Xbox Series X Isn’t Only About Better Graphics, Phil Spencer Says

Microsoft is releasing a new Xbox this year with the Xbox Series X, and while the graphics will indeed look better than current-gen games, the jump in visuals might not be as pronounced as before in the last console transition. Xbox boss Phil Spencer spoke about this during a Gamelab interview.

While the increase in visuals might not be as immediately identifiable with Xbox Series X compared to Xbox One, Spencer said next-generation games will feel more “immersive” thanks to the power of the Series X.

“I think we’re at a point now–with immersion, with the tools we have and the compute capability–that the deltas will be smaller from a visual impact, or that feature X was never possible before and now it is,” Spencer said, as reported by GI.biz. “And that might sound depressing to some, but what I would say is the advantage side of what I’m seeing now is really the immersive nature of the content that’s getting created.”

The Xbox Series X (and the PS5, for that matter) will use its expanded horsepower to improve load times and frame rates, Spencer said.

“We’re able to get to almost lifelike graphics today, even on current-gen in certain instances,” Spencer said. “But when you take that and you mix it with a very high frame rate, solid frame rate, very little latency in input, and the ability for game storytellers to really push the emotion and the story they’re trying to get through their game, through the screen, through the controller and into you? That is something I’m feeling in the games now that is a dramatic step up.”

Spencer said next-generation games that leverage this new technology will be capable of achieving “even more feeling and impact.”

The Xbox Series X releases this holiday with Halo Infinite as a launch title. Microsoft will release more details on Halo Infinite and the company’s other upcoming exclusives during an event in July.

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The Last of Us Part 2: ‘No Plans’ for DLC

The Last of Us Part 2’s director, Neil Druckmann has made clear that there are ‘no plans’ for DLC after the game’s launch.

Speaking during a spoilercast for the game on the Kinda Funny Gamescast, Druckmann was asked about whether the new game would follow the original’s lead with a Left Behind-style story DLC.

“No, with Last of Us I think we had some season pass or something that said ahead of time we have some story DLC – no there’s no plans for that.”

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This doesn’t discount a multiplayer take on the game, like The Last of Us’ Factions mode, as we’ve previously heard that that will be released as a standalone game of some kind.

The wording of the original announcement – which said “when and where it will be realized is still to be determined” – could suggest the mode will arrive on PS5.

We awarded The Last of Us Part 2 a full 10/10 review, and we called it “a masterpiece worthy of its predecessor”. If you’ve finished the game recently, both Podcast Beyond! and the IGN UK Podcast have recorded full spoilercasts on their feelings about the game.

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Joe Skrebels is IGN’s Executive Editor of News. Follow him on Twitter. Have a tip for us? Want to discuss a possible story? Please send an email to [email protected].

Cyberpunk 2077: PC-Exclusive Ray-Tracing Effects Revealed

The PC-exclusive ray-tracing effects coming to Cyberpunk 2077 have been revealed by Nvidia.

As part of the graphics card manufacturer’s technical partnership with CD Projekt Red, Nvidia is bringing four immersive ray-traced effects to Cyberpunk 2077, which will enhance the game’s performance and fine-tune its fidelity. You check out screenshots of the effects in action below:

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These immersion-bolstering effects include Ray-Traced Diffuse Illumination, which “captures sky radiance” and emissive lighting to ensure that the sun and moon “realistically illuminate Night City.” The game will also feature Ray-Traced Reflections which as you might have guessed, make reflections more realistic in how they simulate the way light affects surfaces.

Ray-Traced Ambient Occlusion will also affect the game’s shading tech on PC, further darkening objects with ambient lighting. Finally, Ray-Traced Shadows have allowed CD Projekt Red to bring “pixel-perfect shadows” to the game, as well as “directional shadows from sun and moon light” to further increase your immersion.

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Cyberpunk 2077 will also utilise Nvidia’s DLSS 2.0 technology, an AI Rendering system that uses a deep learning neural network to boost frame rates “while generating beautiful, crisp game images,” which should in theory allow you to crank the settings on launch. Nvidia also revealed that the game will land on its cloud streaming service, GeForce NOW, at launch, with support for ray-tracing effects baked in.

It’s possible that these ray-tracing effects could make it to the upgraded PS5 and Xbox Series X versions of the game arriving post-launch, but there’s no confirmation of that right now.

For more on Cyberpunk 2077, check out our article covering the four hours of gameplay we experienced during a recent preview. If you missed yesterday’s slew of announcements via CD Projekt Red’s Night City Wire, you can catch the full broadcast here. 

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Jordan Oloman is a freelance writer for IGN. Follow him on Twitter.

Assetto Corsa Competizione Review

Assetto Corsa Competizione is the exclusively GT3-focused offshoot of the fan-favourite, mod-friendly Assetto Corsa. That darling of the PC racing simulator community was ported to console back in 2016 to mixed results.

Competizione, though, is in most ways a vastly better racer than its broader progenitor: there’s night racing, there’s dynamic weather, and the AI is leaps and bounds more civilised and capable of battling fair and yielding corners. The problem is the console versions’ performance and control issues make it seem like it wasn’t quite ready to be released yet.

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There are, no doubt, fans out there that will regard the contraction in total content between the original Assetto Corsa and Competizione disappointing, because scaling down to a single racing discipline means Competizione admittedly sheds a lot of surplus rides and racetracks. However, I think Competizione’s laser-like focus on a single underrepresented school of virtual racing is quite brilliant. Endurance racing is a fantastic challenge and, while it requires long stretches of unbroken focus and rapid reflexes, when you get into a consistent rhythm there’s an almost meditative quality to it.

Competizione understands this and includes an official selection of some of the world’s most respected circuits, and scores of racing opportunities: quick championships, long championships, a career mode, and host of fully-customisable custom events. Multiplayer is obviously supported and you have to reach a high track knowledge and safety rating in-game to be able to enter the competitive servers. However, custom lobbies aren’t available at launch and the game hasn’t let me into a single quick public race to date; it’s been greeting me with ‘No Servers Available’ for days.

The arsenal of exotic GT3 steeds on hand may be slim compared to some of Competizione’s racing peers, but they’re very distinct from each other in terms of handling characteristics and there’s a real world of difference between, say, a mid-engine Ferrari and a Bentley, which is a front-engine British holiday home on wheels. Moreover, they sound absolutely astonishing. The audio is a huge highlight overall, from the raw, mechanical squeaks and shrieks over the wicked exhaust tones to the bespoke track announcers in the background at each circuit.

Unfortunately, there are a few complicaziones.

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Off the Pace

Unlike the PC version, the Xbox One and PS4 versions of Competizione run at 30 frames per second, even on the One X and the Pro. That fact alone is not a sore point necessarily; hugely successful console racers like Driveclub and Forza Horizon 4 also run at 30 frames per second and they’re amongst some of the most visually-accomplished racing games of their generation. The key point of difference is those games have rigidly locked framerates, while Competizione seems to flutter. The result is a slightly uneven experience that obviously lacks the silkiness of the PC version, but also misses the consistency of other console racers: whether they run at 60 frames per second or a locktight 30. This is when I was playing on Xbox One X, too; not the standard launch consoles. Oddly enough, beyond the occasional temporary freeze on track, the frame rate seems at its worst in the menu screens, drastically diving to the point where the spinning car select screen resembles stop-motion animation.

It’s less of an issue, but it’s very noticeable that the steering animation has a tendency to appear wildly erratic when driving aggressively using a gamepad. The rotations seem like they’re matched to stick position rather than how fast a human could realistically twist a wheel. It makes the full cabin view and the otherwise well-positioned helmet cam a bit of a bust for pad users, so in these instances I found myself sticking with the more zoomed-in dash view – which crops out the steering wheel entirely.

The pad controls are otherwise pretty well-tuned; they’re a little devilish before the tyres come up to temperature but I had some great races and battles playing this way. The Blancpain series represented in Competizione allows factory traction control and ABS, which I tend to find useful playing racing sims with giant hands on tiny triggers anyway, and that helps make the pad controls less daunting. The default steering settings are intuitive enough to let you generally catch and correct a little oversteer; you just need a delicate touch on turn-in as the steering is quite sensitive on the stick. Controller force feedback is a bit vanilla, though, and the controller response to clipping curbs is pretty feeble.

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The Wheel Deal

Competizione is, of course, aimed at racing enthusiasts, and using a wheel makes you mostly immune to those weird driver arm display quirks. However, getting it working in the first place was bafflingly cumbersome. Our Thrustmaster TS-XW Racer wasn’t even properly detected at first, and then the buttons worked but not the steering or pedals. After a bunch of apparently fruitless fiddling around in the control assignment menus and a pair of reboots, I eventually got it running by resetting the button bindings (twice) and turning the wheel off and on again. I should restate that all this fussing was done with the d-pad and buttons on the wheel itself; Competizione recognised them, but not the throttle, brake, or any steering input. Once the wheel had finally registered I took the track only to discover my maximum wheel rotation had arbitrarily switched itself to just 40 degrees, which is utterly undriveable (this bug repeated itself several days later after going through the same broken process of plugging in the Thrustmaster). Helpfully, most settings (including steering rotation limit) can be manually adjusted through the pause menu without quitting the track but this issue with steering wheels is a supremely daft problem to have considering it’s clearly built to be played this way.

After finding a suitable wheel rotation angle, force feedback on the TS-XW seemed surprisingly flaccid at first. That was odd considering how impeccable the driving experience is in the console port of the original Assetto Corsa, but that of course has its own problems. I’ve improved it via some finagled settings but it’s still probably a bit lighter than I’d like.

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Regardless of whether you’re using a wheel or pad I can’t personally recommend the chase camera; it’s rather stiff, so the moment you get any kind of oversteer the camera yaws instantly, exaggerating even minor slip and regularly turning small losses of control into total tankslappers. Chase cam isn’t my preference in racing sims at the best of times and I found this one extra challenging due to these factors.

Also, regardless of whether you’re using a wheel or pad, don’t bother with manual options for things like the pit limiter, or lights or wipers and such; there are already about a billion more things to map functionality to than you’ll have buttons. We’re not working with keyboards here!

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21% Of Ori And The Will Of The Wisps Players Finished The Game

One of Microsoft’s biggest exclusives of 2020, Ori and the Will of the Wisps, has reached a new milestone. The game’s Twitter account announced that the Xbox One and PC game has reached “2 million spirits,” which seems to be how many people have tried the game so far.

This isn’t a direct sales figure, however, as Will of the Wisps is available on Xbox Game Pass for Xbox One and PC like all of Microsoft’s games are. Sales figures going forward for Microsoft’s games may be harder to pin down specifically and compare to previous titles due to the rise of Xbox Game Pass.

Of the 2 million people who have played Will of the Wisps, around 423,000 people beat the game, Moon Studios announced. That works out to a completion rate of around 21 percent. Only 45,000 people completed the game on the Hard difficulty.

Will of the Wisps reaching 2 million is a big number and a solid achievement for developer Moon Studios. For comparison, the original Ori and the Blind Forest became profitable in less than one week, but a sales figure for the game was never announced.

Will of the Wisps players have collectively played 14.5 million hours of the game, and died 240 million times. You can see more statistics in the graphic below.

Will of the Wisps brings Ori’s journey to a dramatic conclusion, and does it with much of the same style and tone that made the first game so memorable. Now that time has passed, GameSpot caught up with Moon Studios’ founder Thomas Mahler and composer Gareth Coker to unpack the most uplifting and devastating moments of the game–check out our interview here.

Now Playing: Ori And The Will Of The Wisps Video Review

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Madden NFL 21’s New Features Were Shown Off During A Livestream

The first “deep dive” gameplay livestream for Madden NFL 21 was held today. EA Sports showed off the next-generation football game and detailed some of its new features during a broadcast that was held on June 25.

The event was broadcast on Twitch, and you can check out a replay below. You can also read the ridiculously in-depth “Gridiron Notes” here to get all the details on what’s new in Madden 21.

During the event, the developers talked about Madden NFL 21’s numerous new features such as more options for pass-rushers, better control of the ball while running, and improved open-field tackling, among other things. EA began to discuss these features earlier this week, but the livestream went into much greater depth and detail.

Madden NFL 21 launches on August 28 for PS4, Xbox One, and PC, but you can play early through the MVP Edition. Additionally, everyone who buys Madden NFL 21 on PS4 or Xbox One can redeem a free upgrade to PS5 or Xbox Series X until the release of Madden NFL 22 in 2021.

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Steam Summer Sale 2020: Best PC Exclusives On Sale

Marvel’s Avengers: Who The Hell is MODOK?

Sometimes, Marvel Comics creates super villains with complicated, nuanced, tragic backstories that slowly build them into multifaceted characters with flaws and hopes and dreams all their own. Other times, they create villains like MODOK.

The Mental (Mobile/Mechanized) Organism Designed Only for Killing, MODOK is–well, exactly that. Extremely on-the-nose name aside, MODOK is about to hit the big time, with both a major villainous role in the upcoming Avengers video game by Crystal Dynamics and his very own animated TV show on Hulu starring Paton Oswalt. So there’s never been a better time to learn the ins and outs of Marvel’s infamous, uh, giant floating head with baby arms, because as it turns out, there’s more to this mental organism than just killing.

Just kidding. There’s really not that much more. Superhero comics are amazing.

Invented by Stan Lee and Jack Kirby in the very heart of what’s known as the Silver Age of Comics back in 1967, MODOK was primarily a recurring Captain America foe at first–mostly because he resented Steve Rogers’ perfect body. No, we’re not making that up. His original origin story goes something like this. Low-level Advanced Idea Mechanics (AIM) tech George Tarleton was the unlucky test subject for a process meant to design something called the MODOC–mental organism designed only for computing. In this version of continuity, it was AIM who had invented the cosmic cube (the thing that would eventually become popularized as the tesseract thanks to the MCU, and now is more connected to the Infinity Stones than any dweeby cabal of scientist supervillains–just work with us here, we’re dealing with the late ’60s) which was capable of mutating and enhancing human brains. Unfortunately for Tarleton, however, the process did more than just make him super smart–it transformed him into a horrible monster made up of a giant head and tiny limbs that relied on hover technology to move around.

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Unsurprisingly resentful with his new lot in life, MODOC rebelled against his creators and became MODOK, ditching his “computing” directive for a new one–killing. Like you do. His new-found love of murder quickly garnered MODOK a lot of respect within the AIM ranks, as you can imagine, and positioned him as a sort of de facto leader–at least for a while. After countless battles with both Captain America and other assorted, physically perfect heroes, AIM’s scientists began to feel frustrated with MODOK’s obsession with violence and revenge–not a lot of inventing or scientific advancement can happen while your homicidal boss is trying to constantly duke it out with the Avengers–and ousted him.

Off the leash and free of what little moral guidance he had, MODOK went on to try and achieve such lofty goals as world domination and the real, emotional connection necessary to facilitate a romantic relationship with another person. The former he continually failed at, the latter he decided to turn into a science project. In a truly Frankenstein-esque move, he kidnapped a friend of Bruce Banner, Dr. Katherine Waynesboro, and transformed her into–wait for it–Ms. MODOK.

This was actually only the first of the female MODOK counterparts to be created. Eventually, AIM created a new one to replace the original MODOK and called it MODAM–mental organism designed for aggressive maneuvers.

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It’s–look, sometimes you have to get creative in the name of preserving a naming convention, okay? Give AIM a break.

After several more years of repeated misadventures and foiled schemes for world domination, George Tarleton was captured and “cured” of his mutation and a “new” version of MODOK was introduced in the form of a supercomputer composed of MODOK’s cloned organic brain. It was called MODOK Superior and chances are if you’re reading a modern comic where MODOK shows up, this is the incarnation you’re dealing with. That is, unless you happen upon his “reformed” self, BRODOK (bio-robotic organism designed overwhelmingly for kissing) who cropped up for a hot minute there.

This all sounds like we’re just pulling your leg, but we promise it’s real.

Like many Silver Age relics that were created with very earnest intentions back in the ’60s and ’70s, during the height of the Comics Code Authority’s strict censorship of the medium, but now can only be seen as completely absurd to modern sensibilities, MODOK occupies a strange place in the superhero pantheon. His stories now range from straight-laced and almost-gritty spy thrillers to completely wack-a-doo gags that involve introducing long lost children and sending him on tropical vacations.

The fortunate thing is that this flexibility has become a feature for MODOK rather than a bug. He’s part meme, part genuine threat, and the perfect choice for both a scary, high-stakes encounter with a hero like Kamala Khan in the Avengers game, and a slapstick slice-of-life animated comedy like the Hulu TV show. His design is so absurd that the slightest tweak can take it from hilarious to horrifying. His origin can be pushed into real tragedy or Looney Tunes style series of escalating gags. It all works–and, for the most part, it’s all actually fun to read or watch.

So gear up to clobber MODOK with your embiggened fists as Kamala in Marvel’s Avengers on September 4, or sit down with him in his quiet suburban home on Hulu’s MODOK TV show at some point in the future.

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AHS Hotel Episode 4 “Devil’s Night” Breakdown

It’s Halloween and time for a Devil’s Night party on episode 4 of American Horror Story: Hotel. What better way to celebrate than inviting serial killers such as John Wayne Gacy, Jeffrey Dahmer, Aileen Wuornos, and the Zodiac Killer. Forget about unlocking doors, who needs keys when you can break through windows like Richard Ramirez?

Can Miss Evers get a night off from blood cleaning duty? Even the walls are bleeding around here! At least this can help distract her from her kidnapped son, Albert.

Some kids enjoy apple or orange juice; Holden is not one of them. He prefers blood– more specifically dog blood from Jasper. John Lowe tries to clear his mind with gin but his problems will take more than alcohol to solve.

Ubisoft Responds To Recent Sexual Misconduct Allegations

Following recent allegations against now-former Assassin’s Creed Valhalla creative director Ashraf Ismail, Ubisoft has issued a public statement on the matter.

“We have started by launching investigations into the allegations with the support of specialized external consultants,” the studio said. “Based on the outcomes, we are fully committed to taking any and all appropriate disciplinary action. As these investigations are ongoing, we can’t comment further. We are also auditing our existing policies, processes, and systems to understand where these have broken down, and to ensure we can better prevent, detect, and punish inappropriate behavior.”

Though the studio didn’t go into further detail, Ubisoft said it will be sharing “additional measures” that will be put in place company-wide in the coming days.

Recently, Ismail was outed on social media for allegedly cheating on his wife with multiple women. Whether as a result of the allegations or of his own accord, Ismail stepped down as creative director on Valhalla.

“I am stepping down from my beloved project to properly deal with the personal issues in my life,” Ismail wrote on his Twitter account, which has seemingly since been deleted. “The lives of my family and my own are shattered. I am deeply sorry to everyone hurt in this.”

Ismail wasn’t the only Ubisoft employee to have allegations levied against him. The studio’s product and brand marketing manager, Andrien Gbinigie, has also been accused of sexual assault. Gbinigie denied the claims in a now-removed Medium post.

“Concerning recent allegations raised against certain Ubisoft team members: We want to start by apologizing to everyone affected by this–we are truly sorry,” Ubisoft said. “We are dedicated to creating an inclusive and safe environment for our teams, players, and communities. It is clear we have fallen short of this in the past. We must do better.

“Our goal is to foster an environment that our employees, partners, and communities can be proud of–one that reflects our values and that is safe for everyone.”

GameSpot has officially kicked off Play For All–a celebration of all things gaming. Join us as we bring you the summer’s hottest news, previews, interviews, features, and videos, as well as raise money for COVID-19 relief efforts and Black Lives Matter with the help of our friends from around the gaming world. Check out the Play For All schedule for more.

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