Along with this, TeamKill Media has also confirmed that it has been working on “several exciting projects,” and that announcements and reveals will be coming soon. “Thanks to the overwhelming success of Code Violet and the incredible support from all of you, we are officially confirming that development has begun on the next chapter of Violet’s story: Code UltraViolet,” it wrote on social media platform X.

The studio also hasn’t yet confirmed whether Code UltraViolet will be a PS5-exclusive like its predecessor, or if a wider release across multiple platforms is planned.

Code Violet was released on PS5 just last month. The title was originally announced back in January 2025. It is a third-person survival horror game that puts players in the shoes of Violet Sinclair as she finds herself trapped on a colony named Aion in the 25th century. Violet gets caught up in a web of conspiracies and secrets, and is trying to figure out how she can survive against an onslaught of dinosaurs.

Leading up to its release, Code Violet also got a gameplay trailer back in May. The trailer, coming in at close to 20 minutes in length, involves Violet fighting her way through the Aion Bioengineering Complex. It offered a good look at a variety of gameplay aspects, from combat to puzzle-solving, exploration, and even inventory management.

In our review, we gave it a score of 3 out of 10. Our major sticking points with the survival horror title were a lack of enemy variety, repetitive level design, bad camera angles, and dull exploration and combat. Unfortunately, its solid visuals and audio design did little to raise our opinion.

Before Code Violet, TeamKill Media had released firefighter-themed survival horror title Quantum Error, which takes place in the year 2109 and a world where artificial intelligence has become ubiquitous. Players take on the role of Jacob Thomas, and the story is kicked off when a Monad facility is attacked and engulfed in flames. Check out our review for more details.

Following its release, TeamKill Media has confirmed that a sequel to Quantum Error was in the works. In March 2024, the studio revealed that the title was meant to be the first one as part of a planned trilogy. The second one, dubbed Quantum State, has been described as a “cinematic third person shooter that will focus heavily on narrative and stealth.”

The developers have also worked on smaller-scale games in the meantime, with September 2024 seeing the release of Son and Bone. The title puts players in the shoes of Sheriff Sam Judge, and involves enemies like raptors, triceratops, and even the T. Rex.

But in the spirit of fairness, I’d argue that its visuals are quite eye-catching. The light in dimly lit corridors in the mysterious facility where most of the game takes place gently glances off protagonist Violet Sinclair’s hair and costume, and off surfaces in the environments. It’s a pity, then, that most of the places you explore look nearly identical except for a few outdoor locations.

"The story is so dreadfully reliant on tried and tested sci-fi horror tropes that I could see its big reveals coming from a mile away."

While I’d be inclined to forgive that repetition if the stuff I discovered within them was interesting, that sadly isn’t the case. First off, the level design in this one is so convoluted and seemingly designed around tedious backtracking that it’s hard to defend it despite how pleasing it can be to look at. It doesn’t help that the performance sometimes fails to keep up, with a bit of stutter creeping in from time to time, coupled with wonky animations and terrible facial expressions that were quite jarring to witness.

The story is so dreadfully reliant on tried and tested sci-fi horror tropes that I could see its big reveals coming from a mile away. With that being said, I do think that it could have been a great narrative if it had been backed up by more consistent writing over the course of the four hours it presented to its audiences.

However, with little to no context about the how and why of Violet’s predicament being provided for most of the adventure, it was quite hard to be invested in her journey. The declaration that her story was just beginning at the end of the narrative should have been a reason to celebrate the birth of another excellent PlayStation exclusive franchise. Sadly, Violet isn’t going to be joining the likes of Aloy anytime soon.

The entire adventure is so convoluted and lacking polish that any attempts at creating tension fail, often spectacularly. That’s a facet of the experience that’s so crucial to a horror title, and it’s genuinely upsetting to see a potential-filled premise wasted away like it does in Code Violet. I hoped against hope that the gameplay would be enough to make the game interesting to play.

"Violet is about as bland a character as they come."

But once again, I came away disappointed. I may have let my expectations get the better of me. I assumed Violet would be an interesting protagonist, and that watching her take on dinosaurs while sprinting around the facility would lead to something compelling. But I was wrong. Violet is about as bland a character as they come. She often felt like she was actively trying to maintain a stone-faced expression even as she sounded quite emotionally charged at whatever horrendous discovery she was talking about. She isn’t too relatable as a protagonist either, with her dialogue making her feel too one-dimensional for her to stand tall among the genre’s best heroines.

Throughout my experience, the game’s controls, animations, and camera were working against me. The game’s enemies feel like they wanted a quick death, with the dinosaurs often running right into my line of fire, eliminating the need for me to engage my reflexes and dexterity with my controller for the most part. I was almost relieved that most threats crumpled after a couple of bullets, largely because it meant the brain-dead AI didn’t put up much of a fight.

The weapon variety is passable, but with an inventory system that seems like it was designed to be an annoyance. I wound up dumping most of my heavy weapons in storage, carrying only one big gun with me besides my trusty pistol and a knife that would’ve been cooler in basically any other game. Instead, I found myself mindlessly whipping it out to deal with the smaller dinos in my way, reserving my pistol for the bigger ones with an occasional blast from my shotgun or assault rifle in case I ran out of bullets.

The DualSense integration in Code Violet is there, but the guns themselves don’t feel like they pack a punch. That’s especially disconcerting when they’re so effective at bringing down vicious dinosaurs, the controller often rumbling away quite similarly without a tangible difference between my pistol and a shotgun with more power behind it.

I only ran into a handful of main dino types throughout the game, and even the giant one that was clearly meant to be a boss ended up feeling like nothing more than a bullet sponge. I found it quite impossible to suspend my disbelief that such ferocious beasts could be brought down so easily, and it made the game’s combat a very repetitive affair.

Between fending off the oddly weak dinosaurs and an exploration loop that had me scouring the facility for key items needed to hit my next objective, the game often felt more tedious than tense. And while I have to commend the lack of a HUD, especially with that nifty armband displaying Violet’s current health, a little more direction would have gone a long way in helping anyone playing Code Violet avoid excessive backtracking.

That’s because things you need to find are often tucked away in places that are quite missable. The most egregious example is that I didn’t even find an item to expand my inventory slots until I was at least halfway through the game, an unfortunate reminder of just how missable key upgrades can be. Mind you, I’m one of those players who scours every corner of a level for hidden loot, and it was quite disappointing to see how the game’s level designs were actively working against me.

"The audio design is fairly good."

The audio design is fairly good, though. It does a good job of making it feel like danger lurks around every corner, with ominous silences blending into the background music to sell an illusion of threat. The same could not be said for the dialogues, and the game’s facial animations do not sell its material well enough for those efforts to matter.

Let me say this clearly. Code Violet isn’t a game that’s worth a $50 price tag. Hell, I wouldn’t be too happy with it even if it were at $30. Its systems don’t come together to present a gameplay loop that’s engaging enough, while the lackluster approach to a somewhat interesting premise makes its story feel like a derivative effort that doesn’t do justice to its lofty ambitions.

Whatever this game attempts to do, others have already done, and done better. It would be a disappointing addition to the gaming libraries of most players, and it’s hard to believe a title could fall this flat in 2026. I wouldn’t recommend this even to someone who’s completely out of options; being bored with nothing to play is honestly preferable to experiencing this mess.

This game was reviewed on the PlayStation 5.

TeamKill Media has released close to 20 minutes of gameplay footage, showcasing protagonist Violet Sinclair as she makes her way through the the Aion Bioengineering Complex on a a 25th-century colony, which just happens to be infested by a variety of terrifying dinosaurs. The gameplay offers looks at the combat, exploration, puzzle solving, resource gathering and inventory management, and more, all looking like familiar fare for survival horror. Take a look at the footage below. 

Code Violet is due out sometime later this year exclusively for the PS5. 

Code Violet is a third-person action horror title that’s set on a human colony named Aion in the 25th century. Players take on the role of Violet Sinclair, a young woman plucked from the past by the dying remnants of humanity. Caught in a web of conspiracies and secrets, Violet finds herself crossing paths with many enemies- chief among them being terrifying and deadly dinosaurs. Check out the announcement trailer for a look at what the game will have in store. 

Code Violet will launch in July for PS5. A specific release date hasn’t been announced, and there’s no word yet on whether the game is also planned for other platforms. 

As Sheriff Sam Judge, players find themselves in what seems to be the prehistoric era. They’ll combat T. Rexes, Raptors, Triceratopses, and more, but some are mutated and equipped with weapons. You also have the strange UFOs looming over the skies and hints of aliens. Whatever the case may be, you’ll have several firearms to choose from, including shotguns, assault rifles, revolvers, plasma rifles, and more.

Son and Bone is playable on PS5 and PC (via the Epic Games Store), retailing for $29.99. TeamKill Media is also working on a sequel to Quantum Error called Quantum State, though a release window has yet to be announced. Check out our review of the first game here.

The “story” of Son and Bone focuses on Sheriff Sam Judge, who’s on a mission to save hostages from some bandits and suddenly finds himself in the prehistoric era. Fortunately, the solution to dealing with rampaging dinosaurs is an abundance of firepower. You can choose from assault rifles and shotguns to plasma rifles, grenade launchers, and gatling guns, with no reloading to interrupt the action.

Perhaps more comical is Judge’s ability to execute finishers on enemy dinos and even acquire power-ups to punch them into dust. While there’s plenty of action, Son and Bone has its share of exploration and platforming. The environments are also fairly large in scale – perfect for giant killing fields. Stay tuned for more details when it launches tomorrow.

While it has plenty of new dinosaur variants and weapons, the trailer also confirms aliens. It’s unknown if they’re on the side of protagonist Sheriff Sam Judge since he straight up executes one, but another scene sees calling down the mothership’s laser to obliterate some dinos. Either way, it feels like some Serious Sam splashed in with Turok.

Other new details include the lack of reloading a la Doom and Quake and weapons from different eras. There’s a Berserk-like power-up for temporarily one-shot-killing enemies with punches and a grappling hook, which looks about as fluid as you’d expect.

Son and Bone is coming to PS5 this year. Perhaps its release date will be announced at Gamescom from August 21st to 25? Time will tell, so stay tuned for more details.

Over on Twitter, TeamKill Media has announced Quantum State, which it bills as a full-fledged sequel to Quantum Error.

Interestingly, however, as opposed to the cosmic horror trappings of its predecessor, Quantum State is going to take a different approach, with TeamKill Media describing it as “a cinematic third person shooter that will focus heavily on narrative and stealth”, similar to Metal Gear. The game’s first official screenshot has also been revealed. Check it out below.

Quantum State is in development for PS5 using Unreal Engine 5. TeamKill Media says it won’t be out this year, with “much work to be done before it’s ready”. Instead, this year will see the studio launching Son and Bone, a first-person shooter set on prehistoric Earth populated by dinosaurs.

In our review of Quantum Error, we gave it a score of 5/10, saying, “Despite having an interesting story concept, Quantum Error’s underwhelming gameplay, terrible cinematics, and horrendous voice acting drag down what could have potentially been a great horror experience.” Read the full review through here.

In spite of widespread criticism, Quantum Error was successful for TeamKill Media from a commercial perspective. Even prior to release, it had recouped its development budget based on digital pre-orders alone.

First official screenshot for Quantum State!#quantumstate #quantumerror #ue5 #ps5 #screenshotsaturday #gamedev pic.twitter.com/gJGHHhKtrg

— QUANTUM STATE (@Quantum_Error) March 16, 2024

Quantum State will be a cinematic third person shooter that will focus heavily on narrative and stealth, very metal gear like.

— QUANTUM STATE (@Quantum_Error) March 16, 2024

https://twitter.com/Quantum_Error/status/1769032442432655475

https://twitter.com/Quantum_Error/status/1769234670045037042

The story starts on a farm in Patchwork, Montana, with Sheriff Sam Judge sent to hunt down some bandits and rescue a hostage. However, he’s eventually transported to a prehistoric world teeming with dinosaurs and must fight to survive and return. Along with a shotgun and assault rifle, Sam can also execute dinos with his bare hands, including ripping a Triceratops’ horn and stabbing it with the same.

Unlike Quantum Error, which took a more cosmic horror approach, Son and Bone appears more like Serious Sam with its gameplay. Developed on Unreal Engine, the gameplay footage was captured on PC, indicating a possible release in the future. Stay tuned for more updates in the meantime.

"The adaptive triggers are also used quite extensively, both in combat, as well as general exploration as you fight your way through the game’s levels."

Despite its best efforts, however, Quantum Error comes off feeling like the studio is trying to punch well above its weight. Sure, the game has plenty of production value, and the ambition is certainly present, especially when it comes to some of the more unique mechanics it’s trying to employ. Some of these mechanics are quite simple, like a fancier way to open a door. Others can get slightly more in-depth, like having to figure out a way to vent out a room’s heat so that there isn’t lethal backdraft when you open the door. There’s also a strange CPR mechanic which involves quick-time events and blowing into your microphone to revive someone. Sadly, most of the unique mechanics end up feeling more like they’re gimmicks rather than game changing experiences.

Since it was developed primarily with the PS5 in mind, the game makes use of DualSense’ features. The use of these features largely come down to the protagonist’s role as a firefighter. For example, before you open a door, you’ll often have to check whether the room you’re trying to enter is hot enough to cause a backdraft, which would kill you. While feeling for the room’s temperature, Quantum Error makes use of the DualSense controller’s haptics, lightly vibrating the controller on the left side to denote that opening the door will lead to your demise.

The adaptive triggers are also used quite extensively, both in combat, as well as general exploration as you fight your way through the game’s levels. Try to pry open a door, for example, and you’ll feel the DualSense’s adaptive triggers pushing back at you. Similarly, the game’s guns also make use of the triggers to further sell you on the impact of your bullets. Unfortunately, that’s about where the feedback ends with the combat.

"The use of DualSense features largely come down to the protagonist’s role as a firefighter."

The combat in Quantum Error quite honestly feels like its weakest part. The game does itself no favors by giving off a terrible first impression; the prologue has you fighting enemies on the streets of a city as you try and make your way to your team. These streets are teeming with enemies, and the prologue is incredibly stingy with how much ammo you’re going to get. This is further exacerbated by just how easy it is to miss enemies; not only do they have a tendency to unfairly dodge your aim, but getting hit by a bullet also throws your aim all over the place to an absurd degree. Couple this fact with the lack of any real feedback if a bullet actually hits an enemy makes the combat feel like a slog.

Failure also has an incredibly steep price in Quantum Error. Taking the prologue as an example, there are simply no mid-mission checkpoints. Die and you’ll just have to accept it and start over. Thankfully, your second go-around will teach you how scarce ammo can be, and you might even be persuaded into trying out the game’s terrible melee combat. Further into the game, while checkpoints do exist, they also tend to be incredibly far apart. The issues I found with checkpoints also tie in directly with problems in the game’s level design. First and foremost, there’s no real guidance to where you’re supposed to go aside from an objective marker that only really shows up if you’re lucky. There are no in-game maps, no mini-maps, and you’ll often find yourself blindly roaming around and hoping to ultimately fall into your objective by pure luck. Quantum Error also makes liberal use of invisible walls, especially in some of its more open levels. And I’m not talking about having insurmountable debris blocking your way; I’m literally talking about invisible walls like those seen in old PlayStation 2 games.

"The combat in Quantum Error quite honestly feels like its weakest part."

There’s also an incredibly high emphasis on stealth in Quantum Error, which doesn’t really work out too well since you don’t have much of a way to keep a track on enemies, or even track how visible or invisible you are to your foe. Until you get your hands on a gun—something that only really happens a couple of hours into the game—you’re encouraged to sneak up on enemies and take them out with a stealth melee attack. Unfortunately, since it’s much more likely that you’re going to accidentally run into enemies as you turn a corner, you’re going to end up wildly flailing your axe around, hoping for a hit or two that might take the enemy out before more are attracted from all the ruckus you’re creating.

While its gameplay ends up feeling like little more than a rote corridor shooter coupled with the previously mentioned underwhelming gameplay mechanics, just about all of Quantum Error’s ambition is seen in its story. The game is trying to tell an incredibly intricate story that revolves around hopping around in different dimensions and planets, and a shadowy conspiracy that you run into quite early in the game. Unfortunately, the ambition on display seems like it’s well beyond the studio’s reach, since a lot of the impact of the story is lost thanks to incredibly stilted voice acting and wooden character animations. When it comes to cinematics, Quantum Error makes use of camera angles that make them feel like a parody of a serious sci-fi story.

Quantum Error certainly has its moments when it comes to visuals, however. The game is certainly able to nail things when it comes to creating a tense atmosphere, especially during the early firefighter sequences. The game makes excellent use of lighting, especially when it’s coupled with the smoke you inevitably have to deal with when things are on fire and to create a sense of urgency where you’re desperately trying to look for people and save them. It only really falters when it comes to outdoor areas, where it ends up looking like the most generic shooter you could possibly imagine. Just about every outdoor area feels like a brown, dimly lit alley with no real landmark or any other way for a zone to set itself apart, aside from the fact that there might occasionally be a wrecked car or two around and a couple of things on fire every now and then.

"The game is certainly able to nail things when it comes to creating a tense atmosphere"

Ultimately, Quantum Error is a game where the studio seems to have ideas well beyond its capabilities. Where its story and general concept are unique and interesting, it’s all let down by voice acting and cinematic direction that, at the best of times, feels questionable, and at worst is just downright bland and boring.

The best thing about the gameplay in Quantum Error is that it just works. It controls fine, and the DualSense’s adaptive triggers’ implementation is done really well here. Unfortunately, other aspects, like the lack of any real feedback on whether an enemy actually got hit, strange level design decisions, and insistence on stealth in a game that doesn’t really give you any tools to sneak around with drag it all down. The best thing I can ultimately say about Quantum Error is that its story and concepts are at least interesting—even if the story is told in an absolutely terrible way that throws way too many badly directed cinematics at you.

This game was reviewed on the PlayStation 5.