Enlarge/ After nearly four years of the PS5, a lot of people are still using their old PS4s.
If you’re still getting use out of your aging PS4 after nearly four full years of PS5 availability, new data from Sony shows you are far from alone. The Japanese electronics giant says that both the PS4 and PS5 currently have about 49 million monthly active users, suggesting a significant number of PlayStation players have yet to spend $400 or more to upgrade to the newer console.
Despite the parity in active consoles, Sony also points out that the PS5 is responsible for significantly more gameplay hours than the PS4: 2.4 billion for the new system compared to 1.4 billion for its predecessor (it’s unclear what time period this comparison covers). Sony’s monthly user numbers also include any console “used to play games or [access] services on the PlayStation Network,” so an old PS4 that serves as a convenient Netflix box in the spare bedroom would still inflate the older system’s numbers here.
Still, it’s pretty impressive that nearly 50 million people are still regularly using a console first launched in 2013 (even considering 2016’s Pro upgrade). That could be in part because the PS4 is still seeing plenty of software support well after the PS5’s release; Sony’s PSN Store listings currently include 189 “just released” PS4-compatible games, including many “best-selling” titles that don’t require a PS5 at all. The fact that those PS4-compatible titles are also playable directly on the PS5 has probably helped convince some publishers to target the older console for their less graphics-intensive games.
Enlarge/ PS5 owners are spending less money on full games and a lot more money on “add-on content.”
The PS4’s longevity doesn’t seem to have had a significant negative impact on the PS5’s bottom line, either. Sony’s gaming division has already earned $10 billion in profit off of $106 billion in sales across the nearly four years of the PS5 generation, compared to $9 billion in profit off $107 billion in sales across seven years of the PS4.
PS5 owners have spent an average of $731 each across games, services, peripherals, and add-on content. That’s up significantly from $580 in nominal spending from the average PS4 owner at the same point in that console’s life cycle, though what sounds like a big increase is actually pretty flat when you take inflation into account.
That per-console gaming spending is now concentrated less on “full game” purchases—which are down 12 percent between the PS4 to PS5 generation—and much more on so-called add-on content—which is up 176 percent between generations. We’re guessing that big-spending, loot-box-chasing “whales” have something to do with that increase.
Enlarge/ Naughty Dog’s Neil Druckmann, seen here not questioning the accuracy of a PR interview.
Sony has taken down an interview with Naughty Dog Studio Head Neil Druckmann (Uncharted, The Last of Us) that the company now says contains “several significant errors and inaccuracies that don’t represent his perspective and values.” The surprising move comes after Druckmann took the extreme measure of publicly questioning a portion of the PR interview by posting a lengthy transcript that conflicted with the heavily edited version Sony posted online.
The odd media saga began last Thursday, when Sony published the interview (archive here) under the heading “The Evolution of Storytelling Across Mediums.” The piece was part of the Creative Entertainment Vision section of Sony’s corporate site, a PR-driven concept exploring how Sony will “seamlessly connect multi-layered worlds where physical and virtual realities overlap to deliver limitless Kanto—through creativity and technology—working with creators.” Whatever that means.
Druckmann’s short interview started attractingattention almost immediately, primarily due to Druckmann’s apparent promotion of using AI tools in game development. Such tools “will allow us to create nuanced dialogues and characters, expanding creative possibilities,” Druckmann is quoted as saying. “AI is really going to revolutionize how content is being created, although it does bring up some ethical issues we need to address.”
Not so fast…
By Friday, though, Druckmann ended a months-long drought of social media posting by noting that, in at least one case, the words posted by Sony were “not quite what I said. In editing my rambling answers in my recent interview with Sony, some of my words, context, and intent were unfortunately lost.”
As evidence, Druckmann posted this “rambling” 457-word response to a question about a “personal vision or dream project” he hoped to create:
Well, I’ve been very lucky, in that I’ve already had that. I got the chance to make several of my dream projects. I am working on a new one right now. And it’s maybe the most excited I’ve been for a project yet. I can’t talk about it or our bosses will get very mad at me.
And I guess in general, there is something happening now that I think is very cool. Which is there’s a new appreciation for gaming that I’ve never seen before. Like when I was growing up, gaming was more of a kid’s thing. Now it’s clearly for everyone. But it’s like, if you’re a gamer, you know about the potential of games, and non-gamers, they don’t really know what they’re missing out on.
But my hope was, when we made The Last of Us as a TV show that we could change that. And why I became so involved with it. I wanted so badly for it to be good, because I wanted this to happen, which is like someone who will watch the show and really like it. And fall in love with those characters the way that we have fallen in love with those characters and their story. And then realize at the end, “Wait, that’s based on a video game?” and then go and check out the game and just see the wealth of narratives and everything that’s happening in games.
So now I feel like there’s kind of a spotlight on gaming. And you know, Fallout just came out. And that’s a big success for Amazon. And I find that really exciting. Not because games need to be movies, or they need to be TV shows, but I think it just kind of opens the eyes of a bunch of people that just weren’t aware of the kind of experiences that exist in games. I think right now we’ve hit a tipping point where it’s about to take off where people realize, “Oh my God, there’s all these incredible moving experiences in games!”
So, I’m not only excited for this game that we’re making—and it’s, it’s something really fresh for us—but I’m also excited to see how the world reacts to it. Because of The Last of Us, and the success of the show, people even outside of gaming are looking at us to see what it is that we put out next. I’m very excited to see what the reaction for this thing will be—and l’ve already said too much about it. I’ll stop there. So, you’re asking me for my dream projects. I’ve been very lucky to have worked on my favorite games with incredible collaborators and I’m very thankful for them.
For reference, here is the 127-word summary of that answer posted by Sony:
I’ve been lucky to work on several dream projects and am currently excited about a new one, which is perhaps the most thrilling yet. There’s a growing appreciation for gaming that transcends all age groups, unlike when I was growing up. This shift is highlighted by our venture into television with The Last of Us, which I hoped would bridge the gap between gamers and non-gamers. The show’s success has spotlighted gaming, illustrating the rich, immersive experiences it offers. This visibility excites me not only for our current project but for the broader potential of gaming to captivate a global audience. I’m eager to see how this new game resonates, especially following the success of The Last of Us, as it could redefine mainstream perceptions of gaming.
While the gist of Druckmann’s original answer is more or less preserved, the condensed version loses a lot of the specific details and flavor Druckmann highlighted in his answer. The edited version also inserts some key phrases and ideas that Druckmann didn’t use at all, such as his supposed hope that his new project “could redefine mainstream perceptions of gaming.”
Though we don’t know how much Druckmann’s other answers were clipped or amended in the editing process, Druckmann’s public annoyance with the edits was apparently enough to get Sony’s attention. Sometime after Tuesday night, the PlayStation-maker replaced the public interview with the following message:
In re-reviewing our recent interview with Naughty Dog’s Neil Druckmann, we have found several significant errors and inaccuracies that don’t represent his perspective and values (including topics such as animation, writing, technology, AI, and future projects). We apologize to Neil for misrepresenting his words and for any negative impact this interview might have caused him and his team. In coordination with Naughty Dog and SIE, we have removed the interview.
Journalists often edit interview responses for concision and clarity, but this interview skips the usual step of noting the existence of those kinds of edits near the top of the piece. And while press releases often contain executive quotes that have been carefully crafted in consultation with PR professionals, there was no indication in this article that the responses here were anything other than Druckmann’s own thoughts and words.
Game publishers and console makers have a long history of sharing developer interviews directly with the public rather than having those developers’ views filtered through the press. This is the first instance we can remember where the promotional process itself has become a source of controversy.
Enlarge / But… but I was just about to check out Tacoma.
Getty Images
With Valve’s Steam gaming platform approaching the US drinking age this year, more and more aging PC gamers may be considering what will happen to their vast digital game libraries after they die. Unfortunately, legally, your collection of hundreds of backlogged games will likely pass into the ether along with you someday.
The issue of digital game inheritability gained renewed attention this week as a ResetEra poster quoted a Steam support response asking about transferring Steam account ownership via a last will and testament. “Unfortunately, Steam accounts and games are non-transferable” the response reads. “Steam Support can’t provide someone else with access to the account or merge its contents with another account. I regret to inform you that your Steam account cannot be transferred via a will.”
This isn’t the first time someone has asked this basic estate planning question, of course. Last year, a Steam forum user quoted a similar response from Steam support as saying, “Your account is yours and yours alone. Now you can share it with family members, but you cannot give it away.”
Potential loopholes
As a practical matter, Steam would have little way of knowing if you wrote down your Steam username and password and left instructions for your estate to give that information to your descendants. When it comes to legal ownership of that account, though, the Steam Subscriber Agreement seems relatively clear.
“You may not reveal, share, or otherwise allow others to use your password or Account except as otherwise specifically authorized by Valve,” the agreement reads, in part. “You may… not sell or charge others for the right to use your Account, or otherwise transfer your Account, nor may you sell, charge others for the right to use, or transfer any Subscriptions other than if and as expressly permitted by this Agreement… or as otherwise specifically permitted by Valve.”
Eagle-eyed readers might notice a potential loophole, though, in the clauses regarding account transfers that are “specifically permitted by Valve.” Steam forum users have suggested in the past that Valve “wouldn’t block this change of ownership” via a will if a user or their estate specifically requests it (Valve has not responded to a request for comment).
Donating all those 3DS and Wii U games to someone else might be difficult for Jirard “The Completionist” Khalil.
There also might be a partial, physical workaround for Steam users who bequeath an actual computer with downloaded titles installed. In a 2013 Santa Clara High Technology Law Journal article, author Claudine Wong writes that “digital content is transferable to a deceased user’s survivors if legal copies of that content are located on physical devices, such as iPods or Kindle e-readers.” But if that descendant wanted to download those games to a different device or reinstall them in the case of a hard drive failure, they’d legally be out of luck.
Beyond personal estate planning, the inability to transfer digital game licenses has some implications for video game preservation work as well. Last year, Jirard “The Completionist” Khalil spent nearly $20,000 to purchase and download every digital 3DS and Wii U game while they were still available. And while Khalil said he intends to donate the physical machines (and their downloads) to the Video Game History Foundation, subscriber agreements mean the charity may have trouble taking legal ownership of those digital games and accounts.
“There is no reasonable, legal path for the preservation of digital-born video games,” VGHF’s then co-director Kelsey Lewin told Ars last year. “Limiting library access only to physical games might have worked 20 years ago, but we no longer live in a world where all games are sold on physical media, and we haven’t for a long time.”
Enlarge/ VideoCardz’ leaked image of a ROG Ally X, seemingly having gone through the JPG blender a couple times.
Asus’ ROG Ally was the first major-brand attempt to compete with Valve’s Steam Deck. It was beefy and interesting, but it had three major flaws: It ran Windows on a little touchscreen, had unremarkable ergonomics, and its battery life was painful.
The Asus ROG (Republic of Gamers) Ally X, which has been announced and is due out June 2, seems to have had its specs leaked, and they indicate a fix for at least the battery life. Gaming site VideoCardz, starting its leak reveal with “No more rumors,” cites the ROG Ally X as having the same Ryzen Z1 Extreme APU as the prior ROG Ally, as well as the same 7-inch 1080p VRR screen with a 120 Hz refresh rate.
VideoCardz’ leaked image, seemingly from Asus marketing materials, with the ROG Ally X’s specifications.
The battery and memory have changed substantially, though. An 80-watt-hour battery, up from 40, somehow adds just 70 grams of weight and about 5 mm of thickness to the sequel device. By increasing the RAM from 16GB to 24GB and making it LPDDR5, the ROG Ally X may be able to lend more of it to the GPU, upping performance somewhat without demanding a new chip or architecture. There is also a second USB-C port, with USB4 speeds, that should help quite a bit with docking, charging while playing with accessories, and, I would guess, Linux hackery.
How does it feel? Only Sean Hollister at The Verge knows, outside of ASUS employees. The sequel has lost the weirdly sharp angles on the back, and more of your hand fits around the back, without the rear buttons being accidentally triggered so easily. The triggers and buttons all seem to have received some feedback-based upgrades to durability and feel.
Expanding the viability of handheld PC gaming means more developers targeting these systems, in specs or just accessibility. More demand for new types of handhelds makes the whole field more interesting and competitive. Microsoft, which is keenly aware of this developing market and is contemplating a more cloud-based and less Xbox-centered gaming future, can only make Windows better on handhelds because the bar is pretty low right now.
All of that gives me more games to play on the couch while the rice is cooking, whether or not the device I’m holding has more and faster RAM and better USB-C ports than my gaming PC.
Enlarge / In the recent past, you’d have to rely on your kid sibling to deliver Minecraft commentary like “Oh no, it’s a zombie. Run!”
Longtime gamers (and/or Game Grumps fans) likely know that even single-player games can be a lot more fun with a friend hanging out nearby to offer advice, shoot the breeze, or just offer earnest reactions to whatever’s happening on screen. Now, Microsoft is promising that its GhatGPT-4o-powered Copilot system will soon offer an imitation of that pro-social experience even for Minecraft players who don’t have any human friends available to watch them play.
In a pair of social media posts Monday, Microsoft highlighted how “real-time conversations with your AI companion copilot” can enhance an otherwise solitary Minecraft experience. In the first demo, the disembodied copilot voice tells the player how to craft a sword, walking him through the process of gathering some wood or stone to go with the sticks sitting in his inventory. In another, the AI identifies a zombie in front of the player and gives the (seemingly obvious) advice to run away from the threat and “make sure it can’t reach you” by digging underground or building a tower of blocks.
Real time conversations with your AI companion Copilot, powered by OpenAI’s GPT-4o. pic.twitter.com/Ug7EWv2sah
These kinds of in-game pointers aren’t the most revolutionary use of conversational AI—even a basic in-game tutorial/reference system or online walkthrough could deliver the same basic information, after all. Still, the demonstration stands out for just how that information is delivered to the player through a natural language conversation that doesn’t require pausing the gameplay even briefly.
The key moment highlighting this difference is near the end of one of the video demos, when the Copilot AI offers a bit of encouragement to the player: “Whew, that was a close one. Great job finding shelter!” That’s the point when the system transitions from a fancy voice-controlled strategy guide to an ersatz version of the kind of spectator that might be sitting on your couch or watching your Twitch stream. It creates the real possibility of developing a parasocial relationship with the Copilot guide that is not really a risk when consulting a text file on GameFAQs, for instance (though I think the Copilot reactions will have to get a bit less inane to really feel like a valued partner-in-gaming).
Just hanging out with my AI buddy
It’s unclear from the video clips whether Copilot is reading data directly from the Minecraft instance or simply reacting to the same information the player is seeing. But the social media posts came the same day as Microsoft’s announcement of “Recall,” a coming feature that “take[s] images of your active screen every few seconds” to provide a persistent “memory” of everything you do on the computer. That feature will be exclusive to Copilot+ PCs, which use an integrated Neural Processing Unit for on-device processing of many common generative AI tasks.
The casual cursing is what really makes an AI gaming buddy feel real.
Speaking of Her, we can’t help but think of one particular scene in that movie where Joaquin Phoenix’s Theodore asks for gaming advice both from the titular AI and a hilariously potty-mouthed NPC. Maybe Microsoft can add a casual cursing module to its Copilot gaming companion to really capture the feeling of hanging out with a dorm room buddy over a late-night gaming session.
Enlarge/ Battles get a wee bit involved as you go on in Songs of Conquest.
Coffee Stain Publishing
There are games for which I have great admiration, pleasant memories, and an entirely dreadful set of skills and outcomes. Heroes of Might & Magic III (or HoMM 3) has long been one of those games.
I have played it on just about every PC I’ve owned, ever since it chipped away at my college GPA. I love being tasked with managing not only heroes, armies, resources, villages, and battlefield positioning but also time itself. If you run around the map clicking to discover every single power-up and resource pile, using up turn after turn, you will almost certainly let your enemy grow strong enough to conquer you. But I do this, without fail. I get halfway into a campaign and the (horse cart) wheels fall off, so I set the game aside until the click-to-move-the-horsey impulse comes back.
With the release of Songs of Conquest in 1.0 form on PC today (Steam, GOG, Epic), I feel freed from this loop of recurrent humbling. This title from Lavapotion and Coffee Stain Publishing very much hits the same pleasure points of discovery and choice as HoMM 3. But Songs of Conquest has much easier onboarding, modern resolutions, interfaces that aren’t too taxing (to the point of being Verified on Steam Deck), and granular difficulty customization. More importantly for most, it has its own stories and ideas. If you love fiddling with stuff turn by turn, it’s hard to imagine you won’t find something in Songs of Conquest to hook you.
Songs of Conquest launch trailer.
Songs of Conquest has you move your horse-riding Casters (the Heroes of its inspiration) and their armies around a world map, using each limited movement point to liberate a new resource, pick up some treasure, get a temporary power-up, or engage in battle. When it’s battle time, you switch to a hexagonal grid, where your troops trade blows and you choose spells so your Caster can help. Win the battle (either manually or with an automatic “quick” decision), unlock a new area, harvest new resources, recruit more troops, and repeat until the map is clear or some other condition is met. You’ll get multiple Casters, new kinds of troops, and tons of new spells and artifacts as you progress, and you’ll follow a very swords-and-dragons story.
Moving click by click through a dark world, choosing paths, stopping by fountains for temporary boosts—the overworld is heavy with Heroes of Might & Magic III memories.
Coffee Stain Publishing
But not everything is the same. Building your central hub is more visually appealing, and likely more complex as you go on.
Coffee Stain Publishing
Your caster can do a lot to affect battle outcomes. You’ll have complete control over which spells they can wield, branching off into different schools of magic.
Coffee Stain Publishing
A map editor lets you torture your friends and random downloaders with constant which-way-to-go decisions.
Coffee Stain Publishing
The game’s campaigns have short cinematics and evocative stills.
Coffee Stain Publishing
The art is a mixture of intentionally granular (and pleasant) pixel art, throwback scroll-and-stone interface elements, and cutscenes and dramatic stills with a deliberate hand-painted look to them. Even if each element looks nice, I’m glad the game mixes it up, and you get a break from each. The properly medieval music seems well done, although it’s at a disadvantage, as my brain is making 45 decisions per minute and tends to block out brass, strings, and choirs.
There are four campaigns in the game, each with its own lands, enemy casters and units, spells, and lots of other new things to uncover and throw into your mental strategy RAM. It’s a good variety, especially combined with the difficulty and other campaign options you can set. Coming to this game from HoMM 3 memories, I’ve found the variety of map items, town/castle building, and Caster types new and engaging. My biggest quibble with the game is that managing the spells and upgrades of the Casters is too rich a field for me, somehow just one rich system over the line. Deciding which type of magic a Caster should specialize in and remembering the huge variety of spells available to put into their quickbar overwhelmed me.
As I noted up top, however, I’m not actually good at these games, I just enjoy the spell they put on me. Songs of Conquest is a rich new chapter for Heroes of Might & Magic fans, but it’s also a good jumping-in point if you’ve never been tempted before by the series with the unwieldy title and harsh difficulty ramp. Unlike your Casters, you can roam about its thousand little things at whatever pace you like.
Apple’s initial pitch for the tvOS and the Apple TV as it currently exists was centered around apps. No longer a mere streaming box, the Apple TV would also be a destination for general-purpose software and games, piggybacking off of the iPhone’s vibrant app and game library.
That never really panned out, and the Apple TV is still mostly a box for streaming TV shows and movies. But the same App Store rule change that recently allowed Delta, PPSSPP, and other retro console emulators onto the iPhone and iPad could also make the Apple TV appeal to people who want a small, efficient, no-fuss console emulator for their TVs.
So far, few of the emulators that have made it to the iPhone have been ported to the Apple TV. But earlier this week, the streaming box got an official port of RetroArch, the sprawling collection of emulators that runs on everything from the PlayStation Portable to the Raspberry Pi. RetroArch could be sideloaded onto iOS and tvOS before this, but only using awkward workarounds that took a lot more work and know-how than downloading an app from the App Store.
Downloading and using RetroArch on the Apple TV is a lot like using it on any other platform it supports, for better or worse. ROM files can be uploaded using a browser connected to the Apple TV’s IP address or hostname, which will pop up the first time you launch the RetroArch app. From there, you’re only really limited by the list of emulators that the Apple TV version of the app supports.
The main benefit of using the Apple TV hardware for emulation is that even older models have substantially better CPU and GPU performance than any Raspberry Pi; the first-gen Apple TV 4K and its Apple A10X chip date back to 2017 and still do better than a Pi 5 released in 2023. Even these older models should be more than fast enough to support advanced video filters, like Run Ahead, to reduce wireless controller latency and higher-than-native-resolution rendering to make 3D games look a bit more modern.
Beyond the hardware, tvOS is also a surprisingly capable gaming platform. Apple has done a good job adding and maintaining support for new Bluetooth gamepads in recent releases, and even Nintendo’s official Switch Online controllers for the NES, SNES, and N64 are all officially supported as of late 2022. Apple may have added this gamepad support primarily to help support its Apple Arcade service, but all of those gamepads work equally well with RetroArch.
At the risk of stating the obvious, another upside of using the Apple TV for retro gaming is that you can also still use it as a modern 4K video streaming box when you’re finished playing your games. It has well-supported apps from just about every streaming provider, and it supports all the DRM that these providers insist on when you’re trying to stream high-quality 4K video with modern codecs. Most Pi gaming distributions offer the Kodi streaming software, but it’s frankly outside the scope of this article to talk about the long list of caveats and add-ons you’d need to use to attempt using the same streaming services the Apple TV can access.
Obviously, there are trade-offs. Pis have been running retro games for a decade, and the Apple TV is just starting to be able to do it now. Even with the loosened App Store restrictions, Apple still has other emulation limitations relative to a Raspberry Pi or a PC.
The biggest one is that emulators on Apple’s platforms can’t use just-in-time (JIT) code compilation, needed for 3D console emulators like Dolphin. These restrictions make the Apple TV a less-than-ideal option for emulating newer consoles—the Nintendo 64, Nintendo DS, Sony PlayStation, PlayStation Portable, and Sega Saturn are the newest consoles RetroArch supports on the Apple TV, cutting out newer things like the GameCube and Wii, Dreamcast, and PlayStation 2 that are all well within the capabilities of Apple’s chips. Apple also insists nebulously that emulators must be for “retro” consoles rather than modern ones, which could limit the types of emulators that are available.
With respect to RetroArch specifically, there are other limitations. Though RetroArch describes itself as a front-end for emulators, its user interface is tricky to navigate, and cluttered with tons of overlapping settings that make it easy to break things if you don’t know what you’re doing. Most Raspberry Pi gaming distros use RetroArch, but with a front-end-for-a-front-end like EmulationStation installed to make RetroArch a bit more accessible and easy to learn. A developer could release an app that included RetroArch plus a separate front-end, but Apple’s sandboxing restrictions would likely prevent anyone from releasing an app that just served as a more user-friendly front-end for the RetroArch app.
Regardless, it’s still pretty cool to be able to play retro games on an Apple TV’s more advanced hardware. As more emulators make their way to the App Store, the Apple TV’s less-fussy software and the power of its hardware could make it a compelling alternative to a more effort-intensive Raspberry Pi setup.
Enlarge/ Valve has its own canon of games full of artifacts and concepts worth emulating, as seen in a 2018 tour of its offices.
Sam Machkovech
“Basically, fast-paced interesting ADHD gameplay. Combination of Dota 2, Team Fortress 2, Overwatch, Valorant, Smite, Orcs Must Die.”
That’s how notable Valve leaker “Gabe Follower” describesDeadlock, a Valve game that is seemingly in playtesting at the moment, for which a few screenshots have leaked out.
The game has been known as “Neon Prime” and “Citadel” at prior points. It’s a “Competitive third-person hero-based shooter,” with six-on-six battles across a map with four “lanes.” That allows for some of the “Tower defense mechanics” mentioned by Gabe Follower, along with “fast travel using floating rails, similar to Bioshock Infinite.” The maps reference a “modern steampunk European city (little bit like Half-Life),” after “bad feedback” about a sci-fi theme pushed the development team toward fantasy.
Since testers started sharing Deadlock screenshots all over the place, here’s ones I can verify, featuring one of the heroes called Grey Talon. pic.twitter.com/KdZSRxObSz
Valve doesn’t release games often, and the games it does release are often in development for long periods. Deadlock purportedly started development in 2018, two years before Half-Life: Alyx existed. That the game has now seemingly reached a closed (though not closed enough) “alpha” playtesting phase, with players in the “hundreds,” could suggest release within a reasonable time. Longtime Valve watcher (and modder, and code examiner) Tyler McVicker suggests in a related video that Deadlock has hundreds of people playing in this closed test, and the release is “about to happen.”
McVicker adds to the descriptor pile-on by noting that it’s “team-based,” “hero-based,” “class-based,” and “personality-driven.” It’s an attempt, he says, to “bring together all of their communities under one umbrella.”
Tyler McVicker’s discussion of the leaked Deadlock content, featuring … BioShock Infinite footage.
Many of Valve’s games do something notable to push gaming technology and culture forward. Half-Life brought advanced scripting, physics, and atmosphere to the “Doom clones” field and forever changed it. Counter-Strike and Team Fortress 2 lead the way in team multiplayer dynamics. Dota 2 solidified and popularized MOBAs, and Half-Life: Alyx gave VR on PC its killer app. Yes, there are Artifact moments, but they’re more exception than rule.
Following any of those games seems like a tall order, but Valve’s track record speaks for itself. I think players like me, who never took to Valorant or Overwatch or the like, should reserve judgment until the game can be seen in its whole. I have to imagine that there’s more to Deadlock than a pile of very familiar elements.
In recent years, we’ve reported on multiple efforts to reverse-engineer Nintendo 64 games into fully decompiled, human-readable C code that can then become the basis for full-fledged PC ports. While the results can be impressive, the decompilation process can take years of painstaking manual effort, meaning only the most popular N64 games are likely to get the requisite attention from reverse engineers.
Now, a newly released tool promises to vastly reduce the amount of human effort needed to get basic PC ports of most (if not all) N64 games. The N64 Recompiled project uses a process known as static recompilation to automate huge swaths of the labor-intensive process of drawing C code out of N64 binaries.
While human coding work is still needed to smooth out the edges, project lead Mr-Wiseguy told Ars that his recompilation tool is “the difference between weeks of work and years of work” when it comes to making a PC version of a classic N64 title. And parallel work on a powerful N64 graphic renderer means PC-enabled upgrades like smoother frame rates, resolution upscaling, and widescreen aspect ratios can be added with little effort.
Inspiration hits
Mr-Wiseguy told Ars he got his start in the N64 coding space working on various mod projects around 2020. In 2022, he started contributing to the then-new RT64 renderer project, which grew out of work on a ray-traced Super Mario 64 port into a more generalized effort to clean up the notoriously tricky process of recreating N64 graphics accurately. While working on that project, Mr-Wiseguy said he stumbled across an existing project that automates the disassembly of NES games and another that emulates an old SGI compiler to aid in the decompilation of N64 titles.
YouTuber Nerrel lays out some of the benefits of Mr-Wiseguy’s N64 recompilation tool.
“I realized it would be really easy to hook up the RT64 renderer to a game if it could be run through a similar static recompilation process,” Mr-Wiseguy told Ars. “So I put together a proof of concept to run a really simple game and then the project grew from there until it could run some of the more complex games.”
A basic proof of concept for Mr-Wiseguy’s idea took only “a couple of weeks at most” to get up and running, he said, and was ready as far back as November of 2022. Since then, months of off-and-on work have gone into rounding out the conversion code and getting a recompiled version of The Legend of Zelda: Majora’s Mask ready for public consumption.
Trust the process
At its most basic level, the N64 recompilation tool takes a raw game binary (provided by the user) and reprocesses every single instruction directly and literally into corresponding C code. The N64’s MIPS instruction set has been pretty well-documented over years of emulation work, so figuring out how to translate each individual opcode to its C equivalent isn’t too much of a hassle.
Enlarge/ An early beta of the RT64 renderer shows how ray-tracing shadows and reflections might look in a port of Wave Race 64.
The main difficulty, Mr-Wiseguy said, can be figuring out where to point the tool. “The contents of the [N64] ROM can be laid out however the developer chose to do so, which means you have to find where code is in the ROM before you can even start the static recompilation process,” he explained. And while N64 emulators automatically handle games that load and unload code throughout memory at runtime, handling those cases in a pre-compiled binary can add extra layers of complexity.
So far, this is nothing out of the ordinary. But near the bottom of the boilerplate, the listing notes that “this title has been converted from the PlayStation 2 version to the PlayStation 4 and PlayStation 5 consoles and provides newly added features [emphasis added].” That’s a marked difference from earlier “PS2 on PS4” downloadable releases, which only say that they were “converted from the original PlayStation 2 version to the PS4 system.”
A new emulator for a new generation
Previous PS2 games released as PlayStation Classics could be played on the PS5 via the newer system’s PS4 backward compatibility, of course. And those titles already looked relatively decent on modern displays thanks to near-HD upscaling at solid frame rates. But new “up-rendering” designed for the 4K-capable PS5 could make these aging 3D titles look even better on high-end TVs, even if low-resolution textures originally designed for 2000s-era CRTs may still look dated. And other new features like “rewind, quick save, and custom video filters” promise nice improvements over the relatively bare-bones PS2 emulation previously available on the PS4.
A look at Implicit Creations’ existing PS1 emulation efforts on the PS5.
Implicit Conversions recently included the PS2 on a list of consoles supported by the Syrup Engine and said on LinkedIn that it is “working with clients to bring NES, PS1, PSP, and PS2 games to the PS4, PS5, Nintendo Switch, and Xbox [emphasis added].” In a March interview with Time Extension, the company said it “can’t deny or confirm anything about PS2 [emulation on PS5],” but the very familiar wording of this leaked Clone Wars listing certainly suggests the same company is behind this new PS2 porting effort as well.
Of course, the ability to download select PS2 games to the PS5 falls well short of many players’ dream of simply inserting and playing an existing PS2 disc on their newest Sony console. In 2018, though, hackers opened up the PlayStation Classics emulator and got it running generic PS2 games on the PS4 (compatibility is a bit hit or miss, however). That same emulator has also proven useful in helping hackers unlock some interesting exploits on the PS5. So who knows—the community may be able to hack-in wider PS5 support for PS2 game discs eventually.
Enlarge/ Artist’s conception of NetEase using a legal contract to try to stop a wave of negative reviews of its closed alpha.
NetEase
The developers of team-based shooter Marvel Rivals have apologized for a contract clause that made creators promise not to provide “subjective negative reviews of the game” in exchange for early access to a closed alpha test.
The controversial early access contract gained widespread attention over the weekend when streamer Brandon Larned shared a portion on social media. In the “non-disparagement” clause shared by Larned, creators who are provided with an early download code are asked not to “make any public statements or engage in discussions that are detrimental to the reputation of the game.” In addition to the “subjective negative review” example above, the clause also specifically prohibits “making disparaging or satirical comments about any game-related material” and “engaging in malicious comparisons with competitors or belittling the gameplay or differences of Marvel Rivals.”
In a Discord post noticed by PCGamesN over the weekend, Chinese developer NetEase apologized for what it called “inappropriate and misleading terms” in the contract. “Our stand is absolutely open for both suggestions and criticisms to improve our games, and… our mission is to make Marvel Rivals better [and] satisfy players by those constructive suggestions.”
In a follow-up posted to social media this morning, NetEase went on to “apologize for any unpleasant experiences or doubts caused by the miscommunication of these terms… We actively encourage Creators to share their honest thoughts, suggestions, and criticisms as they play. All feedback, positive and negative, ultimately helps us craft the best experience for ourselves and the players.” NetEase says it is making “adjustments” to the contract “to be less restrictive and more Creator-friendly.”
What can you say, and when can you say it?
Creators and press outlets (including Ars) routinely agree to embargoes or sign review and/or non-disclosure agreements to protect sensitive information about a game before its launch. Usually, these agreements are focused on when certain information and early opinions about a game can be shared. These kinds of timing restrictions can help a developer coordinate a game’s marketing rollout and also prevent early reviewers from having to rush through a game to get a lucrative “first review” up on the Internet.
Sometimes, companies use embargo agreements to urge or prevent reviewers from sharing certain gameplay elements or story spoilers until a game’s release in an effort to preserve a sense of surprise for the player base. There are also sometimes restrictions on how many and/or what kinds of screenshots or videos can be shared in early coverage for similar reasons. But restrictions on what specific opinions can be shared about a game are practically unheard of in these kinds of agreements.
Nearly a decade ago, Microsoft faced criticism for a partnership with a Machinima video marketing campaign that paid video commentators for featuring Xbox One game footage in their content. That program, which was aped by Electronic Arts at the time, restricted participants from saying “anything negative or disparaging about Machinima, Xbox One, or any of its games.”
In response to the controversy, Microsoft said that it was adding disclaimers to make it clear these videos were paid promotions and that it “was not aware of individual contracts Machinima had with their content providers as part of this promotion and we didn’t provide feedback on any of the videos…”
Enlarge/ Sometimes you gotta get your nose in there to remember the distinct aroma of 1980s RPG classics.
Akupara Games
There are people who relish the feeling of finally nailing down a cryptic clue in a crossword. There are also people unduly aggravated by a puzzlemaster’s puns and clever deceptions. I’m more the latter kind. I don’t even play the crossword—or Wordle or Connections or Strands—but my wife does, and she’ll feed me clues. Without fail, they leave me in some strange state of being relieved to finally get it, yet also keyed up and irritated.
Cryptmaster, out now on Steam, GOG, and Itch.io for Windows, seems like the worst possible game for people like me, and yet I dig it. It is many things at once: a word-guessing game, a battle typing (or shouting) challenge, a party-of-four first-person grid-based dungeon crawler, and a text-prompt adventure, complete with an extremely goofy sense of humor. It’s also in stark black and white. You cannot fault this game for a lack of originality, even while it evokes Wizardry, Ultima Underground, and lots of other arrow-key-moving classics, albeit with an active tongue-in-cheek filter.
Cryptmaster announcement trailer.
The Cryptmaster in question has woken up four role-playing figures—fighter, rogue, bard, and wizard—to help him escape from his underground lair to the surface, for reasons that must be really keen and good. As corpses, you don’t remember any of your old skills, but you can guess them. What’s a four-letter action that a fighter might perform, or a three-letter wizard move? Every time you find a box or treasure, the Cryptmaster opens it, gives you a letter count, then lets you ask for clues. “SMELL,” you type, and he says it has that wonderful old-paper smell. “LOOK,” and he notes that there are writings and drawings on one side. Guess “SCROLL,” and he adds those letters to your characters’ next ability clues. Guess wrong, well, better luck next time.
Okay, so none of my characters can get really good prices through group buying, got it.
Akupara Games
Gelatinous cubes, of course, but this one makes you think on the fly about which verbs you can use.
Akupara Games
A lot of the characters in Cryptmaster are, well, characters.
Akupara Games
In case you didn’t get enough word games from the main gameplay, there is a mini card game you can play with its own letters-and-words mechanics.
Akupara Games
Uncovering more verbs reveals more of your dead characters’ past lives.
Akupara Games
Once you’ve got a few verbs, you’ll want to learn them and figure out how they fit together, because you’ll have to fight some things. Combat is all about typing but also remembering your words and juggling cooldowns, attack, defense, and ability costs. Strike with your fighter, backstab with the rogue, fling a spell from the wizard, and have your bard reset the fighter’s cooldown, all while a baddie very slowly winds up and swings at random party members. Some fights can be avoided by maneuvering around them, but successful fights also let you choose another letter to potentially reveal new verbs. Apologies for the somewhat vague descriptions here, but I’m trying not to give away any words.
There are a few other mechanics to learn, like smashing wall-crawling bugs to gather their ability-powering essence, and defiling shrines to better suit your undead needs. But let’s talk about the Cryptmaster. Saying the character is “voiced” by the game’s writer and co-designer, Lee Williams, truly undersells it. As with some of the best adventure games, Williams and coder/designer/artist Paul Hart have anticipated so, so many things you might type in when prompted to guess, ask, or interact with their gloomy little world. Maybe there’s a point at which the Cryptmaster—a far more dour version of the HBO Cryptkeeper eternally disappointed in you—stops being surprising in his responses. I have yet to find it after a few hours of play. (How the team pulled off such a huge response range is detailed in an interview at Game Developer.)
Go ahead and recapture some of your childhood sense of wonder: Swear at the Cryptmaster. You won’t be disappointed.
You can play the game in turn-based mode, removing the pressure of remembering and typing out actions, but it’s not the recommended setting. While I played with only typing and relished the chance to give my mechanical keyboard a workout, you can also play with voice prompts. If you’re not sure if this is the kind of game for you, there’s a free demo on Steam that should clue you in.
Was that a pun? Maybe. Cryptmaster gave me a bit more appreciation for word-guessing games—the kind with enjoyments that are not easily, shall we say, spelled out.
