could they have built if they aimed all this money and muscle at something brand new? Man, that split lives in my chest too. Sailing the Jackdaw is pure joy. What guts me is that sailing the Jackdaw was the boldest move a struggling giant felt safe enough to make.

And the new stuff they layered on top honestly slaps. There’s a fresh endgame chapter called A World Without Gold that gives Blackbeard a whole eight mission arc. Stede Bonnet gets a proper epilogue, which, if you watched a certain pirate comedy show, hits different now. New shanties, including a Woodkid version of Leave Her Johnny that I’ve had stuck in my head since the trailer. Crouch anywhere, dive anywhere, hood up or down as you please. Little quality of life fixes that make the old bones move smoother. Real care went into this. Nobody phoned it in.

That’s what makes it complicated. This isn’t a lazy cash grab. It’s a lovingly restored classic. Those two things can be true at once, and pretending otherwise would be dishonest.

Still, I can’t shake the bigger picture. When one of the clearest symbols of your recovery strategy is “remake the last thing everybody agreed we did right,” you’re admitting something out loud whether you mean to or not. You’re saying the well of new ideas has run low. There’s a wager being placed on three brands, a hope that the crowd’s affection for the past will cover for a present you couldn’t quite figure out. That’s not villainy. It’s fear. And fear is a rough thing to watch from a place that once felt fearless.

Here’s the part that keeps me from writing the whole thing off, though.

Plenty of people playing Resynced right now never touched the original. Think about how wild that is. The original landed 13 years ago. There’s a grown adult buying this today who was in elementary school when Edward first raised that flag, while some younger players weren’t even born yet. For them this isn’t a remake at all. It’s simply the newest Assassin’s Creed, the one with pirates, and it’s dope. No baggage, no melancholy, no old head sighing about what used to be. Just a great game they get to meet for the first time.

And there’s something almost beautiful in that. Art gets to live again. A masterpiece that was slowly aging out of relevance gets dusted off and handed to a whole new crowd who’ll fall for it the way we did. If you strip away all my industry hand wringing, that outcome is a genuine gift. Preservation matters. Letting a classic breathe again matters.

So which is it? Celebration or symptom? Honestly, I’ve landed on both, and I think refusing to pick is the only honest answer.

Resynced is a real celebration of something wonderful, executed with skill and affection, and it deserves to be enjoyed by anybody who likes a good yarn about swords and sea legs. It’s also, unmistakably, a flare shot up by a company that lost its nerve and reached for the past because the future felt too expensive to risk. Both readings are correct. The tragedy and the triumph are welded together, and you can’t melt one off without losing the other.

What I want, more than another remaster, is for this publisher to remember why we loved them in the first place. Not the icons. Not the towers. Confidence, plain and simple. A willingness to build a whole pirate simulator inside an assassin franchise just because somebody believed it would be magic. Spirit like that is what Resynced is really selling back to us, and I hope, somewhere in those offices, folks are taking notes on why it resonates instead of just counting the receipts.

Go play it. Enjoy the ocean. Sing the shanties loud. Just don’t let the warm glow fool you into thinking a company can sail forward forever by staring at its own wake.

Because a wake is beautiful. But it’s still behind you.

Staff Writer; Jay Baker

An older blerd with a lifelong love for anime, comics, manga, and gaming… Writing for fans who still believe great stories can come from a screen, a page, or a controller…

He can be contacted at JayBaker@AfroGamers.com.

Nightreign takes that whole philosophy and tosses it in the fire.

Released back on May 30th, 2025, this thing is a different animal. It’s a roguelite, which already feels like the developer loosening its collar a little. You drop into a place called Limveld as a Nightfarer, you got about forty five minutes, and the map is shrinking around you like a slow motion battle royale while some end of days darkness creeps in from the edges. Three days, three nights, and waiting for you at the finish line is a Nightlord, one of these towering horrors that exists purely to humble you and everybody standing next to you. Quick, brutal, replayable. You lose, you reset, you run it back.

Here’s the part that matters, though. You are not meant to do any of this on your own.

From the ground up, the game was engineered for a squad of three. Not two. Not a brave solo flex. Three. Director Junya Ishizaki and the crew balanced damn near everything around that number, and you feel it the second you load in. Each Nightfarer carries their own kit, their own personality, their own flavor of chaos. The Wylder swings heavy and pulls aggro. Your Recluse hangs back bending magic to her will. A Guardian eats damage so nobody else has to. Alone, any of them can hold a fight. Put them shoulder to shoulder, though, and suddenly somebody’s tanking while somebody’s healing while somebody’s raining hell from the back line, and the whole thing locks into a rhythm no single warrior could ever pull off solo. Right there is the heart of it. Folks at From finally designed a world where you genuinely need other people, and need is not a word that studio throws around lightly.

Then there’s the revive system, which is honestly one of the funniest and most beautiful ideas they’ve ever cooked up. Your homie goes down. In most games you’d jog over, hold a button, watch a little progress bar fill. Not here. Here you bring them back by hitting them. Smacking your fallen teammate with your own weapon chips away at this Near Death meter until they pop back up swinging. Sounds disrespectful. Sounds like betrayal. It’s actually genius, because a ranged Nightfarer can revive somebody from clear across the arena without stepping into the fire, so positioning and trust start to carry real weight. You don’t babysit each other every second. You explore at your own pace, do your own thing, but the moment it hits the fan you’d better know exactly where your people are.

And the stakes run shared all the way down. Every enemy your trio drops feeds runes to all three of you, so nobody’s hoarding, nobody’s getting left behind on levels. You rise as a unit. You also fall as one. The whole group gets wiped at the same moment? Game over, straight back to day one, everybody scraped down to level one again. There is no individual glory hiding in that math. No carrying dead weight to the credits while they watch you cook. Either the squad makes it or the squad starts over, and that one little design choice quietly rewires how you treat the strangers and the friends fighting beside you.

Here’s the thing folks are falling in love with. The shared W.

I’ve felt it myself. Picture it. A Nightlord sitting at a sliver of health, two of your people are down, you’re the last one standing on fumes, and you somehow thread the needle and drop the thing. If you got mics, the chat erupts. If you’re rolling with randoms and nobody’s talking, somebody throws up a celebration gesture and you throw one right back, and for one second three strangers who never met just shared something true. Hits different than soloing a giant by yourself. A solo kill is a flex, a private trophy you tuck away in your pocket. This is a memory you made with other human beings. Those stick around in a way bragging rights never do.

Now let me zoom out, because Nightreign isn’t happening in a vacuum. Whole industry’s been drifting this way for a minute. Helldivers had grown men screaming about democracy with their boys at two in the morning. Lethal Company turned scared people whispering in the dark into pure comedy gold. Hunger for stuff you live through with other people instead of merely beside them has been building and building. And now the company most famous for isolation just planted its flag squarely in cooperative ground. When From of all developers decides community is worth building an entire game around, that tells you the floor has shifted under all our feet.

What makes it land is that they refused to dull the bite to get there. This is still their world. Those Nightlords still hit like a freight train. The dark still wants you in the dirt. They just decided the path through it now runs straight through other people, and then they trusted us to find the harmony ourselves with almost no tools to talk it out. No text chat at all. A ping here, a gesture there, voice only if you bring your own crew. That’s the whole toolbox. And somehow it works, because the design forces a kind of wordless understanding, the same way a good pickup run at the court does. Nobody’s calling plays out loud. Everybody just knows.

Communal feeling like that is something a lot of us already chase anyway. Half the joy of being a Blerd is the group chat blowing up at midnight, the Discord call running for hours, the three of us hopping on after work to get bodied by the same boss eight times and laughing the entire way through. Nightreign reaches right into that energy and makes it the actual gameplay loop. It rewards the late session, the inside jokes, the “go left, no my left” confusion that turns into a rescue at the last possible second. For folks who grew up gaming as a way to stay close to people, that recognition feels personal.

It’s not flawless, and the community was loud about it. At launch there was no way to roll as a pair, just you by your lonesome or a full three stack, which left a whole lot of best friends standing out in the cold. FromSoftware eventually answered that complaint with Patch 1.02, adding Duo Expeditions and adjusting the game’s balance around the current number of players. The funny thing is that the loudest gripe was basically “let me bring exactly one more friend.” Kind of proves the entire point, doesn’t it. People weren’t begging to be left alone anymore. They were begging for more company.

And here’s the real headline buried in all of this. We crossed a line. The company that made loneliness an art form spent a decade convincing us that suffering tastes best quiet and personal, then turned around and made something that only sings when there’s a chorus. Audience didn’t push back on it either. Folks sprinted toward it. We’re out here forming squads, reviving each other with our own swords, splitting runes down the middle, throwing up goofy little gestures over a corpse, and restarting all the way from day one without a single complaint because the people make the loss worth swallowing.

For the longest time this genre treated playing with others as a feature you flip on when you got bored. Nightreign treats it as the whole reason you showed up tonight. Not some small tweak in a patch note either. It’s a statement about where this hobby is headed, and From just said it louder than anybody else in the room.

So go grab two of your people, or roll the dice with two strangers, and march out to take down a Nightlord. Lose a few. You will, trust me. Then win one, all three of you, by the absolute skin of your teeth, and try to tell me you don’t feel something move in your chest. What you’re feeling right there is the future knocking. Might as well answer the door.

Staff Writer; Jay Baker

An older blerd with a lifelong love for anime, comics, manga, and gaming… Writing for fans who still believe great stories can come from a screen, a page, or a controller…

He can be contacted at JayBaker@AfroGamers.com.

Folks my age came up on a meaner version of this franchise. Early on it was all World War II. Mud, bolt rifles, brothers hollering over artillery while you crawled toward some bombed out farmhouse. Then 2007 arrived and busted the whole thing wide open. Modern Warfare dropped you into a present that felt uncomfortably close to the evening news. Two years later, Modern Warfare 2 gave us that one mission, the airport, the one plenty of us won’t bring up at the function. You walk through, the room goes silent, and grown folks argued about it for a decade. Love it or despise it, you cannot call it lazy. Somebody sat in a chair and decided that moment should turn your stomach on purpose.

That was the magic, if I’m being real with you. Not the guns. The seriousness.

Black Ops carried that same torch. Reznov whispering in your ear, the numbers, the cold paranoia of men who’d done terrible things for flags that never loved them back. Woods and Mason felt like characters, not inventory. You finished those campaigns a little hushed, sitting in the dark thinking. A shooter made you think. Wild, right? My cousins and me would stay up after, dissecting endings like we’d just walked out of a Spike Lee joint.

And then the model flipped on us.

Online play turned the whole thing into a nation of its own. The lobbies became a culture. Prestige grind, sweaty headset wars, somebody’s little brother screaming, beef getting settled across the map at two in the morning. For a lot of us, that was the hangout when there was nowhere else to be. The franchise didn’t just sell campaigns anymore. It sold a place to live.

Warzone landed in 2020 and the business changed shape again. Free to download, always running, a battle pass ticking away in the corner, a shop that refreshed on a schedule. Season after season now, each one a fresh page of stuff to buy, grind, or miss. Activision figured out that the story wasn’t the engine anymore. The engine was the wardrobe.

And that wardrobe got loud.

Somewhere along the line the battlefield turned into a costume party. Nicki Minaj rolled through in full pink as Red Ruby Da Sleeze, with a matching whip you could drive across the map. Snoop slid back in. 21 Savage too. They stamped it as a hip hop celebration, fifty years deep, and honestly the Doggfather I’ll allow, since the man’s been gaming royalty forever. But the floodgates were already gone by then. Shredder from the Turtles. Messi in his cleats. Cheech and Chong. Seth Rogen, so you could finally hotbox a Humvee in the middle of a firefight. Beavis and Butt Head. A giant porcelain murder doll from Squid Game stomping around the map like it pays rent. Lucy and The Ghoul from Fallout turning the classic Nuketown into a radioactive vault.

There’s a strange double feeling watching the culture show up like that. Part of me lit up seeing hip hop finally treated like it belonged in the biggest shooter on the planet. Another part of me clocked that it arrived wearing a price tag. The art that raised me, packaged and rotated through a store window beside cartoon ghosts and movie monsters.

You want the deluxe version of the season, that’s BlackCell, extra operators and shinier blueprints stacked on top of the normal pass. A bundle runs you around twenty dollars. An event pass, ten. Multiply that by a roster of celebrity guests cycling in and out forever and you start to see what this whole apparatus really is now. Not a beloved series of titles. A storefront with a shooter bolted onto the front.

And the rotation is the hook. The shop doesn’t sit there politely waiting on you. It blinks, it counts down, it whispers that the outfit you been eyeing leaves in three days and might never return. That pressure rewires how you play. You quit logging in to enjoy yourself and start logging in to keep pace. Chase the tier. Catch the limited bundle before the clock empties. Grind a challenge so your sixty dollar purchase doesn’t sit there gathering dust. I caught myself one night doing busywork in a mode I didn’t even like, just to nudge a progress bar forward, and I had to set the controller down and ask exactly who I was working for. Couch era, I played because it was fun. Now the fun arrives with a quota.

Now here’s where I gotta play fair, because the old head in me wants to holler at clouds and the gamer in me knows better than that.

Some of these mashups absolutely slap. The Squid Game collab came with a real mode, that Red Light Green Light tension where you freeze and pray nobody clocks your movement. Wasn’t a lazy reskin. That was somebody having fun with the medium. And there’s an argument, a decent one, that the absurdity is the entire point. A war sim was always a fantasy anyway. Watching Nicki posted up next to a dude in a John McClane tank top on some Cold War rooftop is so stupid it loops back around to joyful. The dissonance becomes its own flavor of fun.

Plenty of younger players came up after the grounded years and don’t mourn them at all. To them this was always a playground, bright and chaotic and theirs. That’s fair. The thing was never built for me alone. Kids deserve their goofy. I’m not trying to gatekeep somebody’s good time.

But something did get traded, and I won’t pretend otherwise.

When everything is for sale, nothing carries weight. That airport mission worked because the series respected silence. It understood when to stop entertaining you. Compare that to a present where the loudest detail about a new release is which star is dropping into the shop next, what neon outfit glows when you rack up a kill streak, how many tiers you gotta climb before the pass pays itself off. The campaign, the part that used to leave me quiet on the couch, is basically a garnish now. A little appetizer before the real meal, which is the spending.

Even the competition is throwing shade. When the Battlefield people went around saying their soldiers would stay grounded, that they didn’t need a Nicki Minaj situation, everybody on earth knew exactly who they were subtweeting. The market itself started treating restraint like a selling point again. That alone tells you how far the pendulum swung.

So did the franchise forget what made it great? I been chewing on this for a minute, and I don’t think forgot is the honest word. Forgetting is an accident. This was a decision. Activision remembers precisely what it had. It looked at a grim, weighty, story driven war series on one side and a glittering machine that prints cash four seasons a year on the other, and it reached for the machine. The receipts proved the math out. Hard to call a billion dollar choice dumb.

Great and profitable were never the same word though.

What made it special, for those of us who came up whisper yelling on a couch, was that it took itself seriously enough to make a shooter feel like it mattered. It treated us like we could handle something heavy. That version still flickers in there, buried in a mission here, a quiet beat there. You can feel the ghost of it moving through. Then a mascot in a green tracksuit sprints past swinging a minigun and the spell shatters in your hands.

I’m not even mad, not fully. I’m just an aging gamer who remembers when the wardrobe was empty and the story did the talking. My favorite thing grew up into a shopping mall. Loud, busy, lucrative, packed with people having an absolute ball. I’ll still load in. I’ll run with the homies and talk my noise. But every now and then I sit in that menu, scroll past the newest face for sale, and I quietly miss the one that knew how to make a grown man go still.

That version didn’t need a costume. It just had something to say.

Staff Writer; Jay Baker

An older blerd with a lifelong love for anime, comics, manga, and gaming… Writing for fans who still believe great stories can come from a screen, a page, or a controller… He can be contacted at JayBaker@AfroGamers.com.

Now peep where we landed. What turned a generation into builders and sweats grew into a shopping plaza with a battle bus parked out front. Hop on and you can play a Guitar Hero clone. Grind a Lego survival map. Race cars. Run a horror level where Darth Vader hunts you through a busted Star Destroyer. Or sink a whole afternoon into a factory sim whose entire reason for living is making little droids labor so your money counter ticks higher. Buried under all that noise, the original is still breathing. The question nobody at Epic wants to sit with too long is whether anybody can still hear it.

Let me be clear about one thing first. I love this game. Have loved it since the husk days, before the world even knew battle royale was about to become the genre that ate the decade. So this isn’t some old head hollering at the bus to slow down. This is love with its eyes open.

Here’s the tension. By every number that matters to a boardroom, the company is cooking. Concurrent players, revenue, cultural reach, the way one skin drop trends across every timeline for a day straight. Travis brought a planet to a virtual stage. Marvel turned the island into a crossover bigger than half the movies. Kids who’ve never touched a controller for anything else log in every single night. That’s a win. Loud, undeniable, money in the bank.

But thriving and staying yourself are two different prayers.

Watch what went down this spring and tell me the studio doesn’t feel the strain. Epic let go of around a thousand people. Right after, they removed Ballistic and the competitive stage of the music mode, while putting Rocket Racing on the chopping block for October. Years of work, whole teams, gone from the menu. For a place that spent the back half of the decade preaching the metaverse gospel, promising the island would become a platform where every genre lives forever, that retreat says plenty. The dream of being all things got expensive. It got messy. And a chunk of it simply wasn’t fun.

Then came the part that stopped me cold. Save the World, the original co op grind, the corner abandoned in early access for what felt like a geological age, finally went free. And it detonated. Player-tracked reports showed it crossing six figures almost overnight, with folks rushing back into a husk fight everybody supposedly forgot about. Read that twice. Strip the price tag off a piece that was actually a real one, with bones and a story, and people came running like it was a family reunion.

That ought to tell somebody at Epic something. Maybe it already has.

Because the trouble with becoming all things is that all things has no center. Walk a brand new player through what the island offers in 2026 and you can feel the vertigo set in. A rhythm game. A survival crafter. A tactical shooter that just died on the table. A racing playlist sitting on death row. A whole wave of Star Wars maps, a few genuinely impressive, one of them basically a Battlefront knockoff with capture points and a lightsaber if you earn it. Then the tycoons. Lord, the tycoons. Entire districts of the experience built around the same brain itch that powers Roblox, where children push a number higher while they hang out and talk, the actual playing almost beside the point. There’s a popular one floating around literally named Steal the Brainrot, and that title might be the most honest thing on the whole platform.

None of that is the heart. The heart was the build fight. The heart was that specific panic when the circle catches you in the open and you ramp rush a third party with eleven mats and a prayer. It was a thing you could describe to your cousin in a single breath and he’d get it instantly. Drop in, last one standing wins, build to survive. That clarity was the magic, and clarity is the first casualty when you bolt forty different worlds onto one launcher and call the result a universe.

I’m not mad at experimentation. A platform that never shifts goes stale and dies slow, and the studio understood that earlier and better than almost anybody in the business. The chapter resets, the live events, the absurd collabs, that engine of constant reinvention is half the reason this juggernaut outlived every copycat that came for the crown. PUBG, Apex, Warzone, all real, all good, not one of them turned itself into a stage where a stadium of people watched a concert together. Reinvention kept the lights blazing.

But there’s a version of reinvention that strengthens the core, and a version that just buries it under merchandise. Lately it leans toward the second one. When a curious newcomer loads up for the very first time and can’t even find the battle royale without scrolling past a droid factory and a karaoke stage, something has slipped loose. The front door turned into a flea market.

And here’s the quieter cost nobody puts in the earnings call. A whole generation is growing up thinking the island is mainly a place to hang out and grind numbers with friends, the way some of us grew up on a basketball court that happened to have a hoop on it. Cool. Beautiful, even. But ask one of those kids to describe the build fight that started all of this and you might get a blank stare. The thing that made the magic real for the rest of us is becoming a side quest in its own house.

Now the hopeful read, and I want to be fair here, is that the spring retreat looks a lot like the company finally clocking the same problem the rest of us clocked. Cut the playlists that flopped. Pour attention back into the core, into Zero Build, into Blitz and Reload and OG, the stuff that actually feels like what people fell for. Make the real one free and watch the crowd come home. If that’s the plan now, it’s the right plan. Stability over sprawl. Substance over a storefront with a hundred doors and nothing waiting behind most of them.

Whether they hold that line is the whole ballgame. Because the pull toward more is strong, and it pays. Tycoon maps print engagement. Brand deals print money. The metaverse pitch makes investors lean forward in a way a clean build fight never will. The temptation to keep stacking genres on the foundation until it cracks will be there every single quarter, dressed up as innovation, whispering that bigger is always better.

So my honest hope is this. That somebody in that building still remembers a title this old does not run on skins and crossovers and number go up loops. It runs on a feeling. That clutch when you’re the last one breathing and your hands won’t quit shaking. That sensation is the asset. The rest is decoration, and decoration is only worth something when there’s a real house standing underneath it.

So can Fortnite keep winning without losing itself? Maybe. The husk mode comeback and the nerve to cut dead weight tell me the people steering this still know where the pulse is. But knowing where it lives and actually protecting it are two separate jobs. You can top every chart on earth and still wake up one morning as a mall that used to be a game. The bus is still flying. I just hope whoever’s driving remembers what made all of us climb aboard in the first place.

Staff Writer; Jay Baker

An older blerd with a lifelong love for anime, comics, manga, and gaming… Writing for fans who still believe great stories can come from a screen, a page, or a controller… He can be contacted at JayBaker@AfroGamers.com.

Here’s what gets me though. Going home is supposed to feel like one emotion. Comfort, maybe. A warm blanket of stuff you already recognize. But this announcement hit me with two feelings at the exact same time, and they didn’t cancel each other out. One half of me felt that deep nostalgia pull, the kind that smells like a cracked PS2 disc and a summer with no responsibilities. The other half felt something newer and sharper, like I was standing at the start of a road I’d never driven. Both at once. That’s a hard trick to pull off, and I don’t think they lucked into it.

Let me rewind for the youngbloods who didn’t live through the original. Vice City came out in the fall of 2002, and it was basically a love letter to 1980s Miami filtered through Scarface and cocaine money and pastel suits. You played Tommy Vercetti, a man fresh out of prison trying to build an empire while pop ballads and synth tracks bled out your radio. That world was loud, gaudy, sun drunk, and absolutely iconic. For a lot of us it was the first open map that felt like a real place instead of a level. You could just exist in it. Ride a scooter at night with the lights smearing past and feel like it all belonged to you.

So when folks heard we were heading there, the assumption was simple. Cash in on the memories. Slap a fresh coat of paint on the same beach and let grown men cry about their childhood. And listen, that would have sold a hundred million copies anyway. Nobody would have blamed them for running it lazy. But that is not what they did.

This joint is set in the state of Leonida, which is their version of all Florida, not just the one glamorous strip. The old beach is in there, sure, dressed up prettier than anything we’ve ever seen on a console. Underneath all that polish though, the bones are different. We are not in 1986 anymore. The setting is dragged into the present, full of phone cameras and viral clout chasers and the kind of swampy, alligator filled backcountry that the original never even hinted at. They kept the soul of the place and swapped out the year, and that single decision is why the trip feels brand new instead of recycled.

Then there’s the people you ride with, which is honestly the part that flipped my whole perspective. For once the series hands you a duo. Lucia Caminos and Jason Duval, a couple deep in the kind of trouble that doesn’t come with an exit. The trailer shows Jason rolling up to collect Lucia the day she gets out of lockup, and right away you understand these two are not playing tourist in paradise. Rockstar straight up said the deck has always been stacked against them. They want a fresh start somewhere that mostly chews up regular folks and spits them out broke.

That framing matters to me more than the graphics ever could. Because Lucia is the first fully realized female lead in the modern GTA era, and they didn’t make her some side trophy or a damsel waiting on rescue. She is a lead. She is in the driver seat of her own mess. As somebody who grew up watching this series treat women like furniture and worse, seeing a Latina come home from a cell and immediately become the engine of the story does something for me. It signals that the studio knows the world changed under their feet, and they are at least trying to change with it.

You see what I mean about the two feelings now. The shell is pure nostalgia. The water, the palms, the heat shimmer, the way the radio is gonna scratch some forgotten itch the second a certain song plays. But everything living inside that shell is a clean break. New leads, a modern era, a bigger and stranger map, and a story about two broke people trying to claw out of a hole rather than a kingpin building a tower of yes men. They are using the familiar wrapping to sneak you somewhere you have not been.

I keep circling how rare that balance actually is in this business. Most sequels pick a lane. They either chase the past so hard they suffocate, terrified to change a single beloved detail, or they burn the whole house down and alienate the people who showed up out of love. Hardly anybody threads it. You either get the safe rerun or the reckless reboot. What Rockstar seems to be doing is using the memory as a doorway, not a destination, and that is a much braver swing than the marketing lets on.

The wait has been its own kind of comedy too. This game got announced, leaked, delayed, leaked again, delayed again, until the running joke was that everything in your life would happen before it actually came out. Babies born. Relationships ended. Entire console generations aged. And now it finally has a real date sitting on the calendar, November 19, 2026, dropping on the current boxes while the rest of us on PC wait in the cut like we always do. After all that buildup, the easy move would have been to give the crowd a comfortable hit of pure throwback. Instead they’re asking us to fall in love with something that only looks like the past from across the room.

There’s a deeper reason the formula works on me, and I think it’s about how memory actually functions. You can’t ever really go back. What you remember is gone, polished by time into something that never quite existed. So a true return is impossible. What you can do is revisit the feeling while letting the details move forward, which is exactly what this is. The version of that coast I loved as a kid lives in my head, untouchable. This one isn’t pretending to replace it. It’s a grown up echo, the same vibe wearing different clothes, talking about different problems, run by people who weren’t even in the picture last go.

I won’t front like I have zero worries. A studio with this much money and this much hype can fumble. The price tag is steep, the special editions are doing the most, and history has shown these companies will squeeze a dollar out of nostalgia until it begs for mercy. There’s every chance the online side becomes another grindy storefront. I’m holding my excitement with both eyes open. But the core idea, the bones of what they’re building, has me believing.

Because at its best, that is what a return is supposed to be. Not a copy of a thing you loved, frozen and dusty. A reunion with a place that grew up while you were gone, that has fresh stories and new faces and the same heartbeat thumping underneath. That coast made me fall for open worlds twenty years ago. Now it’s pulling me forward into a story I’ve never heard, told through eyes I’ve never looked through. Old enough to feel like home. New enough to feel like opening day. I don’t know how they did it, but I’m already in the car with the top down, waiting for the sun to come up.

So let me turn it over to you. You ready for this one, or did the long wait wear the hype down to a nub? Does that November date actually hold? Is eighty dollars and up fair pay for a decade of work, or a stickup in broad daylight? And could a game this hyped still land flat and bomb? I’ve got my hunches. Pull up in the comments and tell me where you stand.

Staff Writer; Jay Baker

An older blerd with a lifelong love for anime, comics, manga, and gaming… Writing for fans who still believe great stories can come from a screen, a page, or a controller… He can be contacted at JayBaker@AfroGamers.com.

The question falls apart once Kengo is mentioned. Depending on you ask, Kengo is either truly amazing in how realistic it is or really boring in how overly realistic it is. I’m in the first camp but we’re talking about the most samurai game that would be fun to roughly anyone. Not the most Dark Souls of samurai games.

A Tale of Two Clans

That’s where we get to Way of the Samurai on the Playstation 2. It came out in 2003 and had you take the role of a ronin who arrives in a small town facing change as the new, foreign-influenced government rolls in. Yes, we’re out of the Tokugawa Era and now we’re in the Meiji Era. It’s 1878 and Japan has been opened.

There are two main factions fighting for power in the area, the Kurou Clan, lead by Tesshin Kurou, has had power for years and wants to hold on against the new government. The problem is that the new government, heavily influenced by western innovation and culture, have the advantage in weaponry.

To prevent loses, the Kurou opt to sell the iron foundry in the area but have to deal with the villagers who won’t leave. Mind you, it looks like everyone already bounced outside a few villagers and the rival clans. The village is bare, just about devoid of life and its just weird how the Kurou assaults the few folks still left.

The other clan is the Akadama Clan was formed by the illegitimate son of Kurou’s leader. Young and hotted, Kitcho wants to defeat the Kurou whom he can feels are traitors and smash the Meiji government. Tall orders right? Especially when your base of operations is a near ghost town where the population is mainly split between your two clans!

Where It Shines

There are two areas where Way of the Samurai shines. The first is the gameplay, it’s a straight up slash ‘em up action game. In some ways its similar to Samurai Warriors or Dynasty Warriors only you’re not mashing square over and over until its time to pop a Musou attack and clear the room. Instead, it’s a not-as-flashy version of the Warriors approach and it works since you’re not fighting on wide battlefields.

It’s also cool that you collect swords from fallen foes and can have them improved. Of course, since you only have a handful time to make money to do this. Also, you can only have two or three swords at a time. Swords gained can dull and break, losing their effectiveness.

The other area where Way of the Samurai shines is the story. Depending on your actions the game can take several different paths for six endings. You can avoid conflict and just leave Rokkotsu Pass without becoming involved or removing your sword. You’re also able to pick one of the clans or side with the villagers–all four of them.

From there, depending on how you carry out certain missions for the faction or what time of day that you run into main characters, the story can branch off. Character deaths also play a role in how the story unfolds. Way of the Samurai was pretty much ahead of other games in this respect.

Verdict

The glaring flaw with Way of the Samurai is that you only have two days of story. This changes with the sequels but this game gives you a little time to do quite a bit of story. On one hand, there’s not really much going on in Rokkotsu Pass because there’s no villagers. On the other, there’s a lot going on, you just showed up at the tail end of everything.

The bright side to this limitation is that it cuts down on the whole “I’m just gonna run around aimlessly!” style of plan. Some love that, I’m not a fan of it and it’s boring to watch and do. Doing that in Samurai and the game is over before you know it.

That aside, the actual combat is very solid, allowing for heated duels and intense melees. It’s a combat mechanic that totally works. Definitely pick up Way of the Samurai if you can. It’s available on PSP and you’ll have to hunt for it Amazon or eBay–where it’s most likely worth more than it was at launch.

Rating: 7 out 10 (Recommended)

Staff Writer; M. Swift

This talented writer is also a podcast host, and comic book fan who loves all things old school. One may also find him on Twitter at; metalswift.

Like Destiny 2, WF is very much a live service game meaning it’s meant to stay active via constant seasonal content and updates as well as regular expansions. These games make their bread either by selling the expansion while the game itself is free, having stuff that can be purchased in the premium shop, seasonal passes—or all three. Oftentimes, all three are utilized since the seasonal pass and seasonal content keeps things alive.

Live Service is a Hard Road to Travel

Most of the time when a game is developed it’s either meant as a one-off story, a potential series-starter, or a sequel but it’s often a contained story that might get DLC before the studio moves on. They’re rarely meant to be live like the multiplayer modes of Call of Duty. Live service is more the realm of MOBAs and MMORPGs which come in as massively online experiences as soon as they’re installed.

As it would go, live services exist within MMO’s metropolitan area without having a residence in the city proper. But the studio has to be able to support it consistently. That means regular seasons every two to six months that have a theme and keep players involved and engage in the game world followed by an expansion.

The expansion serves as a mini-sequel or soft sequel without being a full-on sequel with a number and subtitle. Mind you, Bungie sells expansions for the price of a full game but those come around every year or two but they have the fanbase and the players tend to be enthusiastic even if there are elements they don’t care for much.

That’s ultimately what a developer takes this road wants: a dedicated fanbase for the title. You only get that with rewarding missions and gameplay and an engaging, constantly evolving story. The mix of this concoction varies from game to game and developer to developer but those who apparently hit that perfect mix for them tend to stick around for a long time. Sprinkle in free-to-play and boom!

Much like Warframe.

Warframe is Hanging in There

Again, released in 2013, WF is a sci-fi third-person shooter where you as a recently unfrozen Tenno—humanoid warriors who are one with their bio battle suits—to combat a variety of alien lifeforms. Tennos utilize different kinds of weaponry as they take on galaxy-spanning missions to deal damage and defeat these hostile lifeforms.

Typical sci-fi stuff, really. Like other live service games, a premium store where things and currency can purchased that can be used with any particular in-game mechanic. There’s always a special currency with these types of games—such as platinum in Diablo IV.

The story is just enough that a developer can keep going with the game while throwing in storyline stuff and pushing the main story along every few years. What keeps players engaging with WF is some fun gameplay, decent gameplay, cosmetics and better gear to snag, and a leveling system players can work on.

The goal is to make it challenging and rewarding for the dedicated players and accessible enough for new and returning players. It’s a real tightrope act because if you make things too easy, your diehards are going to be annoyed since their effort for years prior might come off as pointless. However, if things are too difficult or convoluted, that’s a good way to not see return players or retain them.

You simply end up with your diehards who—while loyal—you can never truly satisfy. There will be something they didn’t enjoy and those players are regulars and might be familiar to the team. The loudest and rowdiest tend to have a voice in the core community.

Of course, that all only matters if you’re really involved with the community. If you’re not in the official Discord or on their forums, it doesn’t matter. You’re here to play the game. With that said, Warframe has a dedicated community that keeps the game alive and keeps the devs busy.

There are a few games that should be watched to see how this is done. While WF doesn’t have the live population of Diablo IV or Destiny 2, it has stayed alive for over a decade with a population often in the lower five figures.

Do you play Warframe, Diablo IV, or Destiny 2? What keeps you playing and what would make you take a break from the grind and the loop? As always let us know!

Staff Writer; M. Swift

This talented writer is also a podcast host, and comic book fan who loves all things old school. One may also find him on Twitter at; metalswift.