Rather than going into in-depth detail about the content, the trailer instead showcases how players can work together to conduct research experiments on the various planets they have to visit. There is also quite a bit of chaos shown off in the trailer, with players needing to deal with the consequences of some of their actions during any given mission.

At launch, STARSEEKER: Astroneer Expeditions will feature cross-platform multiplayer and progression, with all of its online systems working. The studio has promised that it will offer a “fun action sandbox” along with hundreds of missions and tasks. Players will be able to complete these missions to earn a variety of rewards, all while they climb up different reputation paths, which form the basis of the title’s progression systems.

STARSEEKER: Astroneer Expeditions will also feature an ongoing narrative that will change as the title gets more content through post-launch support.

System Era Softworks has noted that it is aiming to spend a year in Early Access as it slowly works towards the 1.0 release of STARSEEKER: Astroneer Expeditions. Among the content planned for the game is the addition of new regions, items, characters, and sandbox systems, among many other things.

What happened, and why do some of these locations seem familiar? It’s your job to find out and solve puzzles along the way, and Croteam promised both “familiar and all-new mechanics” in the game’s Steam listing. As usual, you can prioritize what’s necessary to progress the story or “pursue the deeper secrets” of the Anomaly. We’re guessing the latter holds the key to unlocking the true ending.

Either way, this marks the finale of The Talos Principle series and features stunning locales, from a desert planet being terraformed to lush gardens. Composer Damjan Mravunac also returns to craft a brand new soundtrack.

Stay tuned for more details in the coming months, or check out The Talos Principle 2, which is currently available for PS5, PC, and Xbox Series X/S. Why is the third game skipping Microsoft’s console at launch? Your guess is as good as ours. There’s also The Talos Principle: Reawakened, a remaster of the first game that includes revamped visuals, the expansion, and even some new content with In the Beginning.

This roguelite action title has been revealed at the recent Xbox Partner showcase and is being developed by Behaviour Interactive. That’s kind of ironic since the heroes you’re going to be embodying seem like the worst-behaved bunch of protagonists we’ve seen in a while. They’re still quite effective, though, as their distinct personalities and skill sets allow them to sow chaos among enemy ranks. Considering the fact that they’re all versions of Sam from different universes, that’s a given.

You’re going to be teaming up with them via a five-player run-based gameplay loop that’s looking like quite an entertaining romp through visually impressive environments that are populated by threats that seem poised to give Sam(s) more than a few challenges to overcome. With Mental pulling the strings, expect some insane (pun intended) action, game-changing boons, and a whole lot of chaos when you dive into this one.

It doesn’t have a release date yet, but it’s definitely worth watching the reveal trailer below if you’re looking for some fun.

Hosted by Evil Empire, which is developing Belmont’s Curse, the inclusion of the latter makes sense, but there’s much more to look forward to. Dead as Disco, Risk of Rain 2, Windrose, Alkahest and Alabaster Dawn will also appear while sunset visitor (1000xRESIST), tinyBuild, Daedalic Entertainment, 11 bit studios, Klei, Outersloth and Devolver Digital are confirmed.

Overall, you can expect eight world premieres and gameplay reveals alongside release dates for already-announced titles. If that wasn’t enough, the “zero fluff” showcase will feature deep dives on select titles in the post-show.

At this point, release dates for titles like Dead as Disco and Windrose, both of which received overwhelmingly positive responses during their respective Steam Next Fests, seem a given. Radical Fish Games also promises a big announcement, which could mean an early access release date for Alabaster Dawn (previously slated for last year). Stay tuned for all the updates and announcements when the show rolls around.

If you were a fan of the game’s developing bond between Alba and Neva, the DLC should be right up your alley. This time, Neva’s mother is an absolutely adorable cub who is quite quick to jump into Alba’s arms in the trailer, although you must earn her trust before your budding friendship reaches that stage.

There are going to be plenty of opportunities to do so, however, as the pair will explore three new locations with new challenges, gameplay mechanics, new enemies, and five hidden challenge flowers for those of you looking for a test of your skills. Oh, and don’t get us started on the new boss designs that were showcased. They’re quite impressive and intimidating all at once.

The music is shaping up to be as good as the base as well. All in all, Neva: Prologue looks like it’s going to be a treat for those of you who’ve beaten the original and want new content added to a world that has stayed with us ever since we first visited it. You can check out the release trailer for yourself below. Just be prepared for a cuteness overload when you see the young wolf!

Naturally, this incurs the wrath of the chief philosopher and the wandering eyes who, despite being just eyes, can’t tolerate your racket. Don’t worry, though – after an ephemeral rabbit guides you to two Thinkpieces and you pass evaluation, the moon is rightfully yours for the snacking, except that’s the beginning rather than the end.

I swear I’m not crazy.

In fact, this is a blow-by-blow account of the first 20 minutes or so of Skate Story by Sam Eng. Long in development, delayed multiple times, and finally available for PC, PS5, and Nintendo Switch 2, it’s a game about skateboarding. The bee at the florist? The fluffy creature in the Bagelworld who gives you warm milk (and oddly appears later in a completely different role)? The skeleton fleeing with shears in its mouth? They’re all distractions – the real friends really are the skateboarding we performed along the way.

"As delirious as it feels at times, however, the art direction is sublime, an appropriately uneasy balance between aesthetically pleasing and aesthetically appropriate. Contrast this to its first trailer all those years ago, and it’s mind-boggling to see the leaps that Skate Story has taken."

It certainly isn’t the skeleton that remembers Summer, the real Summer, before it disintegrates into dust. Or the other that sinks its teeth into a heart (not really – it’s just happily hanging off a street lamp) to make up for the lack of one in its chest before also disintegrating. Or the train propelled by millipede-like legs that we need – what else – a MilliCard to ride to face the blood-red moon (which went down easier thanks to the milk). At least the twin moons came to me, projecting scuttling blue scorpions that were seemingly content to vibe on this impromptu dance floor.

If this is all sounding a little too surreal, I absolutely promise you that the visuals and music will not cure that. Skate Story has this color bleed effect (which can be turned off in the settings), which combines with the per-object motion blur and screen space reflections to make environments feel that much more dream-like. If the random stop signs, hurdles, pavements, and glass needles weren’t already doing that for you. As delirious as it feels at times, however, the art direction is sublime, an appropriately uneasy balance between aesthetically pleasing and aesthetically appropriate. Contrast this to its first trailer all those years ago, and it’s mind-boggling to see the leaps that Skate Story has taken. Be warned, though – the amount of flashing lights can be a bit much, and it can occasionally be difficult to make out some paths due to background clutter.

The incredible soundtrack by Blood Cultures (with John Flo also contributing some tracks) is also a notable anchor – it’s easy to get wrapped up in its flow, as the skateboarding becomes more meditative. When it’s not leaning back on chill instrumentals, there’s an eclectic mix of psychedelic pop and chillwave. I know it’s probably going to be impossible given the release timing, but this absolutely deserves a nomination for soundtrack of the year.

Even the sound effects are on point. Your skateboard slamming against the pavement is so satisfying and realistic, further enhanced by the sound of breaking glass. Different surfaces produce unique sounds, as you’ll quickly learn when skateboarding on brick floors. There are some places where effects are missing – the laundromat, for instance – but if anything, they enhance the overall weirdness of the situation.

"You have to build up a combo and slam within proximity of your foes to deal damage. A risk vs. reward mechanic where building up that combo in a single stretch to insta-wipe a boss would have been nice, especially given the time limit in these sections."

As an experience, Skate Story is something unlike anything else out there, but what about the gameplay? Despite how much of a fever dream this all is, the skateboarding is quite robust. You start with the most basic of tricks – an Ollie and a Kickflip before quickly progressing towards the Heelflip. Of course, you can pull off this and much more pretty much immediately, whether it’s Manuals and Reverts or Frontside 180s and grinds. A small timing meter appears whenever performing a trick – perfectly time an Ollie, for instance, and you’ll pop up higher.

However, this isn’t quite like Tony Hawk’s Pro Skater, where you complete objectives within a single sandbox-like level, discovering secrets, spelling SKATE and whatnot. Several segments play out more like a linear platformer, as you barrel down paths, warping from one to the next through portals while avoiding obstacles like fire or turning on a dime to avoid slamming into glass needle bushes. To be clear, it’s a dream to control – the responsiveness while performing tricks is great, and it all feels natural, though successfully nailing grinds can take some getting used to. There’s also some iffy collisions, where it felt like I should have hit a lamp post, but phased right through.

Running through these sections, there is a distinct feeling of discovering the best paths for racking up the highest scores. Since continuously repeating the same tricks will cause the combo to deplete faster, you’re encouraged to experiment. If anything, consider them practice when navigating the actual hub-like intermissions between these linear sections with Moonspots that require performing tricks or additional objectives that require mastering different tricks.

The combos only really matter during boss battles, for the most part. You have to build up a combo and slam within proximity of your foes to deal damage. A risk vs. reward mechanic where building up that combo in a single stretch to insta-wipe a boss would have been nice, especially given the time limit in these sections. However, I didn’t see any difference between slamming after a 2000-score combo versus a 15,000 combo, which is kind of disappointing.

"You wouldn’t think a trash bag could serve as a complex labyrinth of perpetual blazes or that the path to Bagelworld could be so treacherous, but if you take the leap, these and many other wondrous sights await."

So while there is a satisfying gameplay system to master, it’s not really one that’s in the pursuit of big scores, unless you count accruing Souls and spending them on skate decks, stickers, wheels, and whatnot. The journey is what matters more than anything else, and even if the narrative is all over the place in that respect, there is an undercurrent of celebration for skateboarding as a whole. Philosophical musings – does a trick make a sound if no one is around to hear it? – can sound corny. Oddly and appropriately, however, it fits with the overall atmosphere that Skate Story is going for. Somehow.

As far as side quests and activities go, they’re a little too simple in some respects, simply defaulting to “Get and deliver an item.” The main “quest” steps, as they were, involve mastering aspects like grinding and come across as more entertaining. However, the streamlining can feel a little excessive when trying to really explore and take in the various levels.

All that said, Skate Story is worth checking out if you want a skateboarding experience with an excellent trick system and responsive controls, but also incredibly out there with its narrative and atmosphere. You wouldn’t think a trash bag could serve as a complex labyrinth of perpetual blazes or that the path to Bagelworld could be so treacherous, but if you take the leap, these and many other wondrous sights await.

This game was reviewed on PC.

PlayStation Blog also shared some new details about the otherworldly adventure, starting with the controls. Holding Square unleashes a power slide, while holding down Circle performs an Ollie. Pretty simple, right? However, as you experiment with the L1 and L2 buttons, you can perform Front Pops, Heelflips and Pop Shuvits.

There are over 70 tricks to unlock, and you’ll need some serious variety to defeat the game’s bosses, which require building your combo meter and stomping with Square at the right moment. Timed jumps nets more points, which equates to more damage, but be careful – one wrong move and the meter’s wiped.

Beyond battling bosses, you’ll also complete various missions and fulfill requests for various underworld denizens (like destroying a “smelly monolith” for a talking trash bag). Rabbie the ghost rabbit will serve as your guide, and there’s a hub where you can spend soul currency to customize your deck.

Skate Story launches on December 8th. Check out some gameplay of a battle against the Moon here.

Still, it felt like Possessor(s) was a return to form, offering 2D animated characters in a side-scrolling action-adventure set in a massive 3D world. Unfortunately, despite a compelling premise and some sleek presentation, it also stumbles in various frustrating ways.

The setting is Sanzu City, recently torn apart by a disaster of demonic proportions. A massive otherworldly rift has opened, and demons roam the streets, ravaging the living. Luka, a high school student, is on death’s door after losing her legs, but she happens upon the equally wounded Rhem. Despite watching her best friend, Kaz, get killed by a demon, Luka reluctantly forms a partnership with Rhem, allowing him to possess her and heal her wounds.

It isn’t for free, though, as the player is tasked with escorting Rhem to the epicenter of the rift so he can return to his home dimension. Doing that requires accessing a mysterious underground vault belonging to Agradyne, who effectively runs the city and produces batteries (three guesses about where their energy comes from). You’ll then need to travel to different corners of the map and collect four eyeballs belonging to officials possessed by high-ranking demons to pave the way forward.

As typical as the MacGuffin search feels, Possessor(s) does a pretty decent job of not immediately lapsing into it. Luka spends a significant amount of time getting to know Rhem while mastering her new legs and strength. Their pasts intertwine as memories are mixed and secrets eventually spill forth. The characterization feels spot-on in this regard, with Luka coming across as immature and awkward, but also understanding and down-to-earth. Meanwhile, Rhem, despite his calm, collected demeanor is prone to stubborn callousness.

The barriers between them are slowly but surely whittled down along the way, even if arguments still tend to flare up. Other notable figures include Tens, a former Agradyne employee turned hunter who works alongside a possessed wolf; Professor Foss, Rhem’s former teacher who’s now possessed and mentally unravelling; and more. Outside of accepting quests or acting as vendors and one-time bosses, they don’t have a heavy presence in the plot, with the focus remaining squarely on the eyeball hunt and Luka and Rhem’s dynamic. Nevertheless, they’re intriguing and add to the overall setting with their backstories.

The two core components of Possessor(s) are platforming and combat, and there’s plenty of acquiring new abilities and revisiting previous locations to test them. All your favorites are here, from the grappling hook that also doubles up as pulling smaller enemies towards you to the slide and underwater dash. And while the platformer can feel solid enough as a whole, there are some fumbles, like the grapple not properly latching onto points at times. There are also some delays to your movement in combat – something I learned the hard way when trying to transition from a dash to a crouch to avoid a beam and dying in the process.

"Aesthetically, Possessor(s) is a mix of wonder and intentionally clashing styles. The look and motion of its characters are in stark contrast to the 3D environment, with limited animation frames that still manage to flow together relatively smoothly."

That awkwardness pervades a huge chunk of the combat as well. While attacking, you’re effectively stuck in one direction for the duration of that combo. Enemies aren’t, of course, resulting in frustration. Luka can utilize a primary weapon and three special weapons at a time, ranging from a mouse to juggle enemies into the air to a hockey stick with wide-range smacks. There’s a Super Smash Bros.-like feel to some of the action as you break through guards and knock enemies into each other and the environment, which feels pretty nice. It’s punctuated by parries, which are required to open up certain foes to attacks and reflect projectiles.

Given how many enemies tend to stay just out of reach, the latter can be essential. Occasionally, it’ll feel very generous as you parry multiple bullets back. Due to the lack of any kind of invincibility window when taking damage and the excruciatingly long stun recovery, you can easily get by hit dozens of them at once and die. This leads to some even more annoying runbacks, purely due to the layout of certain sections.

Even if you fully grasp the combat, there isn’t all that much to it beyond smacking enemies away, grappling them back and following up with another attack. The primary weapon variety is surprisingly low, and the special weapons are very mechanically basic. Admittedly, it can be cool to execute a counter-attack with the glasses or charge up a powerful katana slash, but that’s as far as their functionality goes. The affixes also feel a little too straightforward, though providing some lungs for an NPC to cook and effectively buff is one of the more memorable interactions.

Aesthetically, Possessor(s) is a mix of wonder and intentionally clashing styles. The look and motion of its characters are in stark contrast to the 3D environment, with limited animation frames that still manage to flow together relatively smoothly. Well, on most occasions, since some bosses still tend to just kind of float towards you with certain attacks. Regardless, they stand out well against the brutalist architecture of the world, its shadowy undertones and an analogue-like filter which lends an old-school horror feel.

Even the sound design is lovingly on point on most occasions. Possessed books float about, crying like babies while your whip lashes out with all the primalness of a beast. The music is also a nice mix of heavy-handed and moody, whether it’s the disarming nature of the Abandoned Mall’s tunes or the epic feel of the final battle.

"Even the story, when it’s all said and done, peters out in fairly predictable ways. Some elements are left disappointingly open – a significant contrast to how inviting Sanzu City felt when first diving in. "

However, the biggest problem with Possessor(s) outside of its movement and combat issues is that it runs out of steam in the closing hours. One area feels painfully straightforward, consisting of nothing but battle rooms en route to the final boss. The other plays with inverted structures and extensive gaps, but not in any really special way compared to prior areas (and it feels relatively short). While there are reasons to go out of your way, be it in obtaining items to add more affix slots to gear or discovering quest items, it begins to feel superfluous after a point. This leads to frustration when you happen upon any places not tied to your objective. At least many of the bosses feel unique, though the aforementioned combat and movement issues can once again hamper your enjoyment.

Even the story, when it’s all said and done, peters out in fairly predictable ways. Some elements are left disappointingly open – a significant contrast to how inviting Sanzu City felt when first diving in. As a whole, Possessor(s) is a decent side-scrolling action-adventure with some interesting twists, especially surrounding possession, backed by a relatively solid dynamic between its leads.

It just sadly doesn’t venture much further. Maybe that’s on me for being so enthralled by this concept and wanting to see where it ventures next, only to be suitably whelmed by the end. I wouldn’t classify this as Heart Machine’s worst effort by a long shot, but it’s yet another in a long line of personal disappointments for sure.

This game was reviewed on PC.

First up is Cyberpunk 2077 developer CD Projekt RED. It retweeted its announcement from back in October 2020. “No more delays are happening” for the highly anticipated FPS/RPG, which, naturally, wasn’t the case. It’s all the more amusing given how Take-Two CEO Strauss Zelnick is confident about GTA 6’s new release date.

Then you have Sean Murray of No Man’s Sky fame, who simply wrote, “Every other publisher right now” with a montage of firefighters rushing through drills. And while humorous, it’s absolutely likely that other companies shift their major Fall 2026 releases to avoid GTA 6 as much as possible.

LEGO Batman: Legacy of the Dark Knight developer TT Games said, “Looks like Batman needs to delay his trip to Miami.” Of course, you also have Devolver Digital, which is committed to releasing a game on the same date as Grand Theft Auto 6 in defiance of other publishers. “You can’t escape us. November 19, 2026, it is then.”

As for why a delay was announced so far out, Zelnick said it was for the sake of marketing, to “give consumers as much certainty as possible,” and, in case you missed it the first time, “We feel quite good about this date.”

Previously a teacher to Luca, the demonic disaster in Sanzu City resulted in the death of his students and possession by the Knowledge Demon. Though Foss is still receptive to conversation, this short indicates that the demon is tearing away at him beyond simply altering his appearance.

Of course, the trip to the school is for more than just reuniting with Foss, as Luca and Rhem delve into the basement to learn more about some “mysterious research.” What this could lead to remains unknown, but it won’t be long before we find out. For more details on the side-scrolling action title, including the combat and weapons that Luca can wield, head here.