The release trailer for its early access debut is definitely metal enough, and doubles down on a combat system that’s looking stylish but with enough substance to make us want to see what it feels like in action. We’ve been excited about this one ever since we had that sit-down with developer Felix Schade back in 2022, and are itching to dive in as soon as we can.

All three playable characters will be available, where they’ll be pitted against a limited pool of bosses and enemy types. There are also several modifiers and upgrades to work with across three biomes. Given the trailer’s penchant for bombastic combat, that’s probably enough to keep us all occupied for a while before the game’s full roadmap drops on April 17, 2026.

It’s probably going to take a while to master each of the three playable characters and get some builds going for them, after all. Morbid Metal is currently exclusive to PC, though a release for consoles isn’t out of the question.

The lawsuit was filed with the Créteil court, and the consumer association has said that it is (via machine translation) “unacceptable that Ubisoft considers, in its general conditions, that players only acquire a ‘license to use’ the game which would then be revocable at any time by the publisher.” UFC-Que Choisir’s lawsuit is being backed by Europe-wide consumer initiative Stop Killing Games. UFC-Que Choisir lawyer Brune Blanc-Durand called the case of The Crew “a particularly clear legal case study,” in a statement to the AFP.

Ubisoft is no stranger when it comes to lawsuits regarding the 2014 racing game at this point. The company had already been the subject of legal action in the US state of California, alleging that Ubisoft had violated consumer protection laws in the state. A lawyer for the company argued that there wasn’t a case, since the plaintiffs didn’t have ownership of the game.

“Frustrated with Ubisoft’s recent decision to retire the game following a notice period delineated on the product’s packaging, Plaintiffs apply a kitchen sink approach on behalf of a putative class of nationwide customers, alleging eight causes of action including violations of California’s False Advertising Law, Unfair Competition Law, and Consumer Legal Remedies Act, as well as common law fraud and breach of warranty claims,” wrote Ubisoft’s lawyers in a statement.

CEO Yves Guillemot was asked about the Stop Killing Games campaign, having caught on quite a bit and getting well over 1.4 million signatures. He called the subject of games being killed off an industry-wide issue.

“Regarding the petition, we operate in a market,” Guillemot said about the petition. “And, whenever we release a game, we provide a lot of support for that game. We also provide a lot of services to make sure that the game is accessible and remains playable 24/7.”

He also pointed to the company’s standard terms of service, which state that “Ubisoft may cancel access to one or more specific online features upon a 30-day prior notice.” Along with this, he noted that there was plenty of “information regarding the game and how long the game can be played”. At the same time, Ubisoft had put The Crew 2 on a massive discount, which Guillemot called “a one-Euro fee proposed to all buyers of the game. For just one Euro they got to buy the next version.”

“It’s not a whole lot of money to be able to continue playing a game,” he said.

“But this kind of issue is not specific to Ubisoft,” continued Guillemot. “All video game publishers are faced with that issue. You provide a service, but nothing is written in stone and at some point the service may be discontinued. Nothing is eternal. And we are doing our best to make sure that things go well for all players and buyers, because obviously support for all games cannot last forever.”

You get to bring your buddies along to New York, which needs all of its Agents to get out onto its streets stat. The city is under threat, if the first game is any indication, and it’s up to you and your allies to stop it.

Of course, you’re going to want to look your best as you embark on intense battles, and the game offers extensive customization options to make your character truly feel like an extension of you. A unique look also makes you easier to find in crowded battlefields, the likes of which are looking like an everyday thing in this one. The gunplay looks quite good as well, which can make combat feel quite immersive as you tear through enemy ranks with calculated precision.

The Division: Resurgence could be just what you need to scratch that itch until the monster that is The Division 3 finally makes its way into your hands. While the latter still doesn’t have a release window almost three years later, fans shouldn’t worry, even if executive producer Julian Gerighty is no longer at the helm.

On the PlayStation Blog, technical art director Robert Foriel says the technology delivers “sharper pixel quality and exceptional image stability, effectively eliminating distracting visual artifacts caused by motion and vibration, and creating a smoother, more immersive experience that allows players to stay fully engaged in the world without interruption.”

As showcased across various comparison videos, this also means significant improvements in ray-traced lighting, dynamic vegetation, and more. The former is more accurate and stable (with less flickering), while the latter looks much crisper, especially when viewed at a distance and in motion. Particle effects also benefit, delivering consistent quality even with multiple transparency layers.

However, its implementation was also seamless for the team, as noted by technical artist Nicholas Lopez. “The code changes were minimal, almost identical to the original PSSR integration. Yet the upgrade brings a noticeable improvement in image quality across the board. It’s rare to get such a significant visual boost with so little tuning required.”

Upgraded PSSR support goes live on April 7th with Title Update 1.1.9 at 7 AM PST. You probably shouldn’t expect much else in terms of new content, especially since it’s in the “final phase” of post-launch support, but here’s hoping for some surprises.

Other titles slated to receive support for the tech include Cyberpunk 2077, Alan Wake 2, and Control Ultimate Edition. Stay tuned for more updates on their release dates, and savor Upgraded PSSR while you can, especially since there are no plans to update it in the future.

With 334,384,499 hours spent cumulatively in the game’s take on the Sengoku period, and more than four billion targets falling to all of our hidden blades, it’s quite clear that Shadows has given the franchise a much-needed shot in the arm. It’s certainly the beginning of a fresh new start for the ones who strike from the, ahem, shadows. The fun hasn’t stopped there, as the Brotherhood’s Japanese chapter has seen 26 million cats receive their dues from Assassins who happen to be prowling in their territories.

If you didn’t get the chance to visit the game’s high-octane take on one of Japan’s most tumultuous periods, Naoe and Yasuke’s efforts to reclaim their homeland for its people were the basis for a very impressive title, leading to five million players within about three months. It’s going to be a guiding force for future projects in the franchise. It’s quite an exciting time to be an Assassin with multiple titles in the works and a new Netflix series on the way.

https://x.com/assassinscreed/status/2036382515691200580

The complete list of projects includes seasonal content for Rainbow Six Siege, a new mainline entry in the Ghost Recon franchise dubbed Project OVR, Brawlhalla, Beyond Good and Evil 2, a small-scale Rainbow Six projected titled Slice & Dice, Splinter Cell, audio for The Division 2, concept work for The Division 3, support for Watch Dogs Director’s Cut, and an unannounced project in the concept stages.

The report indicating that the game development teams at Red Storm Entertainment had been laid off came out just last week, with 105 employees seemingly affected. Along with this, the report also indicated that the studio was essentially turned into one to offer support for the Snowdrop Engine, along with being a “global IT” team.

Throughout its 30 years of existence, Red Storm Entertainment has been quite a prolific studio. It was originally founded by Tom Clancy in 1996, and was envisioned as a studio that would primarily make games based on Clancy’s spy fiction novels. This would lead to the Rainbow Six franchise. Red Storm Entertainment would get eventually acquired by Ubisoft in 2000.

The last decade has seen the studio working alongside other teams to develop VR off-shoots, like Star Trek: Bridge Crew. It had also been working on a host of projects that would never see the light of day, namely a VR Splinter Cell title, and The Division Heartland. Red Storm Entertainment also provided support for multiplayer shooter XDefiant before that game’s servers eventually got shut down.

Red Storm Entertainment had faced another set of lay-offs back in July 2025, affecting 19 of its employees at the time. Ubisoft said that the lay-offs were part of its cost-saving measures and targeted restructuring.

“Today, Ubisoft made the decision to eliminate 19 roles at Red Storm Entertainment,” said Ubisoft in its statement. “This step is part of our ongoing, targeted restructuring and global cost-saving efforts, and reflects the needs on the studio’s projects. While this was not an easy decision, it was a necessary one given our operational priorities. We remain committed to supporting those affected with comprehensive severance packages, extended health-care benefits, and career transition assistance. We deeply appreciate their hard work and the impact they’ve had on Ubisoft.”

Ubisoft has recently been facing quite a bit of criticism due to the restructuring plans it had announced earlier this year. Along with 1,200 of its employees going on strike last month to protest the company’s cost-cutting measures and return-to-office mandate, union representatives Marc Rutschlé and Chakib Mataoui even went as far as calling for the resignation of CEO Yves Guillemot.

While Netflix has left out the finer details about the story of its Assassin’s Creed show, it has confirmed that its plot will revolve around a “secret war between two shadowy factions — one set on determining mankind’s future through control and manipulation, while the other fights to preserve free will.” The show will seemingly follow a variety of characters through major historical events of the era.

While Lola Petticrew, Toby Wallace, Zachary Hart, Laura Marcus, Tanzyn Crawford, Nabhaan Rizwan and Claes Bang were previously confirmed to star as regular cast members in the show, Netflix has now revealed more details. Noomi Rapace (Lamb, Prometheus), Ramzy Bedia (Of Money and Blood, Haunted Minds), Sean Harris (Mission: Impossible — Fallout, The Stranger), and Corrado Invernizzi (Indiana Jones and the Dial of Destiny, Ford v. Ferrari) will be involved, taking on the role of recurring characters. The streaming giant has also confirmed that the show will feature Sandra Guldberg-Kampp (Foundation, The Rain, Electric Child), Youssef Kerkour (A Knight of the Seven Kingdoms), Mirren Mack (Hedda, 28 Years Later: The Bone Temple), and Louis McCartney (Stranger Things: The First Shadow).

Roberto Patino—known for his work on DMZ, Westworld and Sons of Anarchy—and David Wiener—having worked on Halo, Homecoming and The Killing—will work on the project as its creators, showrunners, and executive producers. In a statement, the duo spoke about being fans of the Assassin’s Creed franchise since its debut back in 2007.

“We’ve been fans of Assassin’s Creed since its release in 2007. Every day we work on this show, we come away excited and humbled by the possibilities that Assassin’s Creed opens to us,” they said in a joint statement. “Beneath the scope, the spectacle, the parkour and the thrills is a baseline for the most essential kind of human story — about people searching for purpose, struggling with questions of identity and destiny and faith. It is about power and violence and sex and greed and vengeance.”

“But more than anything, this is a show about the value of human connection, across cultures, across time. And it’s about what we stand to lose as a species, when those connections break. We’ve got an amazing team behind us with the folks at Ubisoft and our champions at Netflix, and we’re committed to creating something undeniable for fans all over the planet.”

Patino and Wiener will be joined in their executive producer duties by Gerard Guillemot, Margaret Boykin, Austin Dill, and Genevieve Jones as part of Ubisoft Film & Television, as well as Matt O’Toole.

Netflix hasn’t yet confirmed any release date for its Assassin’s Creed series.

Speaking to IGN, Dansereau commented on how new additions to the game are going to be a major factor in future releases, with a special focus on the new Atmos weather system and the addition of ray-traced global illumination. Both of these brought the franchise’s take on ancient Japan to life in very impressive ways.

“I’m proud that we shipped the game! It’s quite a challenge, and with Assassin’s Creed, there are a lot of people involved, so it’s a collective challenge. I was at DICE not so long ago, and shipping any game is a small miracle, according to all developers. It’s quite a challenge, and with Assassin’s Creed there are a lot of people involved, so it’s a collective challenge.

“The legacy, I think, is we’ve pushed quite a lot of things: we’ve improved parkour, stealth. Fighting, we’ve pushed certain elements of it. In all the systems, we’ve guided a lot of technology in the game that I think will become legacy for future ACs. There are quite a few things that will make their way through (to upcoming games).”

Assassin’s Creed Codename Hexe is probably going to be the most obvious beneficiary of the lessons Ubisoft has learned from Shadows (with creative director Jean Guesdon describing it as “unique, darker, and narrative-driven”). However, it’s far from the only addition to the franchise’s pipeline, with the much-anticipated remake of Assassin’s Creed 4: Black Flag expected to be revealed later this year with a potential launch in 2027.

We’re hoping that the Brotherhood manages to sustain the momentum it has created from its Japanese chapter and bring us more sneaky stabbing sooner rather than later. In the meantime, check out our review of Assassin’s Creed Shadows here for more details. You can also learn more about its last major update here.

It’s apparently not fully shut down and will instead serve as a support studio for the Snowdrop Engine and “global IT.” Nevertheless, it’s the end of an era, given the studio’s rich history of tactical shooters. Acquired by Ubisoft in 2000, it would also work on the Ghost Recon series, including Advanced Warfighter and Future Soldier.

However, its output slowed significantly over the past decade, as it delivered VR titles like Star Trek: Bridge Crew and Assassin’s Creed Nexus VR. Two of its major projects – a VR Splinter Cell game and Tom Clancy’s The Division Heartland – were cancelled after significant development time, and it didn’t help that projects it provided support on, like XDefiant, were subsequently shut down.

While Ubisoft didn’t provide a reason for effectively axing its game development team, the move is likely part of its wider reshuffle announced earlier this year. Not only did it result in teams splitting into Creative Houses with new leadership, but it also led to the cancellation of projects like Prince of Persia: The Sands of Time Remake.

“We found out at the same time as the public,” said one developer for Ubisoft. The report went on to note that Capcom’s developers were particularly shocked with the company’s involvement with DLSS 5. They described the company as traditionally being quite “anti-AI” for the development of games like this year’s Resident Evil Requiem. There have also apparently been fears about the showcase leading Capcom leadership to change its mind about AI technology and force its implementation into in-development games.

Curiously, the report comes in light of senior director of Global PR of GeForce at Nvidia, Ben Berraondo, taking to social media to say that the inclusion of Resident Evil Requiem in the DLSS 5 showcase was done in collaboration with Capcom, and that the studio’s own team had worked on it. “Game developers have detailed artistic control,” he said.

DLSS 5 was unveiled earlier this week, and almost immediately started facing criticism from journalists as well as developers. According to Nvidia, the technology “takes a game’s color and motion vectors for each frame as input, and uses an AI model to infuse the scene with photoreal lighting and materials that are anchored to source 3D content and consistent from frame to frame.”

“Bridging the divide between rendering and reality, DLSS 5 empowers game developers to deliver a new level of photoreal computer graphics previously only achieved in Hollywood visual effects.”

Many have called out the changes made by the technology to various characters as essentially being like AI-generated images turning “everyone into yassified, looks-maxed freaks,” as noted by Noclip’s Danny O’Dwyer. RPGSite’s Alex Donaldson called the effect “uncanny & weird”, and noted that artistic expression was at risk.

When asked about this, Nvidia CEO Jensen Huang had his own statement, saying that everyone criticising DLSS is “completely wrong”. He went on to say that, “The reason for that is because, as I have explained very carefully, DLSS 5 fuses controllability of the geometry and textures and everything about the game with generative AI.”

“It’s not post-processing, it’s not post-processing at the frame level, it’s generative control at the geometry level,” he continued after noting that developers and artists will have plenty of control over the outputs of DLSS 5.

“All of that is in the control — direct control — of the game developer,” he explained. “This is very different than generative AI; it’s content-control generative AI. That’s why we call it neural rendering.”

The level of control was further expanded on by Nvidia through a pinned comment under its DLSS 5 Showcase, where it said: “Important to note with this technology advance – game developers have full, detailed artistic control over DLSS 5’s effects to ensure they maintain their game’s unique aesthetic.”

“The SDK includes things like intensity, color grading and masking off places where the effect shouldn’t be applied. It’s not a filter – DLSS 5 inputs the game’s color and motion vectors for each frame into the model, anchoring the output in the source 3D content.”

DLSS 5 doesn’t yet have a release date. It is slated to come to all GeForce RTX 50-series GPU users later this year.