It’s a franchise that has been centered around Kratos for two entire decades, after all. You might argue that Atreus took up a bit of the spotlight in the franchise’s recent entries, but the story always revolved around Kratos and the people surrounding him, to the point where the rest of the cast were worked into his story instead of the other way around.

A game that has Faye taking over from Kratos then becomes a shift in the franchise’s direction. You could say it moves its center of gravity, but is it really a bad choice to do that? Faye does have deep ties to Kratos and comes with a lot of mystery surrounding her days before she met the man who would then mourn her death. We know she’s got a bit of history with Thor, too. It’s definitely a risk to have her as the leading character of a new addition to the franchise, but does that automatically mean that Laufey is doomed before it even gets off the ground?

This is an interesting debate, to be sure, and is one that we’re happy to dive into before we give you our take on it. Let’s get right to it.

An Understandable Set Of Concerns

Let’s start with what those who are against the very idea of Laufey are saying, since the concerns surrounding Faye’s new leading role must be given their due. Kratos has definitely been the focal point of more than just the story, with the combat and associated mechanics being tailored to match his fighting style. He’s an intense, often brutal brawler who brings calculated aggression to any battle.

Of course, the franchise has spent a very long time setting that up, allowing its emotional beats to tie directly into how Kratos approaches challenges and adventure alike. His evolution from a rage-filled former Spartan looking to bring an end to his enemies in the Greek myth, to someone who struggles to keep his past buried away, has informed how he controls himself and those around him. We never thought we’d ever call him the controlling type, but after the last two entries, that’s now a thing.

His story is one that burns with the intensity of a man who doesn’t let anything stand between him and his goals, a facet that has guided all of the adventures we’ve had with him over the years. He brings an emotional payoff to all of them, while also serving as the perfect vehicle for combat systems centered around balancing his tactical thinking with his unbridled rage.

Could Faye match that intensity in her own adventure? Could the story in the new location feel like it adds value to the overall setting built around Kratos, validating Sony’s insistence that Laufey is neither a prequel nor a spinoff? Will Phranque and Rue manage to fit within the franchise’s tone well enough to make them companions who are as memorable as Mimir?

These are all valid questions, and if we were to weigh in, we’d say it’s too early to answer them, but we will say that they all stem from attachment to a fan base that has been pretty vocal about their demands. And the fact that these questions are being asked is a good thing.

But doesn’t Faye deserve a chance? After all, the game isn’t out yet, right?

Brimming With Potential

Faye is no stranger to Kratos. In the myth, her rapport with the giants is well known, fending off Asgard’s ambitions long before she even met Kratos. That makes her a capable warrior in her own right, while we also get to see a strategic side to her, thanks to how it was her actions that set Kratos and Atreus down the path to ending Asgard’s threat once and for all.

When you look at it from that perspective, Laufey could certainly help flesh out her character better, while also giving us insights into her past that might inform our knowledge of the broader conflict between Asgard and the giants, all from the perspective of a capable warrior who was a credible threat to the villains. Her legacy definitely matters, and the chance to see more of it could bring a fresh new perspective to Kratos and Atreus’s future outings.

Faye might be a new playable protagonist, but she’s been a part of the franchise’s emotional core for a long time, and an important one at that. That’s probably where the biggest risk for Laufey comes into play. It’s a title that must justify its existence to a very discerning set of fans, ensuring that Faye’s time in the new location gives further insights into the stories we’ve already experienced. It must feel like a necessary addition instead of a distracting detour.

Achieving that might be easier said than done, as Laufey’s supporting cast may seem like risky additions according to some, and that could go against the tone that’s been set over the past few years. Phranque and Rue do look like they could be solid companions to Faye as she tries to navigate her new circumstances, but they seem too light and quirky in the brief glimpse we got of the new game. Of course, we’re going to assume that this won’t be the case throughout the game, but that’s something that can only be confirmed when we experience it.

Our minds immediately went to Mimir and how he became an invaluable companion to Kratos and Atreus, often being the one to find a suitable middle ground between dealing with matters aggressively or tactfully. He brought a dash of humor to both the adventures he was in, but that was balanced out by his own flaws and the mistakes of his past that he came to regret. He felt grounded within the emotional framework of the franchise. Phranque and Rue need to fulfil a similar role in Laufey, and do it so well that we would appreciate them right off the bat.

There’s also the notion that this isn’t the first big shift in the franchise’s direction to hit us. The jump from the PS2’s unbridled revenge story to the more measured take in the recent one worked thanks to solid development work. It was a shift in tone that succeeded because it was executed very well, and Laufey is going to have to emulate that, and perhaps even surpass it in order to succeed.

But we think that it’s a strong possibility, and the gameplay is what makes us confident about it.

A Capable And Agile Warrior

The developer’s assertion that Laufey aims to blend the speed and agility of combat systems from the older games with the precision of the latest titles might sound like a ploy to get us interested in Laufey if it weren’t for the evidence that has been placed right in front of us. Faye might not be as imposing as Kratos, but she’s certainly as deadly as him when you put a potent weapon in her hand. She was the former owner of the Leviathan Axe, and wielded it impressively enough to make Brok and Sindri proud of it, and of the warrior in whose hands it did destructive damage to the enemies.

The new sword she gets, thanks to Rue, looks to be quite a nasty weapon in her hands, and the fact that Rue’s ribbon-based moves are incorporated into her new fighting style immediately took us back to the reach and crowd control potential of the Blades of Chaos. It’s a great way of blending her former weapon’s single-target capabilities with something that comes close to Kratos’ arsenal, but with fresh twists that could make Faye’s very interesting to learn and master.

Another aspect of Laufey that has us very intrigued is her innate magical abilities, and the fact that the new location amplifies them to a point where she could separate enemy souls from their shells and use them to incorporate additional attacks into her combos. Combine all of that with her agility and speed, and you get a gameplay loop that feels mechanically distinct enough to stand out from the franchise’s previous entries.

Of course, the enemies you take on with the new combat system are an important part of the experience, and the glimpses of the new location’s rogues gallery that we’ve been given have us reasonably optimistic about Laufey’s chances at doing well when it finally releases. If the combat works well with the setting, this could feel like a game that has all the ingredients to make gamers notice.

But of course, we have to consider how a new game without Kratos is a hard sell for anybody who’s been following the series. The franchise gave him an overhaul from a mad, revenge-filled man to a somber and reflective one, and it was a shift that was well-received thanks to how the new mechanics were able to justify it. But is it ready for another one, and a title where Kratos takes a backseat to a new lead?

Laufey is taking on a massive creative burden on that front, and the reveal has only managed to divide the franchise’s fan base over the potential for its success. It needs to prove that Faye is capable enough of carrying an entire campaign on her shoulders, while the new location needs to become more than a concept. It needs to be the stage for a new chapter in the franchise, and one that connects back to everything that we already know and is detailed enough to make it a worthy addition to the game.

The skepticism surrounding Laufey is understandable when you consider the enormous risks it is undertaking, but it’s also what makes it such an interesting addition to the franchise. Laufey and Faye deserve a chance before we pass judgment on them. It doesn’t deserve blind confidence, not yet, but it mustn’t be written off just yet.

Reinventions aren’t a new thing in gaming, and Laufey is one that must prove itself before it becomes an accepted part of the fan base. But what we’ve seen of it makes us optimistic about its chances, and we can’t wait for its 2027 release to see if that sentiment was well-deserved or not.

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.

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.

However, it seems that Pywel is going to keep evolving, with a new roadmap bringing changes and improvements that could transform our time with the Greymanes even more. We’re quite impressed with what’s being planned for this one over the remainder of the year, as the game could bring a rhythm and systems that make everything you do in it all the more meaningful to the experience.

Indeed, the developer feels like it’s approaching Crimson Desert’s expansion almost as aggressively as a Greymane that’s just caught sight of a Black Bear, and has drawn their weapons for a battle they know they’re going to win, the only variable being how stylishly they manage to do it. The story is due for some much-needed refinement, and improvements to the variety of what its playable characters offer. There’s also the scope for more content to be added to the base game.

Why does all of this make us believe that there’s a version of the game on the horizon that’s going to be vastly different from the one we have now? We’re happy to talk at length about it. Let’s get started, beginning with the roadmap.

Looking Beyond The Horizon

Pywel’s a place where there’s intrigue, mystery, and beauty as far as the eye can see once you pass through the Abyss Gate and load into wherever you were exploring last. But the new roadmap from the developers feels like their eyes are already looking beyond what they already see, calculating the best ways to give us more of what we’re asking for from them, even as they think about new ways to make us quite reluctant to move on from the world they’ve created.

The story has often been a pain point that we bring up, and we were honestly sceptical about the potential of fixing the disjointed and rather unwieldy way Kliff’s journey to saving the world was presented. But lo and behold, there are going to be improvements on that front, with the developers looking to improve the way each chapter flows into the next, making the narrative feel more coherent and cohesive as a result.

In a game like Crimson Desert, the main campaign is where the game is able to establish the lofty ideals of heroes like Kliff, Damiane, and Oongka. It’s where their motivations, and by extension, their actions, are explained in a way that makes them palatable protagonists to us, the ones who are at their sides for it all. Up until now, that’s kind of been left to us, with the story not fully managing to give us the context and perspective we need to have us fully invested in the people we’re supposed to adore.

That the roadmap has made fixing that a priority is among the first arguments in favor of a version of Crimson Desert that could be considered an evolution. It isn’t being rewritten, unless the developer is playing this very close to the chest, but better transitions, more clarity in scene structure, and improvements to how the narrative flows between the situations it puts us in are definitely going to help make that part of the game better.

There’s also the upcoming DLC that’s been confirmed for the game to consider. We can’t predict whether it’s going to be a factor that helps improve the main narrative, but it isn’t too far-fetched to imagine that it is going to bring a fresh perspective to everything that has unfolded in Pywel. Once again, details are scarce, and anything we say about it is only speculation at this point, but the fact that it’s coming is reason enough for celebration, and the expectation that this one’s going in a new direction that could help it further improve everything that’s good about it.

But the game’s story and upcoming DLC are only a part of the roadmap’s potential to evolve Crimson Desert into something more than it already is. In fact, we’d argue that the update that dropped last week has already set that evolution in motion.

The Beginning Of A New Beginning

The roadmap isn’t just a promise of good things to come, but has already brought along changes that make the experience better on many fronts. The latest patch 1.10.00 updates the Re-Blockade system, and how it’s been fine-tuned in the latest update is a great place to start. There’s been a lot of chatter about having the option to defend liberated strongholds from invasions, and that’s now a thing, with Contribution Masters getting an expanded role beside running a marketplace for some cool items unique to each of the game’s five regions.

Not only does that directly address a highly-requested feature, but it makes sense within the context of the game to have individuals who already have a finger on the pulse of what happens in each region playing a more active role in its defense. It takes a load off Kliff and the Greymanes, and sells the impression that your efforts to bring peace to each region are now being backed up by its denizens. That’s a new layer of immersion if we ever saw one.

Of course, the Battle and Reconstruct stages are a welcome addition for those of us who’d like to take on the task of defending strongholds ourselves, and are a great way to incorporate player agency into the new changes. That’s a factor that’s been a consistent part of what Crimson Desert offers, and it’s great to see it being extended in ways that fit the narrative and gameplay loop. The entire mechanic already made the world feel like it was reacting to our presence, and it’s now a version of itself that refines the ideas it brought to the table even further.

There’s also the new minigames, with Pinball and Orb Roll joining Duo, Rock, Paper Scissors, and Arm Wrestling as ways to blow off a little steam. Their presence alone might have been enough to give the game more variety and flavor, but the fact that you have important rewards, Abyss Artifacts being prominent ones, tied to participation makes them more compelling as a result.

The new mounts and the way the patch has now made getting a baby Wyvern a very sensible course of action are also important facets of how Crimson Desert is already on the path to being a different game in the coming months. Blackstar was cool and all, but the extensive cooldown on his usage was an absolute bummer. Yes, there were ways to work around that cooldown already baked into the base game for those who engaged with the dispatch missions, but they felt like unnecessary steps toward something that was a convenient way to get around the vast map on offer.

Well, feeding your little Wyverns enough is now going to let them grow into special mounts that don’t need a cooldown, and flying around on a very cool-looking mount, complete with its own equipment, is a lovely addition. The same goes for the Kuku Bird, although we must admit that it’s the Wyverns that get our vote for the coolest mounts in the game at this time. Once again, they are additions that are meaningful to the experience while also fitting well within the larger context of the world, while giving players more freedom to choose who they interact with all that Pywel has to offer.

There are also other smaller additions that might not seem like much, but add up to make Pywel a place where you’re truly leading a second life. You now have carpets to decorate your house with, improved farming tools, a whole tower of cats to discover, and quality of life changes that are going to make interactions with existing systems even more intuitive and convenient.

Of course, the promise of new combat improvements, whatever they might be, along with additions to Damiane and Oongka’s abilities, and the addition of cross-saving across platforms all deserve special mentions, once again giving our theory that Crimson Desert is on a path to becoming something more than it already is a lot of credence. Just like Kliff and the Greymanes, this is a game that has managed to turn the tables on the adversity it once faced and is becoming better as a result.

A Moving Target

If everything goes to plan, Crimson Desert is set to become a rare title that hasn’t let its launch identity define what it aims to be over the course of its shelf life. The developer is building on it in very impressive ways, adding layer upon layer to what it’s already achieved to make meaningful changes to how it’s paced, structured, and presented with a focus on adding long-term value to its original promise.

It might not get bigger, but it’s certainly getting better in the next six months, bringing more variety and smoothness to the experience that reshapes the base game while prepping it for whatever the DLC aims to bring to the table. We can’t wait to see what it looks like in the near future, and you can bet on us diving into all of it as and when it comes along.

Until then, it’s time for a bit of fishing and farming in Pywel. Unless a few emboldened enemies decide to call us out for a second round of a battle they already lost, that is.

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.

And confusing, for many reasons. We start with the opening from the Norse saga’s first chapter, where Kratos and Atreus cremate Faye and say their goodbyes. What comes next for them is an arduous journey spanning the Nine Realms and ultimately invoking Ragnarok. But far from a peaceful eternal rest, Faye awakens in an unknown land that we later learn is called the Everywhen. And this place is far more chaotic than what she’s used to.

Gorgeous in every measure, yet violent; magical but also on the fritz. It’s a place that Santa Monica Studio describes as a “prison,” where two characters – Sekhmet and Begtse – are running things. Or so we think, because at one point, a mysterious flash from a giant observatory invites the former’s attention. She entrusts Begtse with keeping watch over Faye, who’s been captured alongside various other beings and creatures. That’s where she meets Rue, the guardian of a sword that has everyone concerned – even Begtse – and Phranque, who’s a sentient cube. “Oi, Hughie,” indeed.

Faye takes out several of Sekhmet’s forces, squares up against Begtse, and seemingly defeats him amid burgeoning destruction. In terms of 1v1 fights – be it Kratos vs Baldur or Kratos vs Thor – this is right up there in terms of pure spectacle and peak animation.

But what makes this interesting is how all these different mythologies have seemingly converged in this one realm. It fits with that rumor about Laufey also featuring Chinese and Japanese aspects, never mind the report about Mayan elements. And though we saw Zeus in Helheim way back in the first game, you have to remember – that was an illusion. Who’s to say that he doesn’t appear in the Everywhen instead of the Underworld or the Elysian Fields like he’s supposed to? It’d be too good an opportunity to pass up, especially since Faye knows everything about Kratos’s past.

And hey, there’s nothing that says only the war-mongering few end up in the Everywhen. How likely is it that Faye runs into Thor again? It’s not like Santa Monica Studio doesn’t already have his assets and animations ready to go. Besides, considering she fought him before, which led to the Crater in Vanaheim, one has to wonder if they’ll meet up again and be on better terms after his story. Then again, maybe not.

It’s also worth noting that when they fought, Faye was enraged to an unbelievable degree, so if that isn’t a hint that she’ll have her own version of Spartan Rage, nothing is. Maybe the “vision” of Kratos that she saw while escaping could lead to awakening it.

There’s also the thing about magic in the Everywhen – it’s apparently not “flowing the way it should.” Who wants to bet that the giant cube-like structure may have something to do with it? In the midst of all this is Faye’s desire to return home, which is easier said than done with all this talk of the gates being sealed off. While she eventually gets a hold of her own magic, minutes before unleashing it on some hapless enemies, it’s possible that her journey through the Everywhen will require restoring its natural flow.

She’ll also learn of the realm’s “true nature.” It’s been described as the “birthplace and the ending point to which all magic returns,” so what other secrets could lie beyond that? Since Faye is more of the so-called “embracer” of magic – compared to Kratos, who Santa Monica describes as more “skeptical” of it – this pursuit doesn’t just form the basis of her journey, but feeds into her curiosity.

Of course, Faye’s death isn’t something that she was unprepared for – she knew it would spur her husband and son to undertake their journey. What’s surprising is that she discovers a Mask, which immediately calls back to the mask from Ragnarok. Faye mutters that it isn’t possible and that if there’s “another mask,” then the path that Kratos and Atreus will take is “not safe.”

Even Sekhmet comments on “another mask” after pulling a piece out of Faye’s hand. She even taunts the latter about it before crushing it into dust. Perhaps there’s more than one Mask that could hold certain secrets. Is it possible that this is what the Everywhen really is? And that it’s not just where magic begins and ends, but also mythologies? It would certainly fit with Rue’s explanation that you have to be dead to pass through the gateway, and Faye “holding something back”, eventually remembering her promise to Kratos, could ultimately be what helps her return.

Alternatively, that may just allow her to die again and somehow make it back to the Nine Realms…if that’s indeed how things work. Not that anyone in the recent gameplay reveal would really know. Maybe they should try asking the sword what it thinks. It may know a thing or two about the flow of magic. Perhaps the Everywhen is considered a prison not for those in it but because magic is trapped with nowhere to go. That raises an even more terrifying question, though – who’s the jailer?

Despite everything we’ve seen and learned from the gameplay reveal and Santa Monica’s interview, too many questions remain unanswered. And quite frankly, I wouldn’t be surprised if the developer is keen on keeping that way, even after we reach whatever the end of Faye’s journey may be. Because while Laufey is an opportunity to showcase the person that she was before the events of the first two Norse games – Laufey the hero of the giants – creative head Cory Barlog thinks it “would be interesting to see how things continue forward.”

I wouldn’t be surprised if this is just the beginning of a new series, one that cements the Everywhen as a brand new setting. And with what the developer pulled off with Vanaheim, you’d have to think it’s going to bring that knowledge into the Everywhen, creating several massive zones for players to explore. Don’t worry, though – based on the gameplay showcased, there will still be some cramped areas and linear paths for players to follow.

Though rumored for the first half of 2027, Laufey doesn’t have a release date, and you can’t help but think that this reveal is intentional on Sony Santa Monica’s part. Presenting so much yet leaving us with so much confusion, then essentially going silent until it’s closer to release, which is when it will likely open up more about the combat, exploration, and characters before feeding even more tidbits, perhaps even calling back to some foreshadowing in the previous games. Either way, it’s time to explore what a new triple-A entry without Kratos can offer.

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.

Even if it reportedly cost $140 million to develop (not including marketing), and the team has yet to break even based on current sales, this is a fantastic start, especially since post-launch content is coming.

We’ve been singing the praises of First Light since launch, whether for the stealth, combat or storytelling. Many will also point to the character himself – iconic, recognizable and possessing near-universal charismatic appeal. But it’s easy to forget how much of a non-factor Bond has been for the longest time in the wider world.

In the cinematic space, No Time to Die was released in 2021, and there hasn’t been a new movie ever since. Amazon MGM Studios acquired the rights to the franchise in February 2025, and auditions are ongoing for the next Bond. But when it comes to video games, the desolation is much more severe.

The last game to feature Bond was Cypher 007 for mobiles in 2020, but there hadn’t been a new title for consoles and PC since 007 Legends in 2012. That’s almost 14 years between games. But why?

Well, part of it has to do with the fact that from 2006 to 2013, everyone’s favorite publisher, Activision, had the rights to the franchise and churned out the absolute worst 007 games ever. There was 007 Quantum of Solace in 2008, which received mixed reviews across every single platform for leaning too heavily on gunplay and not featuring any driving. Bond was a blunt tool in every sense of the word, except he wasn’t even throwing hands, and for a game so focused on shooting, the cover mechanics were not great.

But that’s alright – if Treyarch and Beenox couldn’t deliver a good Bond game, then clearly Bizarre Creations could! Yes, instead of a new Project Gotham Racing or Geometry Wars, the studio delivered James Bond 007: Blood Stone. But despite praise for the presentation, characters and music – major components of any 007 story – it fell short in every single gameplay way that mattered. At least we got Blur in the same year.

Then we arrive at 007 Legends, developed by Eurocom, and easily the worst Bond game ever made. The concept wasn’t that bad – celebrating the character’s 50th anniversary by playing through levels based on his major cinematic eras. Not a bad idea at all, if everything worked properly and it actually delivered a compelling story, strong level design, or varied gameplay. But it didn’t. Not even close.

Then there’s the whole sordid history of the post-GoldenEye titles. Activision’s GoldenEye 007 in 2010 was a decent reimagining of the N64 classic, but only just (and performance was nothing to write home about). Back in 2004, when Electronic Arts held the license, it opted for its own GoldenEye title called Rogue Agent, which had nothing to do with Rare’s classic. It also had nothing to do with the movie, strangely enough, and was just a completely unfun experience all around. Not as bad as Legends, mind you, but the fact that it was parading the GoldenEye name did it no favors.

Which isn’t to say that EA completely bungled the IP – despite Rogue Agent, 007 Racing and Tomorrow Never Dies, it also delivered some strong entries in the form of The World is Not Enough, Everything or Nothing and Nightfire. The latter two went on to become some of the best original Bond titles in gaming, stepping out from GoldenEye’s shadow, even if they couldn’t quite live up to its legacy.

But there’s no denying that Rare’s masterpiece loomed over the franchise as a whole. Some developers, like Black Ops Entertainment, were so hung up on surpassing it that they outscoped Tomorrow Never Dies, focusing too much on skiing segments that weren’t even in the movie, instead of presenting an all-around quality game. And while the GoldenEye reimagining could be viewed as cashing in on a known quantity, Activision was really under no obligation to do justice to the franchise. It was the era of cashing in regardless of quality, if the sheer amount of awful games from licensed properties wasn’t an indication.

First Light ultimately succeeds not just because of IO Interactive’s strong stealth fundamentals, but also by weaving Hitman’s multi-faceted approach into some missions. It’s also because the studio understood its limitations, knowing that these things wouldn’t be enough to properly capture James Bond, much less tell the story it wanted to tell. To that end, it took a completely different narrative approach, hired developers skilled in other features such as driving sequences, and examined a range of 007 media to deliver the ultimate James Bond video game.

And honestly, its release couldn’t have happened at a better time because, for all intents and purposes, this is a clean slate for the character, mirroring his current situation in films. The self-contained story exploring Bond’s origins created the perfect opportunity to introduce a whole new generation to 007. Obviously, a video game approach can’t really translate to other media, and yet, I’d be surprised if Amazon wasn’t paying attention to Bond’s depiction in First Light and the atmosphere as a whole. It has all the ingredients of a modern spy thriller – the set pieces, the quieter moments, the character development, the gorgeous vistas – with the suave confidence that befits 007.

So yes, while the lack of quality James Bond titles in almost 14 years is certainly a major factor, as is the character’s fame in general, how his adventure ultimately plays out is the key to First Light’s success. IO Interactive didn’t just set out to create a great action-adventure title for the Uncharted fans who – let’s be honest – have been starving for almost as long.

Nor did it design a 007 adventure meant purely for long-time fans. In the same vein, it didn’t try to just appeal to fans of its Hitman series. Instead, it had a vision for combining all of these and much more into a satisfying package, even if that meant sparing no expense to have everything that made Bond, Bond. The signature opening, a title track by a famous artist (and in this case, someone who wanted to make a film track but couldn’t), absolutely stunning fidelity from top to bottom, immaculately designed levels, brutal CQC that would make Daniel Craig proud, an unprecedented level of detail to everything – who knew walking through Q’s lab and stressing out his employees could be so fun? – the list goes on.

Without going into spoilers, it’s clear that IOI’s journey with 007 is only just beginning, even if it’s yet to lock down work on a sequel. Whether it ultimately happens or not, one thing is for sure – James Bond, in all his glory, is finally back in the video game world, with First Light standing side by side with GoldenEye as the premier 007 experience. All we can truly hope for now is that it doesn’t take another six or seven years to continue this new legacy.

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.

It’s the game’s story, and the way its gameplay loop has directly addressed my concerns, that have me quite enthusiastic to dive into this one. Well, a lot more enthusiastic than I was before I witnessed the showcase’s magic unfold. But what’s made that the case? How have these two factors taken precedence over a couple of reveals that had me grinning from ear to ear? I’m more than happy to answer those questions. Scratch that. I’m delighted. Let’s go.

Getting Logan Right

It’s probably a good idea to start with what had me worried before I get into how those concerns have been addressed. I remember thinking about how Insomniac was going to incorporate the brutality that comes with any story involving good old Logan into its gameplay loop. The studio certainly couldn’t make things the way it did in the Spiderman titles for certain. Peter Parker and Miles Morales might have superhuman strength, but their moral compasses were way too black and white to accommodate the grey areas that Logan’s usually prowling.

There are a couple of reasons for why that became a point of debate for me. The first one was Logan’s healing factor, and the fact that enemies throwing punches at an immortal skeleton wasn’t going to end too well for them. That would leave us playing a character who was virtually invincible.

Secondly, there’s also the fact that Logan’s claws were going to tear through fools who were made of flesh and blood but were still either brave or dumb enough to stand in his way. How could a game’s combat system click if its rank-and-file enemies were nothing more than cannon (or claw, in this case) fodder? No amount of fancy animations could have saved this one from a level of wrath that even Logan would be proud of from its players if that was the case.

Third, I was hoping against hope that this story wasn’t going to bring in Logan’s amnesia. That’s a character beat that’s been whipped out far too often at this point, and I would rather have a version of Logan that was self-assured and already in possession of the full spectrum of his memories. I wanted a take on Wolverine that factored in the pain and loss of a virtually immortal being instead of the confusion and feral rage of a man without his memories.

Well, the story and combat have addressed all three of these in ways that have me very impressed. I was expecting a sort of compromise between Wolverine’s powers, and thought only of The Sentinels when I thought of beings capable of taking on the grizzled warrior. But things have changed, and definitely for the better.

The Right Narrative Framing

It’s time to get to the meat of things, and the story is a good place to start. Things are looking bleak for mutantkind in this world, and the situation that Logan is a part of in the showcase is quite grim. Helpless mutants being rounded up by operatives in the employ of Bolivar Trask definitely raised the stakes right off the bat for Logan.

But it’s who those operatives are that has me as excited for Wolverine as I am. They’re the Reavers, an anti-mutant group that’s had a long history with the X-Men in the comics, and are probably the best equipped group to try and put a stop to Logan’s rampages in the game. I’m almost certain we’re going to meet Donal Pierce at some point, and the fact that Trask is a part of the whole thing is a great way of explaining why mutants are being rounded up without having to say a word.

That takes care of the potential pitfall of enemies falling too easy to Logan’s attacks. The Reavers are capable of putting up a good fight, and we even see Logan take quite a beating from one of the larger ones in the group, which forces him to unleash his rage and accelerate his healing factor (more on that in a bit). They’re well-trained and well-equipped, and I can’t wait to take them on when the game drops, if only to uncover more of their plans and perhaps fight a few of their high-ranking members.

There’s also the Jean Grey reveal, and the seemingly solid working relationship she shares with Logan in the game. They look like they’ve been trying to uncover the truth behind mutant kidnappings, while Insomniac has revealed that they are part of Team X, a task force of sorts that is now all that stands between the mutants and those who would seek to harm them. It’s in how Logan interacts with her that has captured my interest, though.

They seem quite comfortable with each other, which not only helps ease my concerns about a narrative where Logan doesn’t know who he is, while also setting up the scope for some very visceral combat moves. Jean isn’t holding back in this one, and I’m wondering whether the Phoenix is going to come into play at some point. That certainly would be a challenge for Logan’s healing factor, and it could make for an incredible set-piece too.

Of course, there’s apparently no shortage of set-pieces in this one, which brings me to the game’s combat system.

Visceral and Satisfying

It’s rare to see a combat system that’s satisfying just to watch, but here we are. Like Jean, Logan’s cutting loose in this one and it’s a facet of the experience that I’m absolutely delighted by. The Reavers can bear the brunt of his attacks just enough to dish out some damage of their own, and that balances out the dilemma of Logan being nigh on unstoppable in this one.

But of course, he heals, and does so at a pace that any normal foe would be hard-pressed to keep up with. But it’s looking like his healing factor is directly tied to his rage, in a system that looks like a solid balance between accelerated healing and some truly stunning takedowns, both of which look quite reliant on keeping Logan’s temper at optimal levels in order to make the most of the Berserker in him.

But he’s also more than able to take a quiet approach, which adds another layer of tactical thinking to the gameplay loop. It looks quite similar to what was on offer in Spiderman although Insomniac may have a few surprises up its sleeve on that front in the run-up to the game’s release. But the real star of the show for me was the ability to coordinate attacks with your fellow companions.

Jean and Logan brought some moves that reflect extensive time spent in the field fighting off bad guys, an indicator of their time as part of Team X, and hopefully as members of the X-Men if the story has the space for that kind of thing. It’s a perfect extension of my joy at finding out that Logan has his memories. An unfortunate offshoot of that particular problem was that he was unwilling to place his trust in others, and often operated as a lone wolf whose people skills were dismal, to put it kindly.

However, he seems gruffly okay with whatever arrangement he has with his comrades in this one, and it’s a take on the character that could showcase his value as a loose cannon capable of unleashing controlled chaos on the battlefield. Insomniac seems to have its finger on the pulse of what has made Wolverine tick as a character over the years, and is using that knowledge to give us a version of him that seems fresh yet comfortingly familiar.

It’s a kind of balance that looks like it could bring Logan straight from the pages of our favorite comics to a game that blends the best of them with an original story that seems tailor-made to make fans of the character very happy indeed. And it’s Marvel Wolverine’s biggest strength at this point.

It’s why I’m very optimistic about this one’s chances, and the reason I’m going to pre-order it as soon as I possibly can. I expect to be talking about this one a lot once September comes along, but for now, all I can do is wait as patiently as I can for a title that I’ve been looking forward to for years. I’ve now lost my reservations about it in the last couple of hours, and you can be sure I’ll be joining you for the adventure later this 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.

You’ve doubtless seen the reviews by now, which place it as one of the best games of 2026 – which feels like a common refrain nowadays, especially after Forza Horizon 6, Resident Evil Requiem and so on. While there’s near-endless praise for its ability to capture the essence of Bond, First Light is particularly worthwhile for really dipping into the espionage aspect of the universe. Which, unsurprisingly, intertwines masterfully with the stealth.

It all begins innocently enough with our hero freezing after a particularly nasty dip in the ocean following his helicopter going down. Crouch, shimmy across crevices, take cover – the usual stealth tenets. However, Bond speaks to the enemy at one point, and suddenly a whole new world opens. A world where all these elements work in concert to really make you feel like a superspy.

As much as First Light’s linear sections and explosive set pieces stand out, there’s equal appeal in the more methodical areas, where the floor is yours, and you dictate the approach. It sounds simple enough in most cases, especially if you have what seem to be the right gadgets. The Phone Dart, for example, is just as good at inducing sickness in someone to open up a spot as it is to reduce the number of targets to take down from 3 to 2. The Q-Watch is your Watch_Dogs-like hacking tool – perfect for scoping out your surroundings in a busy setting, but also great at bringing a speaker to life, luring yet another guard away. And then there was one, which is usually when a quick fist or two comes in handy. Mop up the rest, and you’re golden.

You can – and will – approach many of the game’s encounters in the same way, dissecting these encounters into acts of microaggression, gradually whittling down the enemy’s numbers. But you can also choose the path of least resistance, skillfully maneuvering through cover and keeping a low profile. The Smoke Pod is especially handy, especially if you’re caught and need to make a quick getaway. Maybe blinding an enemy with the Laser Strap.

However, these translate equally well into scenarios where violence is secondary. Where Bond’s talking can do the heavy lifting, whether it’s convincing enemies that he belongs, is friendly or even an authoritative individual. You don’t even need to glance at those gadgets – sometimes, all it takes is some good ol’ sabotage, like breaking a door handle to contain a threat, or creating a fire to draw attention.

Several missions require gaining entry into a specific area. Easier said than done, given the number of guards in locations like the gala who will outright tell you to leave. Maybe you’ll wander around and find some press credentials, either by convincing someone that you’re someone else, or by hitting them with a Dart and taking a press badge when they’re not looking. You might eavesdrop on conversations and observe others to steal their badge when they’re not looking.

In the same vein, another mission, “A Night Out,” opens up opportunities to use Bond’s exceptional ability to climb and reach areas undeterred. Perhaps you’ll try to get a stamp of approval for access, once again convincing the man in charge you’re someone else. Alternatively, just steal it when they’re not looking. Keep in mind that all these steps are simply to gain entry to the next part of the mission, and while you could be as ingenious as possible, nothing is stopping you from adopting simpler methods for success.

Either way, you’ll need to explore a level and seek out those opportunities, carefully observing the environment and people around you. They may have their own stories and dilemmas, but in that moment, they’re tools for Bond to exploit, even if it’s a bit of sweet talk to get by. As much as the fast cars, the speedboat, the range of weaponry and the explosions contribute to the superspy fantasy, it’s the moments where you’re undercover, adopting an entirely different identity and causing shenanigans without getting exposed.

Of course, there are valid criticisms. As pointed out before launch, you can’t move the bodies of knocked-out enemies. On the one hand, it’s understandable, especially for those used to more mechanically dense stealth games like Splinter Cell or Metal Gear Solid. But in First Light, this often forces you to do what Bond does best: Improvise. Talk your way out of it. Stay quiet and pick your targets off one by one. Get spotted and unlock the License to Kill, unleashing as much lead as empty guns into the faces of your enemies. Close the distance and smack fools around. Or some combination of all four, before moving on.

And that goes back to the real appeal of 007 First Light – the fact that it’s not pure stealth, or pure action game. Or trying to be overly linear, but also not throwing these massive sandboxes at you to get lost in (and bog down the pacing). It’s the James Bond experience, and while some situations will force you to be stealthy or rain fists down on your enemies as necessary, others require a bit more finesse and proper espionage to pull off. The fact that you can take different gadgets into the same mission and discover new ways to progress only further reinforces how important Bond is throughout all of this. These situations, this kind of stealth, and the results that follow occur because it’s Bond who we’re embodying through all this.

Of course, there will be plenty of points that fly in the face of logic, and you have to go with the flow (like believing that one guard can’t hear you pummeling his friend a few feet away). It’s to the credit of the writing in such cases that First Light doesn’t get too bogged down by such inconsistencies. “Are you fighting again?” Moneypenny asks, to which Bond replies, “Wouldn’t dream of it”, before quickly containing another situation. The wry wit ensures that each moment feels like you’re in a bona fide 007 flick, and in many ways, you are.

And that’s really the key appeal of the experience. First Light doesn’t choose to completely gamify Bond (at least, outside of the TacSim), but it also doesn’t put him on the straight and narrow path to the only ending. It’s full of cinematic moments and cutscenes while simultaneously ensuring you’re in control during many of the moments that matter. You’re traveling to these exquisitely designed locations – a proper globe-trotting adventure – but they’re more than just beautiful sets that lack any real life. They boast impressive attention to detail, which becomes all the more important when looking for different opportunities.

In that sense, IO Interactive has delivered one of the best 007 games of all time, precisely because it presents every aspect of the character in such a stunning fashion. Even when it feels like “live and let die” is the only course of action, Bond’s nature as a smooth talker, a stealth artist, and most importantly, a spy shines throughout.

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.

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.

However, there’s always a caveat that hangs over every first-party title at Xbox, especially those that see big player numbers. It happened with Starfield, South of Midnight, and so on. I’m talking about the albatross known as Game Pass.

Which has seen price drops in the Ultimate and PC tiers, and remains one of the best subscriptions in gaming, make no mistake. But when a developer announces “players” instead of “sales,” it always gets one thinking about how financially successful a title has really been.

In Forza Horizon 6’s case, there are some other metrics we can turn to, starting with the Steam top 100 sellers. It’s consistently ranked in the top five best-selling titles globally, occasionally slipping into the number one spot despite heavy competition from Subnautica 2 and 007 First Light slowly nipping at its tyres. Last Sunday, it crossed 300,000 peak concurrent users, making it the biggest Xbox Game Studios title on Steam by a strong margin (Halo Infinite previously held the record, and that was for the free multiplayer mode’s launch).

However, that’s only part of the story and still doesn’t clue us in to the actual sales. This is where estimates from Alinea Analytics come in handy, as the firm reported 4.9 million units sold as of May 22nd – a few days after its worldwide launch. Gross revenue is apparently over $325 million, and while Steam apparently accounts for 2.8 million copies sold, Xbox makes up a healthy 2.1 million copies. It also seems that advanced access had more than its fair share of takers at about 1.7 million – a believable figure, considering that in-game leaderboards showed over 1.4 million players before Standard Edition players got in.

The really interesting part is that on top of the reported 4.9 million copies sold, there were apparently more than three million Game Pass players. This encompassed both PC and Xbox Series X/S, and right away, it seems like the service has cannibalized sales.

Xbox could look at this as a big win for Game Pass, potentially gaining several new subscribers in the process, but I think it goes a bit deeper than that. The Premium Edition Upgrade is one example – it’s essentially a Game Pass subscriber paying nearly the full price of the game to play early. And while we don’t have estimates on exactly how many took that plunge, even 50 percent of the 1.7 million figure is a pretty decent win for the model.

However, if you leave the potential revenue lost from those who experienced it through Game Pass instead of purchasing the game outright – not that there’s a guarantee they would have done so in the first place – the debate goes beyond the service’s effect on full game sales. It shows, once again, that certain titles can thrive, even when a cheaper option to play them is available.

Call it positive word of mouth and buying into the hype. Call it brand loyalty. Heck, you can even think of it in terms of those who just don’t like Game Pass and would rather purchase their games, having that peace of mind with ownership and playing on their own time. But Forza Horizon 6 proves that certain games can facilitate both “players” and “sales” for Microsoft.

We’ve seen this phenomenon before – twice, actually, in 2025. When The Elder Scrolls 4: Oblivion Remastered shadow-dropped and reached four million players in just three days – a testament to the power of the Game Pass model when it came to making high-profile releases so accessible. However, it was also the top-selling game in the United States for April, despite being available for about nine days, and it remained one of the year’s best-selling games.

Then there’s Sandfall Interactive’s Clair Obscur, a game that many believed would be overshadowed by Oblivion Remastered. Not only was this not the case, but it went on to sell 8 million copies in its first year – pretty good for an independent studio with a development budget of under $10 million.

Now you could point to both releases and say they were $50, hence why so many players were encouraged to buy them outright. There’s also the fact that they’re available on PlayStation 5, which would have contributed even more to sales. But that’s the point when it comes to Forza Horizon 6. Despite costing $70 and being available on two platforms – Xbox Series X/S and PC – it’s already posting some insane numbers, official and estimated. And it’s early days yet.

I know it’s nothing as simple as “Make a good game, and it will sell well,” but even without considering the effect that Game Pass has had on a title’s sales, there’s no denying the effect it has on bringing more attention to a game that more than warrants it. Maybe they know nothing about the franchise, and this is their first entry, which actually might be the case for audiences in regions like Japan, given the setting and how well it’s recreated. Alinea seemingly supports this, noting it to be the fourth-best-selling title on Steam last week, compared to Forza Horizon 5 being eighth when it launched. After seeing so many streams and positive buzz, you probably won’t be surprised to hear it’s currently a best-seller in the region.

Maybe there are those motivated to purchase the game outright to keep playing and retain their subscription at the same time (which sounds bizarre, but I assure you – such people exist). And that Premium Edition Upgrade isn’t effectively dead in the water now that early access is over. Once the first paid expansion rolls around, those checking out the base game for the first time may be motivated to spend a little extra just to access it. So it goes.

And if all this wasn’t enough, there’s the third-party card, namely, releasing on PS5, which doesn’t have Game Pass. For every full-priced game sale lost on those that do, it’s probably making back twice that amount when Forza Horizon 6 arrives on PlayStation. After all, the previous game sold over five million copies last year on the same platform, despite originally launching in 2001. It’s almost an understatement that this will perform even better.

To that end, this isn’t about defending Game Pass or the practice of first-party Xbox titles on the surface. Rather, it’s about those titles which can deliver on both sales and players, effectively serving two masters in the process. Can every title achieve this? No, which is why it’s all the more important to celebrate those that do, especially when they’re of such a high quality. Again, not surprising, considering the Forza Horizon series and its pedigree, but it’s certainly a standout example, especially given the ongoing discussion about exclusivity at Xbox.

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.

I beat the final boss of the game’s story, with most of the map complete, after a 200-hour playthrough that’s taken nearly two months. But I’m going to be restarting the game, making the choice to experience it all again in a sort of New Game Plus where I may not have all my gear and skills, but come armed with the knowledge I need to bend Pywel to my will.

Why would I do that, though? It all comes down to the game’s combat, exploration, and economy, and the way they’ve changed since I first picked up the game, and how I’ve learned to use them in a way that makes sense to me. Let’s dive right in!

Fighting The Good Fight

I chuckle to myself when I think about how I was tapping my light attack button to get combos going in a fight when I first started out as Kliff. That was quickly corrected thanks to the Greymane community at large, and a few helpful showcases of the best Abyss Gears let me come to grips with how devastating late-game builds could be.

That’s especially true when you compare them to the humble beginnings of what you can achieve in the early game, and it’s not just about raw power. It’s about how you get to tailor builds to bring so many options to the battlefield, allowing you to control the fight against massive crowds and deadly bosses without breaking a sweat.

My dual blades now tear through enemies, my parries raise a small earthquake to knock them off balance, while my gloves bring down orbs of ice to impede their counterattacks. My armor confers a host of other attacks depending on which move I’m using, while my helm fires off laser bullets that shred posture bars. Of course, I’ve also got a couple of helpful bots that hang out in my Kuku pack that can turn the tide in case things don’t go my way.

That sounds like a lot of fun, and it is, but there’s a catch. I’m too set in my ways and have been putting off a visit to the nearest witch to switch things up. But then again, what if I reset the board entirely?

A new playthrough would make combat very interesting thanks to how the game takes you in directions you never planned on going, and can sometimes even derail you, even if you’re determined to complete a certain set of objectives. I’m pretty certain I can’t track down all the stuff I’m currently using purely based on my memory, and I think the chance to find an entirely new playstyle is something that’s pretty appealing, and a detail that often gets overlooked when New Game Plus lets you retain all your hard-earned weapons, gear, and abilities.

I could try a harder difficulty, which would be another layer of challenge, experimenting more boldly thanks to a better grip on potential outcomes for each character. I’ve already thought of a build for Damiane that makes use of all the crow-related attacks I’ve found, while there’s that purely ranged build for Kliff that everyone’s been raving about. I’ve also thought of a spirit and health-stealing build for Oongka that I’m darn curious to try out.

A new playthrough would probably let me get to more of each character’s skill trees faster if I set the now re-blockade feature to its War setting and let enemies constantly battle for control of Pywel with the Greymanes’ finest fighters. The new extraction feature is definitely going to have me very entertained, as I now see a viable way to have two builds per character on hand, ready to go with some deft clicking on my weapon and armor wheels.

Lastly, having prior knowledge of skills that unlock via observation is a definite way to cheese a few free Artifacts. You could argue that all of this is possible on my current playthrough, and you’d be right.

But I would say that the rest of the game, and how I plan to play it, would justify starting from scratch. Because fighting pitched battles is only one part of life as a Greymane. There’s also the matter of peeling back Pywel’s layers and learning its secrets to consider.

Building The Greymane Legacy

Being a good Greymane is about leaving the world better than you found it, and Kliff’s unique role in that grand scheme of things is definitely going to let me see his story with a more understanding pair of eyes. But I can’t help but wonder how I could have saved so much grief for myself if I’d gone after elemental powers before I discovered that they weren’t a part of the story at around the 100-hour mark.

The same goes for important vendors, where I learned that gaining trust with them allows access to a special Supply Contract that unlocks their wares back at the corresponding store in the Greymane camp. Getting all of that done early in a playthrough is going to make the Greymane camp all the more effective as my HQ, new storage options, and everything else considered.

The new inventory management systems are another reason I want to see what a new playthrough feels like. I feel like the new storage options were shoehorned into my playthrough, given where I was when they dropped, but having them as options from the early parts of the game is going to make my approach to resource management quite different this time around.

Of course, I can’t get over the relief that Skystreakers actually work now, and a bit of research into ways to reduce cooldown times can let you use them quite frequently if you’re clever about it. I’d probably finish the story as early as I can instead of delaying it in favor of exploring the world this time around, and that’s just to gain access to the ATAG suit and Blackstar as soon as possible.

That would once again make traversal feel altogether new, and probably make exploring the world go very differently, too.

Of course, my Greymanes and the missions they can do for me are also going to be put to better use in a new playthrough. I wish I’d known about missions where they set out to bring back a free Abyss Artifact from some ruins every fourth day, along with missions that generated equally valuable resources.

The same goes for the Kuku crafting system and all the cool stuff I haven’t yet tried out from it. Using my Greymane camp as the means to generate a solid cash flow is also a great way to ensure all of the research projects from the game’s factions are completed fairly quickly, another reason to blaze through the story on a second playthrough.

Picking up supply contracts for the camp eliminates the need to visit multiple stores for items like food and upgrade materials, bringing them all together in one convenient location. If you’re still at Howling Hill, that is. I’m still not sold on the Pailune camp. Of course, I’m going to be holding on to my pouches and using them as gifts instead of a paltry income stream this time around.

It’s probably my first time seeing a game change so much that it’s not only so different from its release build, but it’s also making me change the way I play it when diving back into it. But that’s exactly where Crimson Desert delivers an experience unique enough that playing it again for hours on end sounds like a blast instead of tedious repetition.

An Adventure All Over Again

I’m not going to dwell too long on the fact that Crimson Desert can entertain me once again based on the pure unpredictability that’s baked into its very design. Pywel’s a constantly evolving place, and is now one that actively responds to your role in it. And while it may lose a part of its mystery and opaque charm, it’s still a very attractive place thanks to how it looks when the fog of ignorance is lifted.

A new playthrough is just my way of playing it the way it was always meant to be played, my first 200 hours in it a way to ensure that it remains as enjoyable to me now as it has been all these days. Crimson Desert’s a rare title where a new playthrough sounds like even more fun than a New Game Plus run.

Now all that’s left is to wait for Friday night, and to take on Myurdin and the Black Bears all over 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.