Metronomik and publisher Sold Out have announced that No Straight Roads – Encore Edition is now available for PS5 and PS4, which makes it the first native launch for the game on PS5. Anyone who already owns the base game gets the Encore Edition for free.

In addition to all previously released post-launch content, Encore Edition also adds over 500 pieces of fan art to collect and use for customization, new remixes, a new opening cinematic, and various quality-of-life improvements, including visual upgrades, audio improvements, an improved multiplayer camera, equipment presets, and more.

Whether No Straight Roads – Encore Edition will also eventually launch for Xbox and Switch remains to be seen.

In our review of No Straight Roads upon its 2020 launch, we gave it a score of 7/10, saying, “No Straight Roads looks great, sounds great, and has great characters- but it has major gameplay issues that bring down the whole experience.” You can read our full review through here.

In addition to PlayStation consoles and PC, No Straight Roads is also available on Xbox One (and playable on Xbox Series X/S via backward compatibility) and Nintendo Switch.

In No Straight Roads, you play as Mayday and Zuke, an indie rock duo that’s trying to make it big in Vinyl City. It’s a city that lives and breathes music- it’s governed by a musical organization known as No Straight Roads (or NSR) that uses EDM music to generate electricity that powers the whole city. But it’s also an organization that does it to the exclusion of all other types of music, and that’s something that the rock-loving Mayday and Zuke cannot tolerate. When they witness the corruption and elitism that plagues NSR at the highest levels early on in the game, they decide to start a musical revolution, taking back the city district-by-district by beating various NSR artists – each specializing in a sub-genre of EDM – and bringing power and musical variety back to the people of Vinyl.

"This is a game with a lot of heart, one that’s bursting with ambition and creativity- it’s just a shame that it’s held back by a number of significant issues."

It’s a ridiculous premise, and No Straight Roads knows it. In fact, it goes all in on it. This is a game that wears its heart on its sleeve, and nowhere is that more apparent than how blatantly it puts music front and center constantly, often to the point of being cartoonish. But No Straight Roads embraces that cartoonish nature, and with its combination of a bright and colourful art style, memorable and lovable characters, and a soundtrack that slaps, it does so very successfully.

The starring duo personifies that better than anything else in the game. The energetic and hotheaded guitarist May and the calm and chill drummer Zuke make for an excellent pair. Their personalities are very different, but they fit together like two pieces of a puzzle, and they’re supported by an excellent cast of secondary characters, whether that’s the artists of NSR you’re taking down one-by-one or the people of Vinyl City who’re helping you do that. The interactions that all of these characters have with each other are great as well, providing genuine heart and charming humour in equal measure, which is a testament to the game’s solid writing. Best of all is the voice acting, which bleeds excessive personality into each character that populates that Vinyl City, especially the ones who take center-stage in this story.

The real star of the show in No Straight Roads, however, is obviously the music. With a game that puts music under such a bright spotlight in every way imaginable, it would be fair to say that a good soundtrack is among the most crucial aspects of the experience, and this is an area where No Straight Roads is an unabashed success. From the various styles of EDM music, to the drum and guitar-heavy rock riffs, to even banging rap battles, No Straight Roads has an absolutely excellent soundtrack. It is, fittingly enough, the game’s biggest strength.

The soundtrack really shines in the boss battles, which make up for the bulk of the game. Each boss battle has one predominant style of music associated with it, depending on which EDM artist you’re taking on, but as you progress through each fight and start wearing your foe down, the music dynamically changes, and rock slowly starts bleeding into its electronic tunes, growing louder and more prominent as you get closer and closer to victory. It creates a powerful effect, and serves as an excellent marriage of music and gameplay progression.

"From the various styles of EDM music, to the drum and guitar-heavy rock riffs, to even banging rap battles, No Straight Roads has an absolutely excellent soundtrack. It is, fittingly enough, the game’s biggest strength."

These set-piece boss encounters are bursting with creativity in other ways as well, with each boss fight almost feeling like musical homages to the wacky and psychedelic shenanigans of something like Psychonauts. Each EDM artist you take on is essentially an exaggerated personification of the type of music they specialize in, and their boss fights reflect that, too. When you’re taking on a DJ obsessed with the vast stretches of the universe, you fight against his towering figure as large planetary disco balls orbit around him and asteroids are hurled in your direction. When you take on a digital idol, you find yourself in a virtual world where you have to take down several shields before you can damage her, one each put up by her character designer, voice actor, animator, and video editor. Every boss fight is bonkers and holds nothing back in terms of creativity, and each is a visual and aural delight.

So No Straight Roads clearly has some notable strengths- it looks great, it sounds great, and it tells an engaging story thanks to its excellent cast. But when you look beneath this admittedly dazzling surface, you find a deeply flawed – and ultimately mediocre – game.

No Straight Roads tries to fuse its beat ’em up combat with rhythm game trappings, but it doesn’t do it very well. Enemies attack to the beat of the music, and paying attention to musical cues is how you dodge their attacks. That sounds great on paper, and when it works – when you’re in tune with the soundtrack and are dodging incoming attacks flawlessly – it feels great. The problem is that that isn’t a strict requirement. You can brute force your way through most combat encounters with button mashing, which cheapens the whole premise.

It doesn’t help that the combat itself is very shallow, not only because there isn’t a whole lot you can do other than shooting projectiles, using your basic melee attack, and the couple of special moves you can map to your triggers, but also because there isn’t a ton of enemy variety, and the few enemies that you do run into don’t pose much of a challenge. There is a skill tree that allows you to unlock or upgrade new moves, and you can slap stickers onto your instruments for passive buffs, but both of these systems make a negligible difference, and end up feeling like an afterthought. You can also switch between May and Zuke during combat (when playing solo), but the differences between how the two play and control feel very superficial. Zuke’s attacks are faster, May’s are more powerful- but the game doesn’t ever do much to make that difference feel meaningful.

"No Straight Roads clearly has some notable strengths- it looks great, it sounds great, and it tells an engaging story thanks to its excellent cast. But when you look beneath this admittedly dazzling surface, you find a deeply flawed – and ultimately mediocre – game. "

Other issues rear their heads as well. The camera in particular is quite problematic. While you’re given full control of the camera in the free-roaming sections in Vinyl City, combat encounters all impose fixed camera angles on you. This is a problem because you can’t always judge depth accurately, which leads to both, inaccurate dodging and attacks that don’t find their mark- and it happens frequently enough to become a nuisance. The camera issues are made even worse when you’re forced to engage in light platforming sections – of which there’s quite a few in the game – and these issues are further exacerbated by floaty and unreliable movement.

The result is a combat system that feels all too shallow- and going hand-in-hand with that shallowness is tiring repetition, brought on by No Straight Roads’ structure. The boss encounters I mentioned earlier are easily the best part of the game, but bridging the gap between each of them are light exploration sections in Vinyl City, following by short “approach” sections preceding boss fights that see you fighting grunts and regular enemies. The focus on combat here is the obvious issue- perhaps the game would feel less repetitive if it had better, more satisfying combat. As it exists, it starts wearing thin very quickly.

Exploring Vinyl City is also an inconsistent experience, but it’s still somewhat better. You can interact with a diverse cast of NPCs, collect qwasa tubes that you use to power up dead lights and electronics to restore electricity to the city (which helps you gain more fans, which in turn unlocks more tiers in your skill tree), or look for the aforementioned stickers that grant passive buffs. The city is fairly small, but it looks great. It’s bright and colourful, and each new district that you unlock brings a distinct visual flavour with it- so at least it’s a treat for the eyes.

But much like the rest of the game, though Vinyl City has superficial strengths, exploring it feels mechanically meaningless. You get far too many qwasa tubes, even though powering up electronics doesn’t require too much, which means you’re always left with a surplus. Powering them up doesn’t make too much of a difference either, because you don’t get too many fans by doing this, and defeating bosses remains the best way to net large quantities of fans. Collecting stickers is fun for a while, but once you realize that the buffs they provide are pretty insignificant, you start losing interest.

"Perhaps the game would feel less repetitive if it had better, more satisfying combat. As it exists, it starts wearing thin very quickly."

The sewers that May and Zuke call their home are much more consistently charming though. This home base makes for a great hub location- it’s where you return after every major mission to feed your pets, interact with NPCs, talk with your teammates about your next major step, upgrade your weapons and level up your characters, or just play minigames on the arcade machine. As you progress through the story, you add more rooms to the hub that serve different purposes. Thanks to all of this and more, I found myself looking forward to returning to the sewers quite often.

No Straight Roads is a game of ups and downs, but at the end of the day, one thing is abundantly clear- it’s a game with a lot of superficial strengths, and significant gameplay issues. But calling its strengths “superficial” seems unfair, because they’re so crucial to the kind of experience this is- the music is absolutely killer, the bright and dazzling art style is a sight to behold, and the characters, their writing, and their voice acting are also highlights of the experience. The problem is that your active engagement in this experience comes through mechanics and systems that are either unpolished, or shallow, or repetitive- or worst of all, all three.

This game was reviewed on the PlayStation 4.

Metronomik’s musical action-adventure game, No Straight Roads, launches imminently, and to celebrate its release, the developers have put out a new launch trailer for the game, which you can view below.

Led by game director Wan Hazmer (lead game designer on Final Fantasy 15) and creative director Daim Dziauddin (concept artist on Street Fighter 5), No Straight Roads sees players stepping into the shoes of indie rock duo Zuke and Mayday, who fight to free the Vinyl City from the corrupt reign of an evil EDM empire. The game promises musical rhythm-based combat, a variety of boss fights, extensive progression, and more. The trailer below highlights the game’s vibrant aesthetic particularly well- make sure to check it out.

No Straight Roads will launch tomorrow, August 25, for the PS4, Xbox One, Nintendo Switch, and PC. On PC, it will be exclusive to the Epic Games Store. You can get more details on the game via our interview with game director Wan Hazmer through here.

Metronomik’s upcoming action-adventure title No Straight Roads is a game that many are quite curious about, thanks to its vibrant aesthetic and its musical premise, especially with Final Fantasy 15’s lead game designer Wan Hazmer and Street Fighter 5’s concept artist Daim Dziauddin serving as game director and creative director on the project respectively.

To give you a clearer idea of what exactly the game is about, the developers have released a new trailer that explains the game’s combat, its musical premise, its setting, the boss fights, and more. Set in the fictional Vinyl City, players take control of an indie rock duo, the energetic guitarist Zuke and the cool-headed drummer Mayday, as they fight against the evil EDM empire controlling the city.

The combat is a mix of action and rhythm-based gameplay, with players having to attack and dodge attacks to the beat of the game’s music. Players will be going up against several EDM musicians that will serve as the game’s bosses as they slowly retake the city, while several progression elements are also explained in the trailer. Take a look below.

No Straight Roads is due out on August 25 for the PS4, Xbox One, Nintendo Switch, and PC. You can get more details on the game in our recent interview with game director Wan Hazmer through here.

"I view music as an interactive toy that comes with a set of rules utilizing rhythm and tempo that would play in harmony with user action."

How did the idea of creating a game where music is such an important part of the premise and the gameplay come up?

Me and my cousin Daim Dziauddin (co-founder of Metronomik) have always been passionate about music, albeit in different ways. I view music as an interactive toy that comes with a set of rules utilizing rhythm and tempo that would play in harmony with user action, while Daim views music as an entertainment form that has inspired many forms of art and brought people of all walks of life together.

I’ve always been an avid rhythm gamer since 1997, starting with Beatmania. Daim and I lived in Japan for 10 years and during that time, we’d play a ton of rhythm games at the Ikebukuro game arcades.

I have always thought that there must be a way to include music rules in game design without turning it into a rhythm game. A game that could provide rewards to the user who, be it intentionally or by pure instinct, understood the rules of rhythm, stanzas and tempo rather than rewarding them for having good “rhythm gamer” reflexes. It then dawned upon me that anyone could sing the tune of a chorus and tap to the beat after listening to a song once, and then be able to count 1-2-3-4-(chorus) after listening to it twice. This natural-born instinct for music in everyone became the core idea behind No Straight Roads, where enemies attack via a set pattern depending on the current position of the music. If users fully understand the relationship between the music and the gameplay, they will have a bigger advantage in combat.

After many discussions with Daim in Ikebukuro, we decided to make No Straight Roads an action-adventure game. That way, the game would trigger a mix of “action gaming” skills and natural rhythm sense in the user rather than forcing them to unleash their pure “rhythm gamer” skills.

We have always been fans of story-based games of the 90s and 2000s that did not take themselves seriously – point-and-click adventure games such as Monkey Island and Day of the Tentacle to story-centric rhythm games including Space Channel 5, Gitaroo Man and Cool Cool Toon. I thought that having a premise of a small fry fighting a big empire would be easy to understand, hence the age-old story of music genre battles came into the picture. Rock versus EDM was a surface-level concept, so Daim brought his unique perspective of musicians and music culture into the mix to add an intense level of depth into No Straight Roads world. He is deeply passionate about storytelling in entertainment. Rather than settling for a “heroes are good, villains are bad” setting, he made sure that every character and environment came with a deep thought of reasoning that ties with what music means to an individual. Every color and every shape in the action stages tell the story of the respective artist, and what you do to them will change the environment as well.

All in all, the core concept of No Straight Roads is “Music can change the world,” in more ways than one. To us, No Straight Roads is a love letter to everything music: songs, musicians, culture, etc.

Can you give us a little bit of information on Vinyl City, what players can expect from this setting, and how big of a part it plays in the whole experience?

Vinyl City is a city hub that the players can explore at their own leisure in-between levels. Here you can meet other characters, discover the city’s history, and interact with some of the props that are littered throughout. We wanted the city to be more of a break for the players who might want to enjoy a slower pace after a hectic boss fight and learn more about the world of NSR.

Vinyl City represents the personality of the empire and its people. Music is the main source of energy in the world of No Straight Roads but the empire, aptly named No Straight Roads, has been doing a poor job providing power to the city. Players can proactively help citizens and affect the city by powering up certain devices scattered throughout the game. This type of action will result in turning NPCs into fans and reward you with power ups for your skill tree. The city and its citizens will also act in response to your actions against the empire – that is something you could look forward to in the final game!

"When designing the gameplay behind Mayday and Zuke, we wanted to see them as musicians first, and game characters second. We put our focus on their instruments: the guitar and drumsticks."

The two main playable characters, Mayday and Zuke, having different musical abilities that they harness in different ways during combat is an interesting approach. Can you talk a bit about that and how it manifests as gameplay mechanics?

When designing the gameplay behind Mayday and Zuke, we wanted to see them as musicians first, and game characters second. We put our focus on their instruments: the guitar and drumsticks. We looked at real world musical playstyles and tried to replicate some of those techniques in our game. Drum hits are usually fast, so we assigned the rapid-hits playstyle to Zuke. With the guitar, there’s a lot of strumming, so we thought that could work well as a charging attack for Mayday.

Also, playing their instruments next to certain props will transform them into weapons (for Mayday) and utilities (for Zuke). In our minds, the guitar feels more analogous while drums feel more systematic. Hence, we translated those concepts into their transformations and their personalities as well.

How integrated is the music outside of combat, in things such as traversal or platforming?

We’ve thought of some of the common issues with music in games and implemented solutions to minimize them. Two that we’re particular proud of are:

For example, finding a balance between repetitiveness and abrupt change in the way the Sewer’s home base music is implemented. The music in this part of the game – and many others – will change to which rooms you visit, but in a way that doesn’t interrupt musical phrases.

Solving the age-old dilemma of games that want to be musically interesting and melodic without interfering with dialogue. To resolve this, we lowered the music’s intensity in the city dynamically during conversations. This would allow the player to hear character’s voices without music blaring in the background.

No Straight Roads will allow players to switch between rock and EDM – what does this mean in terms of the gameplay? How will the two differ from each other in terms of how players interact with the game?

In default play, boss music alters dramatically based on boss-specific conditions to convey the changes in the balance of power between the two sides, so it is more accurate to say that the genre of music is something dictated by player actions, rather than the other way around.

However, two game systems that do indeed have a more immediate correlation are the “Circle of Influence” feature that allows Mayday or Zuke to inject bursts of rock overdrive into whatever is playing at the moment. This also yields immediate gameplay benefits if used properly and the ability to replay bosses in bonus modes with the specific genres locked in. We do hope that people listen to the “Circle of Influence” more because we got some awesome guitar and drum solos there!

Clearly, in a game such as this one, music is a vital part of the experience. Can you talk us through the process that went with that and how much it defined and changed other parts of development?

For a game where music is as integrated as this one, the process of iteration was very lengthy. In broad terms, we established the concept for the boss and then did the basic version on the premise narratively and mechanically. After seeing some gameplay prototyping, changes were often made to the base version, and then the other two genres were made largely after the mechanical designs of the bosses came together. Making changes to the overall structure of the music at that point became much more difficult since all the music needed to work together.

Can you talk about progression mechanics in No Straight Roads and how extensive they will be?

Being a hybrid of action and music, we believe that there will be many types of gamers who will play our game: from the action-focused gamer who wants to have more skills in his arsenal, to the rhythm-focused gamer who just wants to parry everything in time with the music. As such, we imagine that players will tinker a lot with the skill tree, the stickers (passive buffs) and mods (special moves). You can get access to more of these as you hijack more concerts, gain more fans or explore more areas in the city. There are many facets of the progression system that will suit different styles of gameplay. You can choose to be more defensive, equip your characters with an insane amount of attack power or just gain more benefits that come with your parry.

"Being a hybrid of action and music, we believe that there will be many types of gamers who will play our game: from the action-focused gamer who wants to have more skills in his arsenal, to the rhythm-focused gamer who just wants to parry everything in time with the music."

What can players expect from the boss fights in terms of challenge and variety?

In the initial planning phase of No Straight Roads, we looked at the music industry as a whole. We handpicked motifs that we felt were fun to play with: child prodigies, boy bands, things that we find interesting to have in the game. From there, we tried to make sure that each boss had their own unique mechanics that fit with their themes and have a story to go with them as well. We’re excited to show them all to the players as we put a ton of love and care into each of the bosses!

Roughly how long will an average play through of No Straight Roads be?

If you’re looking to speed run the game without playing any of the extra modes, we think that it’ll be an average of four to five hours. However, the progression system is designed as such that you won’t get access to all layers of the skill tree if you choose to do so. We have “Hard Mode” and “Crazy Mode” for every boss stage for those who thirst for the extra challenge or for some extra fan power to activate skills deeper in the skill tree. Even if they don’t bring additional benefits to battle, hijacking harder modes and exploring the city more will unlock the EDM and rock versions of each boss stage, and you can choose to fight the boss in any of these tunes. For those of you who love our soundtrack, I don’t think it’s something you can simply ignore.

Will the game feature Xbox One X and PS4 Pro-specific enhancements? Is 4K/60 FPS on the cards?

The graphic quality will become better in those systems, but we don’t have huge enhancements like 4K and 60FPS at the moment. However, being action gamers ourselves, we made sure that it could run 60FPS on all systems regardless.

How is the game running on the original Xbox One and PS4, in terms of frame rate and resolution?

The graphic quality will be slightly lower, but it will still run at 60FPS at 1080p.

What are the docked and undocked resolution and frame rate of the Switch version?

The docked and undocked versions run at 720p and 480p respectively. Both run at 60FPS.

Given that next-gen consoles are right around the corner, have you given any thought to next-gen ports for the game?

We would love to do that! But it is not in the works at the moment. We would love to see the response that the current gen games receive first before exploring further options.

What are your thoughts on the PS5’s custom 3D audio engine Tempest? How much of a difference do you think tech like this will make to how immersive games can be?

A lot!!! Any progression on audio technology is always good. Having a 3D audio engine like Tempest simply means we can create more immersive environments, but more importantly, we can have gameplay designed around that technology for our future games. Exciting stuff, can’t wait to get our hands on it!

Since the reveal of the PS5 and Xbox Series X’s specs, a lot of comparisons have been made between the GPU speeds of the two consoles’ GPUs, with the PS5 at 10.28 TFLOPS and the Xbox Series X at 12 TFLOPS – but how much of an impact on development do you think that difference will have?

Just like next-gen announcements in the past, we were extremely excited about what things we could bring to the table when we have more power, even more so when we heard about the PS5 and Xbox Series X. At the same time, we would also try to predict what would be the next “limit.” These benefits and limits are usually tied to graphics, however we’re more interested on how to bring audio into this framework. We’ll think of more ways on how to integrate audio with gameplay, story and graphics, as we feel it is the most underutilized media element in games. What we can and cannot do, and more importantly, how we could entertain people with our audio in the next generation will be our biggest homework yet. Tempest is a great start, but we hope that our future works could influence next-gen device makers to put more emphasis on audio in games.

"If you’re looking to speed run the game without playing any of the extra modes, we think that it’ll be an average of four to five hours. However, the progression system is designed as such that you won’t get access to all layers of the skill tree if you choose to do so."

The PS5 features an incredibly fast SSD with 5.5GB/s raw bandwidth. This is faster than anything that is available out there. How can developers take advantage of this and what will it result to, and how does this compare to Series X’s 2.4GB/s raw bandwidth?

There is a difference in Zen 2 CPUs of both consoles. The Xbox series X features 8x Zen 2 Cores at 3.8GHz, whereas the PS5 features 8x Zen 2 Cores at 3.5GHz. Your thoughts on this difference?

There is a power difference between the two new consoles, there is no doubt about that. But do you think that power advantage of Xbox Series X will matter because of Microsoft’s cross gen policy?

We will answer the above three questions with one response. We’re sure the technology of both systems has its pros and cons, but what we’re looking forward to most is what these consoles bring to the user experience in the end, not only in terms of the games themselves but also the services that are attached to these games. Sure, we can make fully seamless games with a faster SSD and richer graphics with a better core processor, and to be honest we’re very excited to develop for both, but at the end of the day, it’s the end user-experience that matters. We want to see how these systems would integrate with the lifestyle and interests of the user outside of the game. In the field of music, it’s important for us to not only see the audio tech but also how these systems utilize the metaverse of cultures in its ecosystem, how well these systems understand the user, how it integrates with music libraries, online communities, etc. Creating a crafted experience that would seamlessly touch upon the user’s area of relevance in certain points would be wonderful, in a next-gen sort of way.

Xbox Series X’s BCPack Texture Compression Technique is reportedly better than the PS5’s Kraken. What are your thoughts on this?

We will continue to make zany and cartoony games in the future, however it is exciting that they’re looking into compression techniques as well. The more we can care less about tech that bogs a game down, the better. Although we would imagine that this compression technique would be of greater interest to Triple-A super-realistic game developers.

Do you think the Xbox Series X will out-power most gaming PCs for years to come?

We’re not really “PC Master Race” people (since we don’t think that technology is everything to a game), but we believe that the technology revolution curve is amazing. We’re very sure that the PC will catch up really soon. Or maybe, the concept of PC itself will change? You never know with all the amazing advancements we have made in the past years.

How are you ensuring that your engines/framework/tools are up and running for PS5 and Xbox Series X?

We have only operated for two and a half years since December 2017 and have been putting full focus on No Straight Roads. The systems that we made can be pretty rigid (only catered for No Straight Roads) so when we actually get to the point of creating next-gen games, we would focus more on making systems that can adapt to new game mechanics and new graphic and audio tech. Luckily, we have been using Unreal Engine the whole time and they’re on board for the next-gen devices, which will definitely make our lives a whole lot easier.

For as similar as the PlayStation 5 and Xbox Series X are, from their AMD Zen 2 CPUs to the RDNA 2 GPUs, there are a number of differences between them. They’re both out this holiday season and we’ve yet to really learn much about prices or release dates. But which console comes out on top remains to be seen.

To that end, GamingBolt spoke to Metronomik’s Wan Hazmer, game director of action adventure title No Straight Roads. The title is out on August 25th for Xbox One, PS4, PC and Nintendo Switch. What is Hazmer’s take on the differences between the PS5 and Xbox Series X?

He highlighted an important aspect of both – the overall user experience. “We’re sure the technology of both systems has its pros and cons, but what we’re looking forward to most is what these consoles bring to the user experience in the end, not only in terms of the games themselves but also the services that are attached to these games. Sure, we can make fully seamless games with a faster SSD and richer graphics with a better core processor, and to be honest we’re very excited to develop for both, but at the end of the day, it’s the end user-experience that matters.”

“We want to see how these systems would integrate with the lifestyle and interests of the user outside of the game. In the field of music, it’s important for us to not only see the audio tech but also how these systems utilize the metaverse of cultures in its ecosystem, how well these systems understand the user, how it integrates with music libraries, online communities, etc. Creating a crafted experience that would seamlessly touch upon the user’s area of relevance in certain points would be wonderful, in a next-gen sort of way.”

It’s an interesting point of view, especially considering how each console is approaching the end user experience in different ways. The PS5 is focused on hardware innovations, particularly with its DualSense and architecture. Meanwhile, the Xbox Series X is emphasizing services like Smart Delivery, Game Pass and cross-gen compatibility.

At least the wait for more information won’t be long. The Xbox Series X is confirmed to be receiving new details this month while Sony is rumored to have an announcement for the PS5. Stay tuned for any updates in the meantime.