This project would revolve around a man and a girl traveling through a broken America—essentially the plot of the original The Last of Us. What makes his post interesting is a mention of “the few stops that remain on the road ahead.”

“Cleaning out the garage today and stumbled on my original sketches from 2003 for a game pitch about a man, his surrogate daughter, and a trek across a broken America,” he wrote. “Been a wild journey. Grateful for every part of it, especially the few stops that remain on the road ahead.”

It is worth noting that the concept art itself doesn’t really mean much anymore, especially since the design behind The Last of Us protagonists Joel and Ellie would see massive changes since 2003, thanks in large part to the advancements in console hardware made at the time. As for the franchise’s future, while Druckmann could simply be referring to the 2027-bound third season of HBO’s The Last of Us, the fact that he used the plural “few stops” indicates that there might be even more in the works.

While he has largely been quiet about the idea of a third The Last of Us game, Druckmann had revealed back in February 2024 that he had some ideas for a third part already in mind. At the time, he noted that he only had “a concept” for it, however, and didn’t have a full story that would fit that concept. Discussing the ending of the first two games, he questioned whether there was potential for more.

“If we never get to do it again, this is a fine ending point. That last bite of the apple, the story’s done,” he said. “The great thing about working at Naughty Dog is that we don’t have to. So it’s always like, we would love another Last of Us, but if you guys are passionate about something else, we’ll support this other thing. Very privileged position to be in. I never take that for granted.”

“I’ve been thinking about, ‘is there a concept there?’ And for now years, I haven’t been able to find that concept- but recently that’s changed. I don’t have a story, but I do have that concept, that, to me, is as exciting as 1, as exciting as 2, is its own thing, and yet has this throughline for all three. So it does feel like there’s probably one more chapter to this story.”

More recently, Druckmann has been busy with Naughty Dog’s next major game—Intergalactic. While few concrete details about it have been revealed since its original announcement, Druckmann recently teased that we might see an actor from The Last of Us returning in the sci-fi game.

The news was dropped in a tweet on the official Battlefield handle, and came with a glimmer of good news: the PC version of the game has managed to escape the fate of its console counterparts.

If you didn’t get the chance to try it out back in the day, now might be a good time to boot up your old consoles and give it a shot. We found it reasonably entertaining back in the day, and its take on good cops taking a stand against drug cartels was interesting enough to warrant spending some time with its rather unorthodox gameplay loop.

In the meantime, Battlefield 6 is still going strong, despite a significant drop in players following numerous issues. Season 2 is currently underway with a new map and weapons in multiplayer, while RedSec received a new point of interest. Head here for all the details.

https://x.com/battlefieldcomm/status/2036110796921463224

Sources have indicated to PressOver that work on The Wolf Among Us 2 had started “from scratch” (via machine translation) at the end of 2025, and that it will be officially unveiled later this year and released by 2027. Interestingly, the report has also noted that, leading up to the sequel’s release, the original The Wolf Among Us will be getting a release on PS5 and Xbox Series X/S. The title was originally released in 2013 across PC, PS3 and Xbox 360.

Mp1st has been able to further corroborate the report, and the publication claims to have new evidence of the remaster or port of The Wolf Among Us. This evidence comes in the form of photos showing off the development of the game, with strong indications that the studio—rumored to be Trick Studios—is working on familiar environments from the 2013 title, like the Business Office of Ichabod Crane. The photos are fairly blurry, and also include a menu screen that bears a striking resemblance to the one from the original release.

While these photos might be an indication that Trick Studio is making use of assets and ideas from The Wolf Among Us for work on the sequel, the fact that Telltale has previously confirmed that The Wolf Among Us 2 is being developed using Unreal Engine 5 makes this idea quite unlikely.

Another key piece of evidence of The Wolf Among Us coming to modern gaming consoles comes from the studio’s official website. While references to both projects have been removed since they were discovered by Reddit users, the older version of the website is thankfully still available through Archive.org, and includes placeholder images for the sequel and the original.

The original developers behind The Last of Us have long-since left Telltale Games, having founded their own studio: AdHoc Studio. Co-founder Nick Herman had spoken about The Wolf Among Us 2, how the team had worked on it for a few years, and how no one at the studio has any idea about its ultimate fate.

“We wrote a season, Season Two,” explained Herman. “We think it’s better than Season One – and we were on Season One. And yeah, we’re really proud of it. We were doing tests. We were in cinematics and animation and stuff. And then basically they needed more time. “They weren’t… We weren’t running the project. It was Telltale we were doing it in partnership with. And we couldn’t wait around and do nothing, so we had to move on to Dispatch to keep the studio moving, and they needed to go their own way.”

“We’re looking forward to seeing what they do with it,” he continued. “I don’t know how much of our version of the script is going to make it into what they end up making. But if one day we were able to make the thing that we wrote and were in the middle of directing, we think people would love it. So, you know, good luck.”

Back in 2024, Telltale Games had also reaffirmed that The Wolf Among Us 2 had not been cancelled. In the meantime, The Wolf Among Us remains available to play on PC, PS4 and Xbox One. PS5 and Xbox series X/S can also play the title through backwards compatibility.

The tease in question was a “PLEASE STAND BY” screen that looks like it was taken straight out of Fallout: New Vegas, complete with the orange color scheme. However, in its new post, the studio has noted that it has used the same slide for its presentations every month, and that it has no relation to any Fallout project that may or may not be in the works.

“Nope! There is nothing to see here,” wrote Iron Galaxy Studios. “Sorry to disturb the volcanoes, but that was just a BTS look at our company meeting. We use that slide every month and has nothing to do with anything Fallout being worked on. As you can imagine, we love Fallout, too. Now pardon us as we retreat back into our vault.”

It is worth noting that the studio has chosen its words quite carefully, however. It never outright denies that it might be working on Fallout: New Vegas. Rather, it is more focused on stating that the “PLEASE STAND BY” slide is one that it has often used for its presentations.

Fallout: New Vegas was originally released back in 2010 on PC, PS3 and Xbox 360. Owing to the forward march of technology, only the PC version is playable for modern gamers, especially since its original release suffered from technical issues that would eventually be fixed by community-made mods. While Xbox players can still give it a shot thanks to backwards compatibility, there will be plenty of bugs and stability issues.

While the original tease may have simply been a case of a misunderstanding getting out of hand, the timing of Fallout: New Vegas director Josh Sawyer also posting on social media that “the time for posting has ended,” and “the time of making games is upon me,” still raises some eyebrows. However, this is still speculation, and until Bethesda makes an official announcement, remasters of Fallout 3 and New Vegas are still simply rumors.

Just last month, creative director Todd Howard had referred to himself as being “sort of anti-remake,” noting that “I’ve softened on the whole remaster thing.” In an interview, he went on to say, “I respect the other [remakes] out there, but I really think the age of a game is part of what it is and its personality and what it represented when it came out.”

He went on to reiterate that Bethesda has “multiple” Fallout projects in development. However, he didn’t reveal any details on what these projects might be.

In the meantime, Fallout 4: Anniversary Edition was recently released on Nintendo Switch 2. The title includes the base game, along with all of the expansions that were released for it throughout its life, as well as more options through the Creation Club. Bethesda is also continuing its post-launch support for 2018’s Fallout 76, with a new free update—The Backwoods—having just come out.

“Today’s our February company meeting,” wrote Iron Galaxy Studios last week. “It’s time to catch up with what the company’s been up to and what’s coming up next for IG.” This post was followed up by Josh Sawyer—the director for the original Fallout: New Vegas—with his own social media post about how “the time for posting has ended,” and “the time of making games is upon me.”

It certainly helps that Iron Galaxy Studios is no stranger to working with Bethesda in some form or another. This includes its work on the Nintendo Switch port for The Elder Scrolls 5: Skyrim from, as well as the PC VR ports for Skyrim and Fallout 4 in 2017. The studio has also worked on Fallout 76, supporting Bethesda Game Studios in the development and post-launch support for the multiplayer game.

As for why Iron Galaxy’s tease is more likely to be related to Fallout: New Vegas rather than a brand new project, a similar orange color scheme was used throughout the 2010 open-world RPG, especially thanks to the fact that it used the Mojave Wasteland—set in the same location as the Mojave Desert in the real world—as its primary setting. This, along with the timing of Sawyer’s post, serves as a strong indicator that we might be getting close to an official Fallout: New Vegas reveal. While Fallout 3‘s remaster might also be in the works, it is unlikely to be a part of this tease since its primary color scheme uses green.

Since the release of Fallout: New Vegas and its DLC, Sawyer has worked on three major projects—Pillars of Eternity, Pillars of Eternity 2: Deadfire, and Pentiment.

The Fallout series has seen renewed interest from the fandom thanks to the success of Amazon’s live-action adaptation of the franchise. While just about every mainline entry in the series is beloved to some degree, Fallout: New Vegas in particular has been considered to be among the best in the franchise thanks to its strong writing and well-developed characters.

Fallout: New Vegas puts players in the shoes of a courier for the Mojave Express who, while out on a delivery, is ambushed by a mysterious man in a checked coat and his thugs. Ultimately, the protagonist is shot in the head and left for dead in a shallow grave. However, a friendly cowboy robot manages to save you, and with the help of a local doctor, gets you back on your feet. It is now up to you to figure out who ambushed you, how you can get the stolen package back, and how you can finish your delivery.

Today’s our February company meeting. It’s time to catch up with what the company’s been up to and what’s coming up next for IG.

— Iron Galaxy Studios (@irongalaxystudios.com) 2026-02-26T20:56:28.220Z

the time for posting has endedthe time of making games is upon me

— Josh Sawyer (@jesawyer.bsky.social) 2026-02-26T15:42:49.853Z

“It’s a shame. I think a bunch of things happened,” he said. “The style of development we pioneered was being able to manage big teams by letting them be individual groups with ownership of their own thing, to allow us to make bigger games faster. But then I think with the recent boom, there’s been a weird five year boom in private equity and investment from people which we hadn’t seen before ever. So a lot of senior people left Ubisoft and started studios or splintered off. So there was this talent drain that went out.”

The departure of talented employees, along with the generally massive size of Ubisoft’s development teams all contributed to Ubisoft’s current state, according to Hutchinson. He noted that, with a team of 800 people, it becomes difficult to manage everyone. The pandemic-era work-from-home culture also played a role, he said, leading to junior developers not being able to learn and not asking questions.

“If you have a team of 800 people, it’s really hard to manage, even if they’re in the same building,” he said. “If they’re not coming to work, how do you police them? How do you make sure what’s going on is going on? And then juniors don’t learn because they like working from home, and they don’t like asking questions. So I think they lost that momentum as well.”

As for the lack of new IP, Hutchinson noted that, while Ubisoft still released several sequels, it also made new games that would explore fresh ideas. This, however, has been toned down quite a bit, leading to cancellations.

“They always had a history of sequelizing the franchises, but also having a couple of new things coming along. They became very allergic to the new things, and so they killed a bunch of our ideas, like when I was working on Pioneer. They had nothing new to come through.”

Hutchinson is describing a planned sci-fi game, Pioneer, that was meant to focus on exploration rather than featuring too much combat. The game was even teased in 2016’s Watch Dogs 2. Unfortunately, it never saw the light of day. While Hutchinson was taken off the project back in 2016, its eventual cancellation would come in 2019.

Hutchinson had also spoken about the long development time for Skull and Bones, despite the core sailing and naval combat mechanics being designed for 2012’s Assassin’s Creed 3. He said that it was “bizarre to see essentially the same stuff re-shipping 14 years after we made it.” Ultimately, he believes the title took too long to develop due to the fact that the team working on it—Ubisoft Singapore—simply lacked the experience needed to make a multiplayer version of Assassin’s Creed 4: Black Flag.

He noted that the long development time for Skull and Bones likely came down to the fact that its studio, Ubisoft Singapore, lacked the development experience required to work on the mechanic at that scale. Founded in 2008, Ubisoft Singapore was largely a support studio for other teams, having helped in the development of titles like Assassin’s Creed 2 and onwards.

“Ideas have a window, and that’s another reason we’re trying to do things faster this time,” said Hutchinson. “They age out and become stale. I think the team was junior. They were trying to essentially make Black Flag crossed with World of Tanks or World of Warships. But I don’t think they had experience in that. And then they didn’t really have experience in making even an Assassin’s Creed game down there, because they really did co-development. And then I think it just got away from them.”

Hutchinson went on to describe the excursions that French and Canadian Ubisoft employees would have to go on to provide in-person support at Ubisoft Singapore as year-long vacations. He believes that this attitude ultimately resulted in the lack of a growing talent pool at the studio, describing these employees as not being serious about its growth.

“For a lot of the French or Canadian developers, they would go down to Singapore for a year’s holiday,” he said. “They weren’t going down there to make that studio huge. They were like, ‘Oh, that’d be fun to work for a year in Singapore.’ I don’t think they were serious. And you couldn’t get as many people, the talent pool just wasn’t deep enough.”

Skull and Bones was announced all the way back in 2017. It would go on to have an lengthy development cycle before ultimately coming out in February 2024. While it was originally believed to be a multiplayer-focused take on the sailing and naval combat mechanics from Assassin’s Creed 4: Black Flag, reports at the time indicated that it had gone through many changes in direction and scope. One report has indicated that development originally started in 2013 as an expansion to Black Flag.

The launch of Skull and Bones was ultimately met with a lukewarm reception, with many noting that it offered a bland gameplay experience. The fact that Ubisoft CEO Yves Guillemot had referred to the game as being a quadruple-A release certainly didn’t help matters.

“You will see that Skull and Bones is a fully-fledged game,” he said in his attempts to defend its $70 price tag. “It’s a very big game, and we feel that people will really see how vast and complete that game is. It’s a really full, triple… quadruple-A game, that will deliver in the long run.”

Skull and Bones is available on PC, PS5 and Xbox Series X/S.

Interestingly, Xbox users have also noticed Peace Walker HD being taken down from the Microsoft Store. The title was available on Xbox consoles through backwards compatibility thanks to the Xbox 360 release of Metal Gear Solid HD Collection, which included Metal Gear Solid 2: Sons of Liberty, Metal Gear Solid 3: Subsistence (and by extension, Metal Gear and Metal Gear 2: Solid Snake), and Metal Gear Solid: Peace Walker.

Metal Gear Solid: Master Collection Vol. 2 was unveiled last week, and will essentially fill out the empty spots of the canon games that remained unplayable on modern hardware. Along with the two games, Metal Gear: Ghost Babel will also be playable on consoles after having spent more than two decades exclusively available on Game Boy Color.

Metal Gear Solid: Master Collection Vol. 2 will be coming to PC, PS5, Xbox Series X/S, Nintendo Switch and the Switch 2, and is slated for release on August 27th.

The Steam listing for the collection has revealed the kind of hardware that PC players will need for the title, and most surprising in this is the fact that it requires a minimum of 16 GB RAM. Since Metal Gear Solid 4: Guns of the Patriots was made for PS3—a console with 512 MB of RAM—and Peace Walker was made for PSP —a handheld with either 32 MB or 64 MB of RAM depending on the hardware revision—the relatively higher RAM requirements might indicate the level of extra visual polish we might see.

The idea that the games are simply running through emulation rather than being fully ported to modern platforms also has some merit, which could go on to explain the hardware requirements since emulation software also tends to have its own hardware overhead requirements, especially in terms of processing speeds and memory.

Konami has also confirmed that, while Metal Gear Solid 4 won’t be getting back its multiplayer Metal Gear Online mode, the online co-op mode for Peace Walker will be kept intact for the Master Collection Vol. 2 release. This is great for the latter since it features many optional missions structured like Monster Hunter‘s quests. However, Konami hasn’t yet confirmed whether or not we will see the Monster Hunter collaboration missions make it into the Master Collection Vol. 2 release, which involved hunting down a Rathalos, among other things.

Both Metal Gear Solid 4 and Peace Walker fill out important gaps in the overarching story of the franchise. While the former marks the end of Solid Snake’s story, closing off all loose plot threads by its climax, the latter gives us a greater glimpse at how Metal Gear Solid 3 protagonist Naked Snake would continue his transformation into Big Boss, with its ending and final boss fight directly leading into the events of Metal Gear Solid 5: Ground Zeroes.

Well, we’re still seeing new ideas in games today, but what’s perhaps more common are promising ideas that end up flopping. Whether it’s overpromising, poor execution, or trends chasing monetization, these games prove that a great idea alone isn’t enough.

Here are 15 revolutionary gaming concepts that sounded incredible on paper but then folded like a deck of cards with its execution.

Exploring A Full-Sized Galaxy – Starfield

Everything that Todd Howard presented to us about the then-upcoming open-galaxy Bethesda RPG seemed too good to be true. Skyrim in space was enough to get most of us in pre-order lines, but the promises went much further than that. There’s the hundreds of explorable solar systems with thousands of planets, sure, but the customizable space ship and ability to fly your ship and recruit crew members excited me the most. Unfortunately, when the game released, it was apparent that Todd’s promises really were too good to be true. There were practically no memorable characters, nearly every planet was devoid of interesting content, and ship navigation was frustrating and under-utilized. The game sold well enough due to initial hype, but a 97% player drop-off after six months and the broader damage to Bethesda’s reputation paint a clear picture of Starfield’s shortcomings..

Pirate Live Service – Skull and Bones

Just about everybody wanted a large open-seas pirate game where filled to the brim with tense ship battles and sea shanties, but the developer somehow managed to screw that up completely. The biggest failing with Skull and Bones was that it was a $70 title with a predatory live service model tacked on top of that. You had to grind for what seemed like hundreds of hours obtaining the ‘pieces of eight’ just to upgrade your hard-sought pirate ship equipment. The whole experience was just so bogged down in incremental monetization that even the few fans that were left had a hard time sticking with it for long. So much for the first ever AAAA game.

Hunters vs Hunted Multiplayer – Evolve

I wasn’t exactly the biggest Left 4 Dead fan in the world and even I was pretty excited about Evolve in the 2010s. Evolve pitted a group of hunters against a horrific Godzilla-like human-controlled opponent, differentiating Valve’s team-based shooter with an asynchronized matchup. The big distinction with Evolve is the colossal prey is just one human-controlled creature, resulting in a lopsided 4 versus 1 scenario. Matches were novel and hilariously fun … for the first couple hours. Running around as a hulking horror monster in search of four helpless little humans makes it hard to frown. But the novelty wore off pretty quick. The balance issues, very thin post-game offerings, and hefty price tag for what was essentially a repetitive game loop contributed to Evolve devolving to the husk it is today.

Open World Parkour – Forspoken

I remember being pretty hyped for Forspoken right before its demo released. It was made by the Final Fantasy XV studio using their in-house engine, all of which I’d been a big fan of. And the open-world parkouring just looked absolutely mesmerizing to top it off. Well, after playing the demo, I found myself frankly appalled. The best thing I can say about Forspoken is that it looks nice and has a serviceable soundtrack. The dialogue is perhaps the biggest culprit behind it’s failure, but the repetitive enemy encounters and throwaway isekai story don’t help sell the game either.

Your Choices (Don’t) Change Everything – Mass Effect 3

A lot of gamers want a good choice-driven narrative and plenty of games have attempted it over the years. Yet, carrying over those choices for a meaningful endgame remains an elusive accomplishment for many titles. Mass Effect 3 is perhaps the best example of this. Mass Effect 2 was noteworthy for carrying over key decisions made from the first game and branching those off into even more scenarios into the third game. Yet, Mass Effect 3 ended on a whimper with originally only three endings. The worst part about the narrow endgame funnel was just how paper-thin the different endings were. It’s like all the player-driven choices throughout the three games came to the same uninspired conclusion, albeit with a different color tacked on.

Mandatory Crafting – Metal Gear Survive, Fallout 4

I’m all for looting abandoned houses in open-world games, especially when paired with a robust crafting system. Yet, some games rely a bit too much on crafting to advance the main story. In the case of Fallout 4, crafting is absolutely essential no matter what you plan on doing in the game. The game’s big draw, other than being another Fallout, was its settlement creation system. Yet, to properly build up your settlement, you had to grind for loot and craft like crazy. And then on the extreme spectrum, you have Metal Gear Survive, which made crafting the core gameplay loop, and by extension, the only loop the game had to offer. Crafting is a fun aspect of gameplay, but there’s such a thing as too much of it, as is the case with these two games.

Detective Vision – Batman: Arkham Series, The Last of Us Part 1

Batman: Arkham Asylum made many of us fall in love with detective vision gameplay. Turning on the infrared goggles and snooping the environment for clues just added so much to the setting and gameplay. But then, it seemed like every other game out there started implementing it, and the novelty didn’t quite stick. The Witcher 3 had Geralt investigating hundreds of trails using his witcher sense, but fans generally like it there because of his fun banter. But the later Arkham games and The Last of Us Part 1 tended to overuse detective vision to the point where it slowed down not just the gameplay but story as well.

Procedural “Infinite Story” Generation – No Man’s Sky Launch, Daggerfall

I remember how skeptical a majority of gamers were when Sean Murray talked up his infinite galaxy filled with procedural generation in No Man’s Sky. The game released and, well, a majority of gamers felt correct in their initial skepticism. No Man Sky’s launch lacked the touted multiplayer component that it now enjoys, but it also felt barren and void of meaningful content, something procedural generation often struggles with. An earlier example of empty fields of infinite procedural generated content was Bethesda’s Daggerfall. Daggerfall boasts a staggering 62,000 to 80,000 square miles of traversable land with well over 10,000 towns. It was simply the largest game at the time of release, dwarfing most modern open-worlds today. Yet, the dungeon design was … well, absent. And the actual content within such mammoth maps were repetitive and shallow, even if other systems were novel and fun at the time.

Memory Editing — Remember Me

On paper, Remember Me’s mix of third-person action combat, platforming, and puzzles in the form of Memory Remixing should’ve been the beginning of a new hit franchise. DontNod had the budget and concept for a longlasting series and rewriting people’s past to influence an outcome in the plot was the big selling point. And you don’t just rewrite memories in cutscenes, you actively re-arrange objects called glitches in the subject’s mind like a puzzle. It’s a truly terrifying ability, and one that would’ve rivaled the Animus from Assassin’s Creed if it was used more fully in the game. In the end, Remember Me was known for its subpar combat encounters and underbaked story. If only Remember Me could’ve remembered the Memory Remix mechanic enough for gamers to remember it.

Possess Enemies On-the-Fly — Mindjack

Who remembers the Japanese cover shooter game from the early 2010s, Mindjack? Yeah, probably not many. Besides the generic third-person shooting mechanics and forgettable sci-fi story, it had an innovative mind-hacking mechanic thrown into the mix. Being able to possess enemies and convert them to your side on-the-fly sounds pretty dang fun, until you realize the AI is awful in Mindjack. The repetitive level design and bland missions didn’t help the promising mind-jacking concept either.

Open-World Live Service Campaign — Anthem

Bioware is still chugging along today even after lukewarm releases like Dragon Age The Veilguard and Mass Effect Andromeda, but Anthem was the signal that the  studio just wasn’t the same anymore. Despite building a reputation for rich storytelling and immersive character interactions, EA made Bioware go the live service multiplayer route with Anthem. That decision didn’t go well with longtime fans or newcomers. The launch was plagued by glitches, bugs, and crashes galore. And the long-term looter-shooter loop didn’t do enough to keep players around. This is alll despite a genuinely fun jetpack system that allowed players to fly around with their mechanized soldier through the environment with ease. It’s a fun game to fly around in, but was a chore to actually do anything else.

Superhero Looter-Brawler – Marvel’s Avengers

Marvel’s Avengers was another game that cashed in on the live service looter band-wagon, with the advantage of having the Marvel IP tied to it. There was actually quite a bit of hype building up for Crystal Dynamics’ huge new AAA superhero game. It came out during a time of Avengers high and within a game industry that hadn’t capitalized on it yet. Needless to say, many gamers desperately wanted to pick their favorite Avenger and fight some baddies in a high quality action game. But the aggressive repetition within the mission design and lack of a post-game severely hindered what was supposed to be an ever-evolving game. If you’re going to make a game with the kind of structure of Marvel’s Avengers, at least build it around a compelling story and interesting gameplay.

AAA Episodic Storytelling – Telltale Games

Where’s Telltale Games been, by the way? Episodic interactive game dramas just aren’t the same since Telltale’s reign in the 2010s. Telltale’s The Walking Dead fomented a revolution in the episodic potential for smaller-scale video games. But it seems that ever since Telltale’s Game of Thrones, the formula just hasn’t seen the same kind of success. The stagnant cell-shaded art style contributed to gamers just getting tired of Telltale games, but the realization that choices were largely illusory or at least highly bottlenecked also likely played a role in the genre’s decline.

Time-Manipulation Shooter — TimeShift

Everyone loves a good bullet-time Matrix moment in movies or TV, especially so when we get to control it. TimeShift leaned into the slow-motion cool factor and then cranked it up a notch with full control over time itself. Centering a first-person shooter on time manipulation abilities just seems limitless in its potential. But despite the ability to freeze time in the middle of firefights, the game just felt lackluster to play. Like Anthem, the game had one cool thing going for it: the time-bending abilities, with nothing else to compliment that. The story, while told within a cool dieselpunk setting, was awkwardly paced and surrounded by forgettable characters. And the enemies were bullet-sponges without much thought put into their encounter design. We all love a good time-bending mechanic, but TimeShift just didn’t make a good game around it.

Cloud-Powered, Fully Destructible Cities — Crackdown 3

Gamers were surprisingly delighted by the chaotic sandbox that Crackdown 2 provided and hyped up the next game beyond what it was capable to deliver. The third game executed on the sandbox action hero concept about as well as MindEye did the GTA formula (okay, maybe not quite that bad). Where the second Crackdown delivered on laughs and mindless fun, the third drilled repetitive urban landscapes and bland mission design into our tired hands. Even the advertised cloud-powered destructible environments didn’t make the final cut into the game, except for the now-dead multiplayer mode that nobody played. Crackdown 3 failed to iterate or improve on the chaotic sandbox formula that fans loved about the second one, so much so that even Terry Crews couldn’t save it.

The response is obviously a tongue-in-cheek one, and doesn’t really reveal much. However, the fact that the company isn’t outright denying any of the rumours might indicate that it is simply playing along to add marketing hype to the inevitable announcement of the Assassin’s Creed 4: Black Flag remake.

The figurine was first spotted by Twitter user j0nathan, who quickly posted about it on social media. “A guy on Vinted is selling a completely new Edward Kenway figurine and claims it would be released this year,” they wrote (via machine translation). “Knowing that the Black Flag remake was supposed to come out in less than 2 months, could this be the official figurine from the game?”

Ubisoft’s own post was in response to Assassin’s Creed fan account Zephryss, who wrote “This might be the new Edward Kenway figurine for the Assassin’s Creed Black Flag remake. A guy on Vinted is selling a brand new Edward Kenway figurine and claims it’s releasing this year,” alongside pictures of the figurine.

As we reported earlier this week, the pictures didn’t really reveal anything about who might have made the figurine. However, considering comments from last year, licensed merchandise maker Play Arts might have some involvement with it.

A couple of hosts during a Play Arts livestream indicated that a remake of Assassin’s Creed 4: Black Flag might be in the works. While they didn’t reveal many details, they noted that “something is going on with Edward”.

“Assassin’s Creed fans out there, you should be aware that there is something going on with Edward [Keyway]”, said one host in response to the live chat asking about new Black Flag figures. The other host quickly chimed in by asking “wait has that been announced?”

“I think so, I’m pretty sure I saw rumors about it. No, I definitely saw an article about it”, responded the first host, who would go on to note that, “there’s going to be something going on with Edward, and our PVC 1/8th scale statue will reflect that accordingly.”

The remake of Assassin’s Creed 4: Black Flag—believed to be titled Assassin’s Creed Black Flag Resynced—was originally rumoured for release on March 19. However, plans have seemingly changed, with a recent report saying it has been pushed back to next year. While reasons behind this delay are unknown, the source of the report believes it could simply be a matter of the developers needing more time to polish it up.

Rumours have also been fuelled thanks to music from Assassin’s Creed 4: Black Flag getting reuploaded onto the Ubisoft Music YouTube channel. However, considering Ubisoft’s recent corporate overhaul, the remake might have been one of the titles affected by delays.