Gait Games

As AI continues to be shoehorned into game development with more regularity, Michał Nowakowski – joint CEO of Witcher 4 developers CD Projekt – has said he “knows for a fact” games built purely with generative AI are on the way. Mercifully, he’s got “doubts” about whether this method’s the ideal way forward, meaning there’s no need to worry at this juncture that Ciri’ll soon be battling hordes of ChatGPThouls.

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A low price for such a useful item.

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### Electronic Arts Encounters New Job Cuts Amid Strategic Overhaul

Electronic Arts (EA), the prominent video game firm, has recently executed another round of job cuts, affecting several divisions such as recruitment, customer support, trust and safety, and IT teams. Reports from various online platforms and social media updates from impacted employees, including those from EA’s Hyderabad, India site, reveal that these cuts have greatly influenced staff across the organization.

In a communication sent to the Fan Care (customer support) division, an internal leader discussed the layoffs, presenting them as part of EA’s continuous effort to “adapt how we operate to better fulfill fans’ evolving requirements.” This indicated that the reorganization could not only result in job losses but also bring about new positions and a shift in responsibilities amongst teams and external service providers.

The precise number of employees impacted by the layoffs is still uncertain. However, Kotaku has captured numerous public accounts from individuals recounting their experiences of being let go, many of whom had devoted over ten years to EA. This wave of layoffs aligns with a larger trend the company has been pursuing in recent times, marked by ongoing job cuts across different studios.

### Latest Layoff Patterns

In 2023, EA garnered attention when it dismissed over 200 testers from the hit game *Apex Legends* through a Zoom call. Following this event, an unspecified number of Codemasters employees were also released, and the company announced nearly 800 layoffs shortly after reporting substantial profits. Moreover, BioWare and its development teams faced their own reductions, cutting approximately 50 positions to realign with the changing requirements of the studio.

This trend persisted into 2024, with around 670 employees being laid off. Over time, BioWare attracted attention for further layoffs, as did other divisions like Respawn, which saw around 100 staff affected. The shutdown of Cliffhanger Games also emphasized the ongoing reorganization within the entity. This year, even teams linked to successful franchise games like *Skate* and *Battlefield 6* suffered job losses, despite the latter being reported as the top-selling premium game of 2025 in the U.S.

### Strategic Transition and Acquisition Moves

Alongside the layoffs, EA is currently undergoing substantial transformations with the goal of transitioning to a private entity through a proposed $55 billion acquisition. This transaction involves collaborations with Saudi Arabia’s Public Investment Fund, Silver Lake Partners, and Affinity Partners, a firm tied to Jared Kushner. As the acquisition advances, a deadline for EU antitrust approval approaches, anticipated to be resolved by July 2026.

Notwithstanding these employee reductions, EA reported a 1 percent increase in net revenue year-over-year, amounting to $7.5 billion for the fiscal year concluding on March 31, 2026.

EA has chosen not to comment on these layoffs or the current acquisition initiatives, leaving numerous inquiries unresolved regarding the organization’s future and its workforce.

In conclusion, the recent job cuts at Electronic Arts highlight the intricate challenges confronting the gaming sector and the persistent necessity for organizations to adjust to both market conditions and internal restructuring strategies. As EA progresses, its influence on employees and the gaming community remains substantial.

In Scream Operator: Haunted House Manager, you become an architect of alarm. A draughtsman of dismay. A mechanic of panic. A… haunted house manager. It’s a “cosy-spooky” themepark strategy sim in which you attempt to maximise the chills and earn fat stacks by arranging your Grim Reapers just so.

By day, you supervise guests as they queue through the pre-show and board the cars, generating Immersion and Fear points as they witness the props and trigger the scares in each room. By night, you pick from randomised upgrades to squeeze more dread out of your setup. With patience and calculation, you can turn a mere Room 1408 into a full-blown Overlook Hotel. Or the other way around, depending on which Stephen King adaptation you think is scariest. I don’t want to alienate John Cusack fans, not this early in the week.

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Beware of the jump scare sound effects.

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**House of the Dragon Season 3 Premiere: A Blend of Feelings and Action**

The eagerly awaited comeback of *House of the Dragon* with its third season debut has left viewers stunned, providing the emotionally impactful storytelling and thrilling action that fans have anticipated from the *Game of Thrones* prequel series. This episode is a harsh reminder of the harsh truths of warfare, particularly emphasizing how those least equipped to grasp its consequences frequently become its main victims. While the installment boasts exhilarating action sequences that rank among the series’ finest, certain character developments, particularly concerning Queen Rhaenyra Targaryen, felt less effective and resulted in mixed reactions from fans.

One standout moment from the premiere is the Battle of the Gullet, which rightly earns its status among the most unforgettable fight scenes in *Game of Thrones* lore. This gripping battle encapsulates tension and high-stakes action, standing proudly alongside iconic clashes such as the Battle of the Bastards and Hardhome. The Battle of the Gullet not only offers intense action but also features memorable characters, especially Admiral Sharako Lohar—played by trans actress Abigail Thorn—and her vessel, aptly named Bitchfist.

Admiral Lohar excels in the episode, displaying a commanding demeanor and a sense of humor that sets her apart from the other female fighters in the series. Her character provides a refreshing perspective, reminiscent of Brienne of Tarth but with a unique personality that captures the audience’s interest. The brevity of her storyline leaves viewers yearning for more, and it’s regrettable that such an engaging figure was introduced only to be swiftly removed from the narrative, especially when she manages to overshadow the main characters with her vibrant performance.

Conversely, Queen Rhaenyra’s character is portrayed in a less favorable light during a pivotal moment in the episode. As the battle ensues, Rhaenyra experiences frustration and confinement, unable to take charge and maneuver her dragon to support her naval forces. This scene reflects a deeper commentary on the misogyny prevailing in Westeros, highlighting the struggles of a woman striving for acknowledgment and respect in a male-centric environment. Up until this moment, Rhaenyra’s resilience against gender discrimination has been compelling, suggesting that the narrative was building towards a significant character evolution where she would eventually seize her power.

However, the writers seem to have stumbled with Rhaenyra’s depiction in this episode. The representation of her emotional breakdown, where she clutches at her dress while paraphrasing a quote from Queen Elizabeth I, significantly undermines her character’s strength. Unlike Elizabeth, who delivered her iconic speech with bravery and resolve while rallying her forces against the formidable Spanish Armada, Rhaenyra’s rendition is portrayed as a private moment of anguish, stripping the words of their historical significance and impact.

The chance for Admiral Lohar to express a powerful remixed version of Queen Elizabeth’s quote would have not only honored the historical reference more effectively but could have elevated the overall storyline. Lohar’s fierce spirit and commanding presence suggest that she would have been an ideal messenger for such an empowering statement, possibly resonating more profoundly with the audience than Rhaenyra’s conflicted moment.

In conclusion, *House of the Dragon*’s season three premiere provides an impressive display of action and emotional storytelling, securing its place in the chronicles of *Game of Thrones* history. However, it also exposes a significant character misstep that leaves viewers questioning Rhaenyra’s depiction and the direction of her journey. The contrast between the battle’s exhilarating highs and the protagonist’s poignant lows serves as a reminder of the nuances of war—and the narratives we weave around our characters in the fantastical world of Westeros.

What the flip is that ?!

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Old-timey German RPG Gothic had a few spiritual successors, but most were offshoots from the same studio. Thanks to pre-digital distribution limits of 2001, it was obscure in North America, which of course means it never existed. It didn’t even have Mario in.

But Gothic was also special. Gothic 1 Remake (whose refreshingly honest, direct name honours us) chose a path made of tightropes: to be neither a perfect recreation or a wholly new entity wearing its skin, but to modernise and improve while still bringing that distinct and contrary design into an era preoccupied with the safe, infinite, frictionless paste of Content.

The result is a huge vindication for everyone who took on that challenge (minus the bloodsuckers who canned them), and a game that reuses a map I’ve played through several times, but still got repeatedly lost in. And I want to get lost in it again.

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### The Perspectives of Game Creators on Streaming and Gameplay Engagement

The convergence of gaming and streaming has generated diverse views among industry professionals, especially among esteemed Japanese game developers. Recently, in a television interview, comedian Hidetaka Kano shared an intriguing insight from Shinji Mikami, the renowned director of the classic games *Resident Evil* and *Resident Evil 4*. Mikami conveyed a critical stance on the phenomenon of players simply viewing playthroughs of his titles on streaming services. He suggested that if audiences are content with just watching a game from beginning to end, it suggests that the game might not be particularly engaging.

Mikami stressed that the primary aim of game development is to craft enthralling experiences that urge players to participate interactively, rather than passively absorb content. He remarked, “Our mission is to create games that inspire people to complete them with their own efforts, even if they’ve observed someone else doing it, so continue to stream.” This viewpoint prompts both gamers and streamers to reconsider their roles in gaming and the experiences that games should deliver.

Interestingly, Mikami’s sentiments resonate with another key figure in the gaming realm, Yuji Horii, the creator of the cherished *Dragon Quest* series. During a comparable discussion, Horii mirrored Mikami’s concerns, indicating that the importance of gameplay diminishes when the audience’s experience is confined to passive viewing.

Nevertheless, not all opinions in the industry coincide with this perspective. A significant trend among Japanese publishers and developers illustrates a more cautious stance regarding live-streaming platforms, like Twitch. Many creators voice worries about the risk of spoilers and content dilution arising from streaming. For example, developer Mages recently declared a prohibition on streaming their newest visual novel, *Steins;Gate Re:Boot*, underscoring a definitive position against extensive gameplay sharing.

The unease surrounding live-streaming was further highlighted by a startling legal incident in Japan, where a 53-year-old man received a suspended prison sentence and a substantial fine for posting a full playthrough of *Steins;Gate: My Darling’s Embrace*. This case demonstrates the legal consequences that can accompany streaming activities and reflects the broader reluctance towards content sharing within the gaming industry.

In summary, while prominent figures like Shinji Mikami and Yuji Horii champion the revitalizing potential of gaming that fosters hands-on engagement, the industry concurrently contends with the challenges and concerns presented by streaming. As gaming continues to develop, the discourse between creators and players regarding the significance of interaction versus passive consumption remains crucial in shaping the future of the medium.

Which are the best best friends?

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