Remedy Entertainment's Control is a bizarre yet totally captivating action game that feels like Die Hard by way of David Lynch. InControl: Resonant, players step into the role of the original game's most enigmatic and unsettling characters for their own jaunt through a 'new-weird' world outside The Oldest House.Just ahead of the reveal at The Game Awards, we got an early look at Control: Resonant, the next game in the Remedy Connected Universe. Along with learning why the developers wanted a new protagonist, they also explain why this Neon Genesis Evangelion-inspired sequel is the most expansive game they have made to date.Seven years after the events of Control, the hostile supernatural force that plagued The Oldest House has invaded Manhattan. As the massive urban landscape morphs into an otherworldly nightmare and the Federal Bureau of Control director, Jesse Faden, goes missing, the remaining FBC sends her brother, the notorious supernatural entity Dylan Faden, into the city to stop the invasion. To find his sister and stop the devastation from spreading beyond New York City, Dylan will have to embrace his powers, and some occasional guidance from The Board, to take on the malevolent forces looking to reshape the world.In the years since Control's release, developer Remedy has expanded the story into a larger, connected universe spanning multiple games, including the Alan Wake series and the co-op spin-off FBC: Firebreak. Control: Resonant picks up on many threads left by recent games including Alan Wake 2, which saw the FBC investigate the supernatural events following the titular character. However, the sequel is going with a bit of a different direction, this time embracing melee-driven combat and a more "open-ended" approach to exploration within the Inception-style landscape of Manhattan. Though the developers were clear that it is not an open-world game, they stated during the presentation that it is embracing a more action-RPG approach and that it's also the most expansive game they have ever made.It's an interesting premise for a sequel, especially considering the focus on the original game's most unnerving characters. But according to creative director Mikael Kasurinen, the concept ties into showing parallels between the Faden siblings and how they navigate this new-weird world."Each game represents one of the siblings and their respective journeys through this world. Because of this, you can play these games in any order; they stand on their own feet like two independent siblings," Kasurinen said. "When Dylan wakes up, he's the only one who can fight back against the Hiss and try to contain the disaster. He has lived his whole life inside The Oldest House, so the door leading outside to Manhattan might as well be a portal to an alien world. To him, this leads to a discovery of a new reality, just like what The Oldest House was to Jesse."Much like the original game, Control: Resonant maintains that balance of exploration, discovery, and over-the-top action beats to overcome. The sequel leans a bit further into the latter, with Dylan adopting a more aggressive, brawler combat style with his shapeshifting melee weapon. We got to see Dylan switch between short-bladed weapons and a massive hammer, which opened some cool looking combo attacks. It's very much in the vein of Jesse's Service Weapon, but now designed for getting up close to deal heavy melee damage.Control Resonant screenshotRemedy EntertainmentFrom what we saw in the footage, the core combat feels equal parts Nier: Automata and DmC: Devil May Cry, showing Dylan dodging attacks and slipping through blind spots to unleash ground and aerial combo strikes. It's a notable shift away from the third-person shooting gameplay from the original, but it still captures the same weird, otherworldly feel. According to the creative director, the core inspiration for making a sequel with a new character was to contrast storytelling perspectives and gameplay styles as he puts it, both characters represent two sides of the same coin."When we looked at the siblings [as characters], it was almost like turning to the other side of a coin Jesse uses a gun, but Dylan chooses a melee weapon. When we created the large environments, compared to the original, it was a challenge to incorporate shooting combat, as we didn't want people to have to keep finding cover to avoid fire. But with melee weapons, the combat instantly became more aggressive and intimate, where you're really going for the enemies. It really changed the dynamic of the Control combat experience. So it felt right, and it's also refreshing for us to create something a bit new for us."So far, Control: Resonant looks like a sequel that ups the weirdness of the series and takes it into the twisting, inverted streets of Manhattan. It's a stunning-looking game, and one particular source of inspiration for the creative direction was the seminal 1990s anime series Neon Genesis Evangelion. Having seen the game's corrupted world and enigmatic protagonist in motion, that totally tracks. I can't wait to see what other oddities are to come in Remedy's new-weird sequel.Control: Resonant will arrive in 2026 for PC/Mac, PS5, and Xbox Series X/S.Control Resonant screenshotRemedy EntertainmentThis article originally appeared on Engadget at https://www.engadget.com/gaming/control-resonant-steps-into-a-larger-world-thats-inspired-by-neon-genesis-evangelion-021310781.html?src=rss
Larian Studios didnt rest on its laurels for long. Two years after taking home the Game of the Year prize for Baldurs Gate III at The Game Awards, the developer popped up again at the 2025 edition of the ceremony to announce its upcoming project, which is the next entry in the Divinity series. Simply called Divinity, this will be the studios biggest game to date with more breadth and depth than ever before, according to TGA host Geoff Keighley.After 2017s Divinity: Original Sin II, Larian took a break from the series with which it established itself to make BG3. The rumor mill had been churning about a new Divinity game after Keighley shared a photo of a statue that was erected in the Mojave Desert. The shape of the statue matched a Divinity logo that was trademarked recently.Before the reveal trailer was shown at The Game Awards, a short (and rather neat) live performance took place in which some actors were hoisted into the air. The trailer itself is pretty gruesome. It references The Wicker Man, as large wooden effigies with people chained inside are set ablaze. I wont spoil what else happens other than to say its pretty gruesome, so maybe dont watch it quite yet if youve just had dinner.Larian hasnt announced a release window for Divinity yet.This article originally appeared on Engadget at https://www.engadget.com/gaming/larian-studios-is-returning-to-the-divinity-series-with-divinity-015833088.html?src=rss
Many of the big announcements at The Game Awards are for completely new projects, some of which are total surprises (if you had an Okami sequel on your bingo card last year, you're either in the know or probably used up all your luck for the next few years). We'll often get updates on games that were previously announced too. The trailer for Order of the Sinking Star is something a little different, as it's a game that Braid designer Jonathan Blow has been working on fairly openly since releasing The Witness in 2016. The trailer revealed some new details, including confirmation of the expected title and a release window (2026 on Steam, with more platforms to be announced). Ahead of The Game Awards, Blow gave Engadget a preview of the game and explained some of its many complexities.Fundamentally, Order of the Sinking Star is a grid-based puzzle game in which you'll move blocks around to complete an objective. You might know of this as a Sokoban game, named after the series Hiroyuki Imabayashi created about pushing boxes around a warehouse.But this is a Jonathan Blow game, so nothing stays too simple for very long. Blow and his team took the core concept of pushing objects around and built on it in myriad ways, with a wide array of environments, mechanics and characters for you to get to grips with. Order of the Sinking Star starts with you playing as a deposed queen from another world who is transported to a strange place. This turns out to be the tutorial. Among other things, you'll find out about the undo button, a handy option you can use to revert your actions if you get stuck. It's probably worth being careful with this button, as Blow says it's possible to undo thousands of moves with it. There's a level reset option too.The first phase of the game has four distinct territories with their own characters, stories and gameplay mechanics. One of these realms has a fantasy theme with a warrior character who can push multiple objects that are in a row. His friend, the thief, can only pull objects. The wizard, meanwhile, can teleport and swap positions with objects or other characters. Sometimes, you'll use multiple characters in a level and swap between them to solve puzzles. Theres a talking boat somewhere, too.You'll take what you learn within individual levels into the overworld so you can make progress there. For one thing, the queen can wear a warrior, wizard or thief outfit to adopt their abilities and solve puzzles in the north section of this phase. Over in the east, theres a world with mirror-based puzzles. By positioning the mirrors and where you stand, you'll use the mirror's reflection to teleport at a right angle. If your character (or an object) has a reflection in two mirrors, they can be duplicated, which is something you might have to do a few times if a level requires you activate multiple switches at the same time.Once you near the end of two of the phase one worlds, you can enter one of six gold rooms. In these rooms, which are the gateways to the second phase of Order of the Sinking Star, some of your characters meet each other for the first time. For instance, the guy from The Mirror Isles and the wizard might encounter each other in a gold room and then you can use their combined abilities to solve puzzles. Given that later-game levels combine mechanics from the early stages, they are naturally more complex. Shifting to 3D perspectives will ramp things up too.Order of the Sinking StarThekla/Arc GamesYou can tackle the four worlds that make up the first phase in any order. Collectively, they contain "days worth of gameplay," Blow said. And yet he claimed this first phase accounts for about five percent of the entire game. All told, there are about 1,400 puzzles, many of which are optional. If you're a completionist, you'll need to be pretty dedicated to see this through. Blow estimates that it'll take around 500 hours for a player to do absolutely everything in the game. The overworld has more than 100 screens from which you can jump into individual levels. "All the levels are about ideas. They're not just random puzzles," Blow said. "We don't add puzzles to the game unless they show something cool about how the objects interact. Then, once you see the cool thing, you come back to the overworld, and you navigate from that screen using the cool mechanic that you learned.""We" is a key word there, because it's not as if Blow has been making Order of the Sinking Star by himself for the last decade. His studio, Thekla, has around 10 people working on the game full-time along with another 10 or so part-time contractors. Those who contributed include puzzle game designers Alan Hazelden and Marc ten Bosch. Some members of Blow's Twitch community who "contributed some idea to one of the levels somewhere" will receive design credits too.Blow and his team use custom game engines for their projects. Starting in around 2013, he started livestreaming his work on the programming language that Order of the Sinking Star is written in (Thekla will eventually make the engine available for free as an open-source project). "Once I was working on the game, it was a good way to show people what the programming language was about and also how game programming works, and so I would frequently do just streams where we would sit down and implement something," Blow said. Some of the design work he did on stream ended up in the final game.Order of the Sinking StarThekla/Arc GamesAfter such a long time of working on Order of the Sinking Star, the end is in sight for Blow and his team. The main focus for the last year or so has been on making sure all of the puzzles align with the overworld. Making art for many hundeds of levels is a major undertaking too, while Blow is still refining the story. "Because there's a lot of these levels and a lot of characters in the levels, it's just natural for them to talk to each other," Blow said. "And so what is that dialog and what does it do? Is it just little jokes that don't add up to anything? Or do you get little peeks into a larger narrative? I think the latter is obviously better. And so that's my main task between now and release, is making sure that the story is really good."Blow had the core concept of having separate worlds with mechanics that work across them in place from the very beginning, though how that worked in practice evolved a lot over time. For instance, the overworld idea wasn't set in stone from the outset. There was an overworld in place by around 2021, "but it wasn't organized in the way the current one was. It was just sort of areas smushed together," Blow said. "At some point, I came up with this concept that it was spatially organized in an almost ritualistic manner or a mathematical manner, whichever way you want to think about it. And we redesigned the overworld from that point, and from then till now, it's been just sort of a continuous improvement."Order of the Sinking Star was originally supposed to be a much smaller game that took around 10 or 20 hours to play, but "it just blew up," Blow said. "Part of development has just been dealing with that fact. Like, oh, my God, this game took so long to make. It actually feels really good to be here toward the end. We still have a fair bit of work to do before it's done, but we can see the ending from where we are now, and that's great."This article originally appeared on Engadget at https://www.engadget.com/gaming/ten-years-after-the-witness-jonathan-blows-next-massive-puzzle-game-is-almost-ready-for-primetime-015727378.html?src=rss
Coven of the Chicken Foot has a lot of things going for it already, in my book. It stars a hero rarely seen in video games, an elderly woman, and it has gorgeous storybook-style art in a lush fantasy setting. Its a single-player puzzle platformer, it relies on wordless storytelling and the woman, a witch named Gertie, travels with a creepy-cute companion. Plus, Gertie has chicken feet. I love her little chicken feet.Coven of the Chicken Foot is the first game from Wildflower Interactive, the independent studio founded by Naughty Dog veteran Bruce Straley. The game is coming to Steam and its available to wishlist now, though theres no firm release date. The first trailer for Coven of the Chicken Foot premiered at The Game Awards 2025, showing Gertie and her friend traveling together through caves, forests and temples. Gertie is on a quest to prove herself to the local coven by standing up to the self-appointed, prideful heroes of the land. She doesnt have a sword or a dodgeroll, and instead has to figure out how to work with her strange friend to survive. Her companion develops unique behaviors based on individual play styles, shaping how Gertie gets around.Straley left Naughty Dog in 2017 after almost 20 years with the studio, where he directed The Last of Us and Uncharted 4. He announced Wildflower Interactive in July 2022 with a brief YouTube message, saying, In 2017 I left the industry not sure if I wanted to make games anymore. But the longer I was away, I kept thinking about this medium, and everything yet to be done and everything I wanted to do still. And this idea kept following me. So I grabbed some friends and we started prototyping.This naturally led to the formation of a studio, Straley explained. We have to do it the right way, he said in the video. It has to be inclusive, equitable and collaborative, full of big-hearted people that want to grow both professionally and personally. The culture needs to be as iterative as the way we make games.Coven of the Chicken FootWildflower InteractiveToday Wildflower Interactive has 16 employees from AAA and smaller-scale backgrounds, according to its website. Its mission statement reads as follows:Were making small-ish, creatively-charged, uniquely-stylized games that explore the possibilities of our medium. And were building a small, open-hearted team of creators that want to improve their skills and still lead a good life outside of work. People that want to hone their craft, have a say in the process, feel respected for their contributions, and be a part of the evolution of this awesome medium.Im not going to say the studios direct and repeated emphasis on work-life balance, diversity and compassion is a response to the soulless capitalistic grind built into the AAA development complex, but Im not going to not say that, either.This article originally appeared on Engadget at https://www.engadget.com/gaming/pc/coven-of-the-chicken-foot-is-the-debut-game-from-naughty-dog-alum-bruce-straleys-indie-studio-014004553.html?src=rss
The Game Awards kicked off with a bang, showing the world premiere of Star Wars: Fate of the Old Republic. It's a brand new action role-playing game that will be directed by Casey Hudson, who previously headed up several notable BioWare games you probably know like Mass Effect and Star Wars: Knight of the Old Republic.Theres not much to go on in the trailer, but the game simply existing is a pretty great surprise and this cinematic trailer sure looks shiny. Hudson is working with Arcanaut Studios on this project, which is described as an epic interactive adventure across a galaxy on the brink of rebirth where every decision shapes your path towards light or darkness. Which kind of sounds like Star Wars crossed with Mass Effect, and I am personally very excited for that combo. This article originally appeared on Engadget at https://www.engadget.com/gaming/star-wars-fate-of-the-old-republic-is-a-new-action-rpg-from-the-director-of-mass-effect-and-kotor-012913046.html?src=rss
Capcoms long, long-delayed sci-fi shooter Pragmata finally has a release date. Its headed your way on April 24, 2026 on Steam, PS5, Xbox Series X/S and as Capcom confirmed in a trailer at The Game Awards Nintendo Switch 2. You dont have to wait another four months to try it out, though. A gameplay demo is out now on Steam. It will be available for consoles at a later date.Pragmata first emerged all the way back in 2020 and Capcom initially planned to release it in 2022. After multiple delays, the game will arrive four years later than the company anticipated. This is the first entry in a new franchise from Capcom, so taking extra time to get things right is not exactly a bad idea. Pragmata, which is set in a dystopian near-future, features the dual protagonists of Hugh Williams (a heavily armored fella) and Diana (an android with special powers). The two have to work together if they want to escape from a lunar research station thats filled with malevolent robots. To defeat these clankers, Diana has to hack them to disable their defense systems and make a weak point available for Hugh to attack.This article originally appeared on Engadget at https://www.engadget.com/gaming/capcoms-pragmata-is-coming-your-way-on-april-24-010826258.html?src=rss
A lot of trailers drop during The Game Awards, but the comedy of Bradley the Badger stood out from the pack. The conceit is similar to Wreck-It Ralph. Bradley, the protagonist of a fictional platforming series, is suddenly transported into the worlds of other unfinished video games; the trailer shows a badger-ified Bloodborne, Cyberpunk 2077 and The Last of Us. He also has access to a kit of dev tools that let him modify these incomplete projects, getting a taste of making a game. As the trailer ends, Bradley briefly crosses into the real world and comes face to face with an actual game developer. This looks like it will be a funny and very meta game. Astro Bot made that combo work brilliantly, so here's hoping Bradley the Badger does too. "Bradley is part love letter to videogames and part satire of them," said Christian Cantamessa, co-founder of Day 4 Night Studios. "Games are an art form and this is a story inspired by our adventures making them." Cantamessa and fellow co-founder Davide Soliani have some big credits on their resumes, including Red Dead Redemption, Middle-earth: Shadow of Mordor and Mario + Rabbids Kingdom Battle. The titular badger is voiced by Evan Peters, who has been in the recent X-Men movies as well as Tron: Ares.The team is planning to release the game on Steam, with consoles possibly to follow, but no timeline has been given yet.This article originally appeared on Engadget at https://www.engadget.com/gaming/bradley-the-badger-looks-like-wreck-it-ralph-as-a-real-video-game-005634520.html?src=rss
Apple has clawed back a bit of ground in its legal fight with Epic Games that could have wide-reaching consequences for all app developers. Today, the 9th U.S. Circuit Court of Appeals mostly upheld a previous contempt ruling regarding fees Apple levied on third-party payment systems. However, the judges did decide to reverse the order that Apple cannot charge any commissions on those external payments, which was one of the company's main arguments in this ongoing debate. To catch you up, US Judge Yvonne Gonzalez Rogers initially ruled in 2021 that Apple must allow third-party payment systems, although her decision fell shy of calling the tech company's control over the App Store a monopoly. In May 2025, she ruled that Apple's 27 percent commission on those outside payments violated her previous order. Apple responded with an emergency motion to appeal that finding. Epic Games had taken its smash hit Fortnite off both the Apple App Store and Google Play Store while it was in court arguing these cases. Fortnite returned to iOS in the spring and just arrived back on Android devices today.This article originally appeared on Engadget at https://www.engadget.com/big-tech/apple-mostly-loses-its-appeal-in-epic-games-case-235509557.html?src=rss
Amazon's plan to offer AI-generated recaps of Prime Video shows isn't off to a great start. The company's recap of the first season of Fallout features multiple errors, GamesRadar+ writes, including basic facts about the plot of the show.You can watch the recap yourself in the "Extras" section of Amazon's Fallout season two listing in Prime Video. Besides being somewhat dry, the AI-generated recap incorrectly identifies the time period of the show's Los Angeles-set flashbacks as being the 1950s, when they're actually 2077 (the Fallout franchise is set in an alternate history that diverged from our real one after 1945). As Gizmodo notes, the recap also seems to misunderstand the ending of the first season, which sets up season two's partnership between vault dweller Lucy and The Ghoul, an irradiated wastelander with a personal connection to the mystery at the heart of the first season.While the recap suggests Amazon's AI system can successfully combine clips, music and dialogue into a coherent video, it apparently lacks an understanding of the details. The inaccuracies in this recap won't prevent anyone from enjoying the second season of the show, but they don't exactly inspire confidence in Amazon's tool either. It also seems like a problem that could have been easily solved by having a human employee who's watched the show review the video before it was uploaded.Unfortunately, Amazon's lack of AI quality control extends beyond recaps of its shows and into the dubs for the shows themselves. The company pulled AI-generated voiceover tracks for Banana Fish and other anime because of how bad they sounded earlier this week. It wouldn't be surprising if this recap gets pulled, corrected and re-uploaded, too. As Amazon adds more AI-generated content to its platform, users are bound to discover more ways it comes up short. The company's audience is too big, and AI is apparently still too unreliable for it to be avoided.This article originally appeared on Engadget at https://www.engadget.com/ai/amazons-ai-generated-recap-tool-didnt-watch-fallout-very-closely-215712958.html?src=rss
This morning Disney and OpenAI announced a three-year licensing agreement: Starting in 2026, ChatGPT and Sora can generate images and videos incorporating Disney IP, including more than 200 characters from the company's stable of Star Wars, Pixar and Marvel brands. To say these companies make for strange bedfellows is an understatement. The agreement brings together two parties with very different public stances on copyright. Before OpenAI released Sora, the company reportedly notified studios and talent agencies they would need to opt out of having their work appear in the new app. The company later backtracked on this stance. Before that, OpenAI admitted, in a regulatory filing, it would be "impossible to train today's leading AI models without using copyrighted materials." By contrast, Disney takes copyright law very seriously. In fact, you could argue no other company has done more to shape US copyright law than Disney. For example, there's the Sonny Bono Copyright Term Extension Act, which is more derisively known as the Mickey Mouse Protection Act. The law effectively froze the advancement of the public domain in the United States, with Disney being the greatest beneficiary. It was only last year that the company's copyright for Steamboat Willie expired, 95 years after Walt Disney first created the iconic cartoon.On the face of it, it's unclear OpenAI is getting much value out of the deal. As part of the pact, Disney will host a "curated" selection of Sora-generated videos on its streaming platform Disney+, legitimizing the medium of AI-generated video in a way it hasn't been before, but it would appear Disney has the option to spotlight as much or little of it as it sees fit.Additionally, the $1 billion Disney agreed to invest in OpenAI is a drop in the ocean for a company that's expected to burn through more cash in five years than Uber, Tesla, Amazon and Spotify did combined before they became profitable. If anything, the addition of Disney characters is likely to make operating ChatGPT and Sora more expensive for OpenAI; the company will now need to pay a licensing fee on top of the cost of running its servers to generate images and videos. At this stage, it's also hard to put a value on Disney's pledge to use OpenAI's APIs. The company has said those tools will "enable new products, tools and experiences," including some found inside of Disney+, but beyond that it hasn't shared specifics.Bob Iger might be feckless, but he's not stupid. Sometime this week or soon after, President Trump is expected to sign an executive order that makes good on part of his AI Action Plan from July. Specifically, the president has promised to fight against "burdensome" state-level regulation of AI. According to CNN, a recent draft of Trump's order calls for the creation of an AI Litigation Task Force to challenge and preempt state AI laws in favor of the president's own more lax regulatory regime. It's unclear how successful the administration will be in that effort, but clearly Disney is thinking ahead. It's banking on the fact that this time it won't be able to count on the federal government to shape copyright law in its interest, so instead it's making a deal with an industry pushing the boundaries of intellectual property rights as we know them. More importantly, it has partnered with the one AI company it can actually leverage. As I argued in a recent piece, OpenAI is in a far different and more precarious position now than it was at the end of 2022 following the release of ChatGPT. The company is just one AI provider in a sea of competition, and you can't even argue its models are the best, based either on benchmarks or user feedback. Moreover, OpenAI has yet to turn a profit, and has adopted an extremely risky investment strategy. In recent months it has signed more than $1.4 trillion worth of infrastructure deals, hoping to outmuscle the competition that's already beating it through scale. It's not an accident Disney sent a cease-and-desist letter to Google a day before its agreement with OpenAI became public. OpenAI might be the most valuable private company in the world, but Alphabet, Google's parent company, is worth more than $3 trillion. In any negotiations between the two, at best Disney would be on equal footing, and certainly not in a position where it could demand some amount of control over Google's AI projects. And yet by accounts it won exactly that from OpenAI. According to Axios, the deal gives Disney a fair amount of control over how its intellectual property is used. The two will form a joint steering committee designed to monitor the content users create on ChatGPT and Sora. As you surf the web today, you'll likely see a lot of opinions on how this legitimizes AI video. And while that's true, far more important is the fact Disney has secured a seat at the table to decide how the technology evolves over the coming years. Much like with news publishers, OpenAI and other chatbots concerns took a stance of begging forgiveness rather than asking permission towards copyright. It seems to have paid off. Most of the highest-profile news organizations have signed licensing deals to at least be paid a little rather than be ripped off until reaching an uncertain verdict in court. Disney seems to be signalling that the same speculation rush is about to begin for audiovisual licensing, and it may have already secured the most favorable terms. This article originally appeared on Engadget at https://www.engadget.com/ai/disneys-deal-with-openai-is-about-controlling-the-future-of-copyright-213009504.html?src=rss
