For many, Ocarina of Time doesn’t need an introduction. Released in 1998 for the Nintendo 64, it received countless accolades and is considered one of the best games ever made. To this day, it still stands tall on Metacritic with a whopping 99 Metascore. Besides being the first fully 3D Zelda title, it introduced pivotal features like the Z-targeting system and a mount for traversing the overworld.

Of course, this isn’t the first time we’ve seen a remake. The Legend of Zelda: Ocarina of Time 3D launched in June 2011 for the Nintendo 3DS, featuring the GameCube version’s Master Quest dungeons. It also sports a new Boss Challenge mode and Visions, which provide hints.

At this point, it’s unknown whether the remake will offer all this, or if it will follow the original to a T, albeit with revamped graphics. Rumors claim it’s launching near the holidays, which could mean November or December, but we’ll need to wait for more details.

The trailer did hint at some new playable Bloodsworn, though we didn’t really get to see their abilities or much by way of gameplay. At least the art direction, especially the architecture, looks incredibly solid, as is typical of the developer.

The Duskbloods is the story of humanity’s end, where over 12 Bloodsworn, the playable cast, compete to obtain the First Blood. Each has unique abilities and backstories, but you don’t have to attack the first person you see. Instead, you could mark them as a companion, taking on challenges together. Of course, if you want to mark them as a rival for some PvP, that’s also an option.

While this is the second multiplayer-focused title from FromSoftware after Elden Ring Nightreign, it isn’t completely abandoning its focus on single-player titles. What shape that may take in the future remains to be seen, but at the very least, The Duskbloods should help make the wait easier.

Suffice to say that it’s seen better days, with the Umbral overtaking everything. As the hero, it’s your job to ensure that the last remaining kingdom doesn’t fall, which is easier said than done with all the threats that you need to deal with.

Lords of the Fallen 2 promises a more fluid combat system than before, with freedom to wield magic and melee weapons in equal measure. As with the previous game, you can venture to the expanded Umbral, though it’s best not to overstay, considering the terrifying beings that await. Co-op is available to make the journey smoother, though, and best of all, campaign progress is now shared.

Since Epic Games is no longer publishing on PC, Lords of the Fallen 2 will also launch on day one for Steam. You can check out the latest trailer from Summer Game Fest here for even more devastating bosses and gruesome sights. Otherwise, head here to learn more about the diversity of builds that the sequel promises to offer.

Norgan is a snow-covered region where you can find Spoils that can be appraised for new weapons, armor and skills. You’ll need it for what awaits, including new dragon bosses. Further details beyond the basic gameplay loop weren’t revealed, but considering how much the original Dark Arisen breathed life into the first game, there could be a lot more to unearth.

Dragon’s Dogma 2 is already available for Xbox Series X/S, PS5, and PC, with Dark Arisen marking the title’s debut on Nintendo Switch 2. You can check out our review of the base game here. Though we enjoyed the open world and systemic events alongside the combat, performance proved to be a major hassle, especially on PC.

Capcom spent several months addressing the same, though fans noted various other shortcomings with the story, features from the first game that didn’t carry over, and whatnot. Here’s hoping the new Dark Arisen addresses those shortcomings, and delivers a memorable plot in its own right.

But it doesn’t stop there. A post-launch story expansion, Order of the Hero, is also in the works. As announced on the official site, it sees players drawn into “the secrets of a dark, ancient cult hidden deep within the perilous beauty of Albion.” You’ll explore a dangerous new region which also seems to hold some mysterious, forgotten power.

It’s also possible for you to win over the cult and become their overseer, thus guiding its direction and conducting rituals. Of course, as the developer teases, there must be a reason why the position is vacant, and it could mean dire circumstances for Albion’s one true hero (read: You).

Order of the Hero doesn’t have a release window just yet – obviously, since the base game isn’t even available – but it is included in the Premium Edition. Unlike Gears of War: E-Day and Clockwork Revolution, Fable will launch on PS5 alongside Xbox Series X/S and PC next year. Stay tuned for updates and further gameplay in the meantime.

It also offers a look at several new features absent from the original Halo: Combat Evolved (or CE Anniversary). Notice Master Chief hijacking a Ghost from a Covenant foe? This was introduced in Halo 2 but is now part of the remake. You can also spot the SMG, a weapon that would be introduced in the sequel.

Of course, Halo: Campaign Evolved breaks the established canon in other ways, allowing Chief to use Energy Swords, sprint, and even pilot a Wraith tank. You can also experience it with up to three other players for the first time courtesy of online co-op, though there’s sadly no competitive PvP.

Halo: Campaign Evolved launches on July 28th for Xbox Series X/S, PC, and PS5. Those who purchase the Premium or Collector’s Edition will receive five days of advanced access. You also get a digital art book, Halo: Hungry Buzzards by Troy Denning, the Alpha Halo Armory Pack, and a manual based on the original game.

Of course, no one says you can’t have such an experience while still retaining the fantasy veneer, as Fatekeeper has done. The problem is that despite an admittedly stunning world and impressive use of lighting, the core combat execution leaves much to be desired, especially when it’s all that’s really there. For now, at least, but we’ll get to that.

Plot-wise, a lot isn’t explained, and you’re thrown in with little more than a loading screen narration to explain the set-up. From what I can understand, you’re on an island that’s witness to sudden slaughter, and en route to Haven, you have a Spirit Guide – a talking rat – who helps guide you. Upon reaching there, it’s essential to enter this ancient portal for training, which is a physically rending experience, and then return. Why didn’t we just hit some wooden dummies instead? Unclear.

"Though I brought up The Elder Scrolls and Kingdom Come with regards to combat, don’t let that fool you into thinking that Fatekeeper adopts their approach to world design. It’s as linear of an action-adventure as you can get, funnelling you down a very fixed path with very little deviation."

Anyway, it’s off to Mar Guran and its city, braving hostile creatures like the Vrog to access something called the Moon Gate while learning more about the Underdwellers – and the factions they split into.

There’s…something to the world-building, but it’s not in the dull exposition meted out in the loading screens or the banter between your character and the rat. It’s through the environments, which consist of ruined structures, some overgrown and now occupied by the Vrog as they attempt to stop your advance. Discovering massive statues of ancient figures that still stand guard or descending into the Waterways, finding piles of skulls and corpses before encountering what made them, is far more enthralling than simply being told what’s going on and why you should care, especially since your character’s motivation and the necessity of a Spirit Guide are both so excruciatingly vague.

Though I brought up The Elder Scrolls and Kingdom Come with regards to combat, don’t let that fool you into thinking that Fatekeeper adopts their approach to world design. It’s as linear of an action-adventure as you can get, funnelling you down a very fixed path with very little deviation. Which is repetitive in the early going since it feels like the standard rollercoaster protocol – keep all hands and feet inside the ride, barring the peaks and valleys that you’d expect. Things do open up past the first hour when nearing Mar Guran, especially in the larger rooms where you need to dodge arrows and do some platforming to access the two levers necessary to open the way forward.

However, at other points, it’s simply about slaying the Vrog on the ground while archers pelt you from above, as reinforcements occasionally arrive. Otherwise, prepare for stretches where you’re gathering materials, opening chests and coffers, and occasionally happening upon campsites to save and alchemy pots for mixing potions (which actually feels neat since items and ingredients can have different effects depending on whether they’re brewed or used as is).

And because of how the game tracks progress, dying before reaching the next campsite can often set you back by quite a bit. At least it’s nice enough to autosave at stage transitions.

"For some reason, however, investing in any one of these branches locks you off from the rest. I went with melee damage upgrades at first, with an alternate path that could boost attack speed, but couldn’t invest any points in improving my survivability, much less buffing magic."

Since there’s really no other way around it, let’s talk about the combat. It’s weighty and slow at first, which takes some getting used to, but it’s even clunkier when transitioning from a dash to a light attack or dodging into a counter. Your character can guard attacks and perfect parry with the right timing, but it’s almost as difficult to nail as a perfect dodge (and failure to land either of these will very quickly decimate you during the first real boss fight).

Attack speed upgrades do little to offset the overall clunky animations and feel, not to mention the pain of feeling like your weapons have more reach than they actually do. Magic adds an intriguing dimension to all this, especially if you leverage the environment. For instance, telekinesis, which can also manipulate switches to open gates, can pull enemies into pits. The gust spell also does the same…sometimes, when it feels like it, while the ice and fire spells feel woefully underpowered.

While some enemies are dumb enough to handle alone at times, Fatekeeper eventually ups the challenge by throwing multiple at you in later sections. The result is having to adopt a hit-and-run playstyle since attempting to stand your ground, blocking all attacks and counterattacking, isn’t always the best approach given your stamina. I could sometimes find appeal in this, especially when kicking Vrog into pits or pulling a rock thrower from afar and lining up for a homerun with a dual-hander.

But the combat still feels so slow and awkward, and I can’t for the life of me understand the logic behind the enemy archer’s design. Magic does nothing to stagger them, much less move them, and they deal extensive damage at a regular clip. It feels like they’re overcompensating to an annoying degree, given how much easier it is to deal with regular foes.

As you slay enemies, you’ll earn XP to level up and gain skill points. These can be invested in a massive skill tree with paths towards improving your alchemy skill, magic, health or melee damage. For some reason, however, investing in any one of these branches locks you off from the rest. I went with melee damage upgrades at first, with an alternate path that could boost attack speed, but couldn’t invest any points in improving my survivability, much less buffing magic. Worst of all, the game never explains why. So you’re stuck taking minimal buffs to attack speed, even when having more stamina and health would be beneficial.

"Fatekeeper certainly has potential, and despite how utterly railroaded the traversal can be, the environmental aesthetics really do stand out for their atmosphere and fidelity."

Otherwise, from a systems perspective, everything that’s here feels very foundational at best. Developer Paraglacial, a fairly small development team, can certainly build on all this and offer more expansive options beyond the simple blades and sorcery that everyone must adopt. But it first needs to make the actual mechanics of combat feel better, besides fixing bugs and other issues – like some enemies simply standing in place if there are multiple corpses at their feet simply because they don’t know how to go around. I also wouldn’t mind seeing more polish for the performance – even in the opening with DLSS set to Balanced and other settings on High, there would be various micro-stutters throughout, even when otherwise sticking to 60 FPS.

Fatekeeper certainly has potential, and despite how utterly railroaded the traversal can be, the environmental aesthetics really do stand out for their atmosphere and fidelity. For $10, with a 20 percent discount currently available for two weeks, the barrier to entry is certainly very low, and the team seems open to changing its plans for the sake of whatever players enjoy most. But even if you’re seeking a dungeon crawler with more grounded, methodical combat, it’s probably best to wait a while before diving into everything Fatekeeper currently has to offer.

This game was reviewed on PC.

Launching in 2027 – most likely by March 31st to fit the company’s fiscal year – Resident Evil Veronica kicked off its reveal in unexpected fashion. No break-in through Umbrella’s Paris facility, or slow-mo, Matrix-like action sequences that are impossible in the actual gameplay. Instead, it begins innocuously enough as Claire Redfield arrives at the building where her brother, Chris, has been staying.

Led upstairs by a kind old landlady, she discovers his flat in disarray with papers, a DSLR camera (with telephoto lens), a walkie-talkie, a personal recorder and an ashtray on the table. He also seems to have a sweet tooth if the box of Delices Du Marquis on the side table is any indication. What makes this entire scene interesting is the landlady revealing she had cleaned the place a week prior. Which means Chris popped in for however long and left again, seemingly in a hurry. “It’s like a boulder rolled through here,” she says, in the least obvious kind of foreshadowing yet.

After departing to make some coffee, Claire is left alone and hears a knock at the door. Opening it leads to her being held at knife point by, as the official website puts it, the “Umbrella special forces unit responsible for the incident.” Since it refers to the destruction of Raccoon City before this section, you can assume they’re the same incident. From here, she’s taken in and transported to Rockfort Island, and the rest should be as you know it. Another outbreak, turning the island’s residents into zombies. The Ashford family’s influence and the fate of Alexander, the 6th Earl, among other things.

Except it may not be so cut-and-dry. Besides the fact that the website touts this as a “reimagined storyline,” there’s the obvious gas-mask-wearing elephant in the room – Hunk, if that indeed is Hunk. He wasn’t in the original Code: Veronica. However, for those who played The Darkside Chronicles, which featured a condensed reimagining, Game of Oblivion, there was a report detailing that he did visit Rockfort Island.

Carrying a “large-scale B.O.W. capsule,” he noted that it was “stored at sub-zero temperatures” per Alfred’s request. However, he questions why his team, a “highly trained unit,” is assigned to what appears to be a “standard capsule,” and relayed his concerns regarding his team’s safety, especially if the contents are “potentially harmful.” No guesses for what – or who – is contained within.

While the development team may include this particular instance in the remake, perhaps it serves as inspiration for Hunk to have a bigger role. Given his re-emergence in Resident Evil Requiem for a short but fun fight, you have to wonder if maybe there are bigger plans to expand on his overarching lore. Then again, it could just be a case of throwing him in for a surprise rather than doing much more with him, especially if rumors about Albert Wesker and the HCF having larger roles and more story scenes turn out to be true.

Of course, this does raise other questions. How did Umbrella know that Claire would be there? Were they actually staking the location, waiting for Chris and just got lucky? Did grandma sell him out? The original made it clear that he was already under surveillance. And what’s the walkie-talkie for? Who’s he been communicating with?

At the very least, this scene makes sense because it explains why she went to Paris. How Claire even knew that Chris was staying at this particular location remains to be seen, but there’s also the part about sending an email to Leon to find her brother and ask for his assistance. Maybe in the remake, she left some clue at his apartment before being kidnapped? Umbrella may have even leaked the information to flush him out of hiding. Either way, this could have massive implications for how Chris’s part of the story unfolds.

Also, despite the original’s marketing featuring both Redfield siblings, this time, it’s just Claire. This could be in line with her allegedly being treated as the protagonist, but it may also be a case of the developer holding off on revealing what Chris looks like. It’s somewhat similar to how Leon wasn’t confirmed until months out from release and afterwards, figured prominently on the box art and marketing images.

Another interesting bit from the trailer – a figure in a red coat, white gloves and what seems to be a pocket watch making their way down the stairs. If that isn’t a redesign for Alfred Ashford, I don’t know what is. Honestly, it works, retaining the original look’s main color and formality while making it feel more modern and practical.

Other familiar locations appear but are overhauled with incredible detail alongside someone who covers his head with a hood. The light auburn hair gives away that this is Steve Burnside, a fellow prisoner who Claire meets and occasionally provides assistance. Another outfit change for a familiar character to go with a potentially less egregious personality? Most likely, but hey, at least the Gold Lugers – which play a part in the plot – look better than ever.

Perhaps the biggest red herring in this trailer is the first-person perspective when Claire enters the apartment building and looks around. You might think after Requiem that this may be the development team opting for another dual-perspective game, where you can swap between first and third person at any time. While that’s certainly possible, the fact that rumors about the remake’s development began two years ago, and the amount of effort that would go into implementing two perspectives – which the Requiem team described as essentially developing two games simultaneously – means it’s unlikely. Besides, all Resident Evil remakes have typically stuck to the over-the-shoulder perspective, and Veronica may simply follow suit, with the occasional first-person cutscene.

Of course, there’s the other big change – not the visuals or the opening, but the name. Why Veronica? Why not Code: Veronica, like the original? Besides the narrative significance of the name, it may be another clue that the remake is influenced by Darkside Chronicles, where Game of Oblivion refers to it as “the Veronica virus.” Whether it leans into other changes, like Claire helping Chris in an important battle, or even Chris meeting Steve, remains to be seen.

Either way, it’s unlikely that the development team will cut content – again, going by reports from leaker Dusk Golem. Which is all the more odd because the Umbrella Paris facility raid appears to be gone (unless Claire actually escaped and then went to find Chris). Perhaps they meant that no gameplay sequences from the original have been removed, opening the floor for something new. There’s also always the possibility that any story changes from previous remakes could tie in, even if some, like the fourth game, take place chronologically after.

Resident Evil Veronica is coming to Xbox Series X/S, PS5, PC, and Nintendo Switch 2, and based on everything seen thus far, it could be another stunning remake, especially since it doesn’t have to consider any previous-gen consoles. Whether it cements a brand new legacy for the 2000 survival horror is anyone’s guess, but for now, we’re happy to see Claire in the spotlight once again.

Note: The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, GamingBolt as an organization.

Granted, this isn’t a new game announcement like last year’s The Expanse: Osiris Reborn. If you’ve been following the developer’s various teasers over the past few months, a bit of this probably seemed familiar. But after years of hearing about its ambition, and how it wanted to deliver this role-playing game that measures decisions in hundreds of years, we have to admit: Exodus is coming together very well.

From the outset, it’s pretty standard sci-fi fare. You play as Jun Aslan, a salvager who has a special gift (and whose appearance you can customize). For some reason, they can access ancient Celestial structures, which one of your companions calls a salvager’s dream. But far from simply embarking on missions to discover valuables, you become a Traveler, a faction that sets out to explore the universe and discover Remnants, which are ancient relics. So far, pretty straightforward…except the whole point of leaving Lidon, the moon that you call home, is to find a way to stop a disease called the Rot.

Then there’s the other twist: Time passes at different rates. A week out in space can feel like years back home, and this is more than just some kind of Interstellar-like plot device – it has a huge bearing on everything.

We’ll get to that, but when it comes to the moment-to-moment gameplay, whether you’re interacting with different characters or engaging in combat, Exodus feels like it’s hitting on all cylinders. A good example is a situation where you need to clear out a gaggle of mercenaries with an armored turret as backup. While you could simply go loud and start blasting, there’s also the option to play it stealthily. Snipe enemies from afar in silence, crouch-walk around and take down any unwitting fools or embrace the assassin’s path and deliver death from above. If things get too dicey, you can even activate the Scramble Cloak for some much-needed invisibility.

All of this would be well enough on its own, but the core combat is also more than up to the task of delivering some standout moments. Aside from a mysterious gauntlet passed down by his father, Jun can also use a grappling hook to get around the environment. This already opens up more traversal options on the battlefield, but in a particularly cool moment later on, it’s revealed that you can grapple into cover. Of all the talk about revamping cover-based mechanics that I’ve heard over the past few days, this is one of the coolest things that a third-person shooter/action RPG has done in years.

But that’s only the beginning. Synergies allow for comboing different abilities to create specific effects, and you can individually command companions in the middle of combat. Some of the abilities will look familiar – Singularity, anyone? – but then there are those like Lance, provided as an upgrade while exploring. It’s most useful for destroying the brambles created by the Rot, but aim at a boss’s weak points, as seen in combat versus the Ghost Cannon, and it can inflict some heavy damage.

Another cool feature is effectively shaping terrain, thus creating cover on demand. It’s already essential during traversal, especially when chaining its usage with grappling hook swings, but this means encounters won’t simply be defined by existing structures and barricades that you huddle behind. And if all that wasn’t enough, Jun even gets a sword as a melee weapon.

Of course, all of this would matter little if the story and characters weren’t interesting. With Drew Karpyshyn of Mass Effect 1 and 2 fame, and British sci-fi author Peter F Hamilton, it’s not just companions like Elise, Salt the Awakened octopus or the quirky Phaedra who feel unique. Even the NPCs are memorable, like an Awakened elephant vendor who thinks Jun is making a joke about the animal and its ability to remember.

That extends to the choices and consequences apparent throughout the story, further aided by your ability to take the high road as a Paladin or embrace the Immortal lifestyle. Not every choice will be as black and white, as seen in a later mission involving Phaedra and her grandfather, but that’s the beauty of it all, especially in how it affects Lidon.

You’ll journey back to Persepolis between missions and hear stories about how the effects of time dilation – how it’s affected certain individuals and even shaped the city in different ways. New missions also open up, and you’ll meet new characters, which can either further the main narrative or lead to new opportunities. It’s also where you’ll reflect – not just on the validity of your mission and the emotional weight of passed time, but also whether there’s some kind of force that’s guiding you along. Surely, CC Orlowe, played by Matthew McConaughey – whose presence was the biggest selling point of Exodus when it was first announced – has some part in all this, as he seemingly ventures through the universe, strumming his guitar and offering new upgrades for Jun.

Oftentimes when you think of space, it’s the grand scale that comes to mind. The sheer number of planets and stars, the vast emptiness of its reaches, the solitude and isolation that comes with venturing into the unknown. However, Exodus has seemingly tapped into what made the journey so worthwhile in the Mass Effect games.

Rather than trying to capture every single corner of a vast volume of space, spreading its content thin, Archetype appears to present its stories in this universe – both individual and the bigger picture – over a seemingly impossible length of time. As a result, even when you return to familiar people and places, there’s a feeling of wonder and curiosity. Or trepidation and fear over what time does to everything.

Make no mistake – you’ll still explore some pretty fantastical locations. Ruins guarded by Ghost Soldiers who have no other directive than attacking all and sundry. Volcanic reaches with perilous paths. Impressive Celestial structures on a snow-covered world. Even the sights and sounds of Persepolis.

Yet the scale of the events is reflected on a more personal level. In the characters you meet, how you develop Jun – whether it’s to be this legendary do-gooder or this infamous rogue – and what you ultimately decide. It may not seem like venting those mercenaries out of the airlock will have any long-term consequences. But what if there really are innocents among them? How will that come back to haunt players? That such small acts could inspire such questions is one thing – magnifying that against the backdrop of a larger universe and its various species over centuries is quite another.

At first, it seemed like Exodus would buckle under the weight of its own ambition. However, now that we’ve seen an extended gameplay look, and how conversations, decisions and combat flow into each other, we’re incredibly hyped. It’s out in early 2027 for Xbox Series X/S, PS5 and PC, and if Archetype Entertainment can leverage its premise to deliver on all that potential, creating an unforgettable space adventure in the process, then we could be looking at one of the dark horses of next year.

Note: The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, GamingBolt as an organization.

A new Direct has been rumored for some time now, but a new Treehouse: Live! is unexpected. This further fuels rumors that Nintendo could announce a remake of The Legend of Zelda: Ocarina of Time for Nintendo Switch 2, allegedly launching near the holiday season. Little else is known about the title aside from it reportedly being a full remake instead of a remaster like The Legend of Zelda: The Wind Waker HD.

Other notable titles that could appear include Star Fox launching on June 25th; Rhythm Heaven Groove on July 2nd; and Splatoon Raiders, out on July 23rd. Nintendo Switch Sports is also reportedly set to be revealed, and we could see the announcement of a new 3D Mario, though that will have to wait until 2027 for launch.

Of course, you should also expect plenty of third-party developers. Order of the Sinking Star creator Jonathan Blow teased something new for the puzzle game this week and it could very well be a release date following the Nintendo Switch 2 version’s reveal. As always, stay tuned for live coverage.