With dozens of projects behind his name, Jason Graves is a composer of many talents. He won two BAFTA awards for his work on Dead Space and a BAFTA nomination for Tomb Raider, composed the highly unconventional score for Far Cry Primal, and recorded The Order: 1886’s majestic music at the legendary Abbey Road Studios. His recent endeavors have taken him into virtual reality with his recent project composing Polyarc Games’ Moss for PlayStation VR. He happened to swing by the office to chat about his music career, using tiny instruments for Moss, and Aztec death whistles.

How did you get into composing video games?

I can’t believe it’s been 10 years since Dead Space came out. That came out in 2008, and I’d been working in games for almost 10 years at that point, so it’s been almost 20 years. I originally wanted to do film or TV music, which is why I went to Los Angeles to attend USC because they had a program devoted to that. There was a composer I worked for as an assistant. I also had a chance to work on a game in the early 2000s based on the King Arthur movie. I’d been working in the industry behind the scenes for about two years, but this was the first time I had a game that was officially released that I’d written all the music for. The experience of writing 40 minutes of music in three weeks where the only feedback was “Great, when are you sending the next piece?” was completely different than what I did in LA for the 2+ years before then, when I worked on 30 seconds of music for 8 or 10 weeks for a commercial or trailer, which involved a lot of rewriting. It was decision by committee with no creative input.

When the call came in to do the Dead Space demo, they didn’t know what the game was going to be yet, but they wanted scary music. I could do that because that’s where my background was. I just hadn’t done it for 10 years. I submitted some things I’d already written, did a quick demo, and the audio director almost called me immediately and said that’s what they needed for the game. I fell back into what I was doing in college with aleatoric music, crazy, scary kinds of things. I thought this would be another game that came and went, but it ended up getting a lot of attention, even the music, which I wasn’t really expecting, so then I became the scary music guy! It was my first major milestone career-wise. Everyone was convinced I had a fake name, too… “Graves” and Dead Space. Then the next well-known game I did was [the 2013 reboot of] Tomb Raider.

You’ve worked on a lot of AAA releases and smaller indie projects. Does the latter excite you because the indie space has creativity that’s lacking from AAA?

There can be more restriction with bigger games. As Dead Space went on, I’d never written music for sequels. I think it was more personal restrictions because I wanted to be true to the established music of the franchise. Even though Crystal Dynamics wanted something different from the original games, I wanted to be true to the franchise in spirit while trying to be original. What I love about indie games is that I can sit in a room with 10 people and that’s the whole company. It’s a truly collaborative thing where everyone’s informing each other. 

When you started working with Polyarc on Moss, what did they want initially?

From a music standpoint, it didn’t shift dramatically. It was more about how the music was going to be implemented into the game. We were planning to have more of a Nintendo approach with more interactivity. You die, there’s a death stinger. You get a treasure, there’s an unlock stinger. Music stingers define certain actions and we did that for E3. I was sort of reluctant because the game was so amazing that we didn’t need that crutch of forcibly telling players through music, “Aren’t you having fun? Oh, congratulations! You got a token!” With Moss, everything stood on its own. I recommended writing big parts of music and asking them to see if they could work with that alone. The audio director is amazing, and he was always open to collaboration. There’s no death stinger in the game, for example, so the music just goes on as is and only changes from scene-to-scene; it’s more about broad strokes, rather than precise “this happens when this happens” music. Any interactive music is subtle in the game.

Video games can afford dynamic interaction between the music and gameplay. How does that happen in subtle ways throughout Moss?

There are these enemy towers in the game that look like the Eye of Sauron that can spot and hurt you. The first piece I did had this middle section that was out of tempo and out of scale with this violin repetition. The harp and dulcimer picked up as well and served as warning music. Stephen [Hodde, the audio director] picked that up immediately to have it filter in gradually as you got closer to the towers. Only those instruments fade in with the normal music still going on, which acts as a natural stinger that ebbs and flows. He did stuff like that all the time in the game with how he singled out instruments with the music I provided.

Moss’ music has a whimsical, welcoming vibe, almost like something you’d hear in a tavern or the streets of a fantastical medieval world. Could you describe the style you went with for Moss? 

For me, the inspiration always comes from the game itself. The first Dead Space was the first time I looked for inspiration from within, as opposed to what films have been that are like this game that I can make sound the same. That only happened because EA gave me the freedom. Polyarc was similar. You have these teeny characters in the VR world, and it makes a huge impression because you can sit down and you get a true sense of scale with Quill. You can pick her up and look around, so I wanted to convey the sense of the tiny setting of a sprawling, epic world. With the forest setting, I love the idea of dulcimers, guitars, and ukuleles because they’re small instruments. Celtic harp is also one because you can set it in your lap. Things that sound “woodsy,” partly because they’re made of wood.

I was looking for things that gave the music a unique sound with small instruments, which I mostly happened to own and play with only violin and woodwind players, so the score is 90 percent live. I’ve been trying to do that ever since Dead Space because it makes such a difference. With Moss feeling so intimate, live music would convey its world in a heartbeat. The plucking of guitars; the hammer dulcimer has a mountainy, woodsy sort of vibe – that was the plan. There is some string and brass, but I used the soloists to play on top of them, so I hope the score comes across as organic. That’s the word I was looking for, like with a band that’s in the corner of a bar, which is why I like how you mentioned pub music. Even the combat music is fun in its own way. Not menacing or threatening, but empowering.

You mentioned your instrument collection. What’s the weirdest or most obscure instrument you’ve put in a game?

Two Aztec death whistles that I used with Far Cry Primal. It looks like a human skull and you blow into it, which sounds like someone screeching their death. I wanted to use interesting instruments. Nothing with metal or plastic, and when you start thinking about instruments that don’t have these things, you’re not left with a whole left, so you’re left with rocks, stones, and other stuff like that. One of the people on the team suggested that I check out Aztec death whistles, which the warriors wore around their necks when they decimated nearby villages and blow their whistles. You could hear it from miles away, which was meant to inspire fear. There was a guy in Arizona that makes them out of resin and hand paints them. It’s the most unique instrument I used besides hitting on bushes or banging pots together.

Virtual reality brings up a lot of interesting opportunities for composition. Combined with the interactivity of video games, so is there potential for innovative scores for this developing space?

There are several schools of thought on music for VR. One is that you shouldn’t have any music in VR because it will take you out of the experience. The second one is with ambisonic, 3D sound, where you can take advantage of that and make the music feel around you as well. However, I would say it really depends on the context and genre of a virtual reality game. In Farlands, the whole score was ambisonic. It was mono stems without any reverb or anything like that. The VR engine placed all the instruments in different places. Let’s say you’re in a big room with an orchestra. It’s not the same way in Farlands, but you can walk right up to instruments and they sound closer and drier, and it would sound like the violins are behind you. Very immersive in 3D, and I think there’s places for that where it will totally work. We didn’t use that idea for Moss because there’s no source music in-game. It’s more of a special-case scenario like working on a 3D film. Maybe there’s some subtle 3D, but there’s only two or three times where something jumps out at you. It’s good in that sense when it’s appropriate for gameplay. As a composer, I like the idea of the music functioning as it would in a non-VR game. The VR is its own cool thing; we don’t need to do more bells and whistles. But if there’s an arcade-y kind of game with fun effects, absolutely. But if it’s a story-based game like Moss, it needs to enhance the story. It’s not the attention-grabber.

There are some unique things you could do, like having a certain instrument come in as an enemy gets closer.

Ah, we did some stuff like that! But here’s the trick: as the Reader, you’re overlooking the mouse and your auditory perspective is not like Quill’s perspective, so it’s like the tower with how the music comes in, but you can do that in a non-VR game. And since you’re not in first-person with Quill, there’d be no use to it being in 3D unless you’re hearing from her perspective. You’re present in the game but controlling another character. It’s like first- and third-person at the same time in some ways.

For more on Moss, you can read our review here or check out official previews from the soundtrack through this link on SoundCloud.

Far Cry 5 is out, and you’ll be able to explore all that Hope County has to offer in its lush forests and mountainous Montana region. We’d be lying if we said our sense of wanderlust wasn’t piqued, so we’ve come up with six places – and time periods – we wouldn’t mind exploring in Far Cry 6, along with some bold moves Ubisoft could pull off in these environments.

Far Cry 6: Mother Russia
The snow-capped forests of Russia aren’t just for Metro Exodus anymore (even though we’re still excited for the game). One of the issues we came across in our review of Far Cry 5 was that collecting animal parts became about making money rather than upgrading equipment. A trip to a frozen tundra teeming with wildlife could bring Far Cry back to its roots by making hunting and gathering more than a fun way to earn extra cash, but rather a means of survival.

Bold move – Make survival a priority
If Far Cry 6 were to move back to a snowy locale, then you should have to manage more than just a health bar. We’d like to see things like temperature, hunger, and sleep play a pivotal role to emphasize survival. Cold weather could affect things like how effective health items are or how much damage is taken, while hunger can affect damage output and sleep deprivation might cause hallucinations. The supplies that you craft and the food that you gather could benefit from added realism too, with clothing that’s damaged from prolonged battles or raw meats and poisonous plant life that would cause more harm than good. It’s easy to get wrapped up in the larger-than-life action sequences of Far Cry games, but at its core, you’re still someone trying to survive in a strange wilderness. We’d like to see more emphasis on that.

Far Cry 6: Invasion
Far Cry 3: Blood Dragon showed what a futuristic Far Cry game could look like and one of Far Cry 5’s DLC packs is set on Mars, so why not combine the two ideas and shift time to a reality where humanity is no longer the world’s apex predator? In this iteration, the world has been ravaged by alien forces that have almost completely wiped out mankind. You would play as one of its last hopes, desperately searching for other humans to recruit and fight back against the alien forces. While there would still be plenty of opportunities to survive in the wild, the biggest battles with the best gear could be found in dilapidated cities, where the alien presence is at it strongest.

Bold move – A four-person co-op experience with scalable difficulty
Far Cry 5 is the first time the franchise has allowed players to play through an entire game via co-op. We’d love to see Far Cry continue to build on its co-op component and allow us to team up with up to four people to fight back against overwhelming odds, with difficulty that would scale depending on how many people are in your party. These aliens would be the greatest challenge of any Far Cry game to date, towering masses of monstrous destruction who would require the best laid plans to defeat. Parts gathered from these larger than life encounters could yield rare materials used to craft powerful alien weapons and tech that would make the next encounter a bit easier, but they will take everything in your standard arsenal to take down. These aren’t the kind of enemies to tackle alone. After all, they have almost eradicated humanity; to overcome the brink of extinction, you’re going to want to have all the help you can get.

Far Cry 6: On The Bayou
We know the series just explored America, but there are numerous ecosystems that could make for a great Far Cry game. The swamplands of the South play home to a variety of dangers, especially when vicious alligators thrive in the muddy waters that limit your movement. Far Cry games excel whenever there is some psychedelic, supernatural force at play, so what could be better than an environment rooted voodoo culture? Well, we have an idea.

Bold Move – Voodoo that you do
Instead of facing off against a supernatural threat, you become the supernatural threat. This story could focus around the player as they seek the wisdom of voodoo priests and priestesses to save someone they love. Along with a smaller selection of weaponry (which should include something like Mafia III’s exploding voodoo dolls), dabbling in the dark arts allows you to wield certain spells and incantations against enemies and solve puzzles. But be warned, using these powers could lead to madness and you can never be sure which witch doctor you can trust.

Far Cry 6: Medieval
Far Cry Primal proved that the franchise can travel back in time, so why not take a jaunt back to the Middle Ages? You would play as a knight tasked with exploring and conquering new lands for the sake of expanding your lord’s kingdom. You could choose how much or little armor to wear while exploring the wilds. Like Primal, we imagine that most of the combat for this would be melee focused.

Bold move – Build a fortress for thy liege
Rather than hunting wildlife to upgrade your gear, the emphasis would be on capturing enemy fortresses. Typically, one of the more fun activities in Far Cry games, conquering enemy encampments and claiming them as your own would do more than make them fast-travel points. Instead, this would be the primary mechanic for earning better gear. Fortresses could expand your kingdom and allow you to acquire better items, weapons, and armor throughout the game, adding a healthy dose of Middle-earth: Shadow of War into your Far Cry experience.

Far Cry 6: Down Under
We’re actually surprised that Far Cry hasn’t already made its way to Australia considering all the dangerous wildlife unique to that continent. Granted, it may be difficult to make a desert world compelling for eight to twelve hours, but if any series is capable, it would be Far Cry. Much like the extreme cold in our Russia concept, the climate could be a huge part of the survival element here.

Bold move – One hell of a hangover
As in the beginning of Far Cry 3, you play a young tourist looking to find adventure after graduating college. You try peyote and start the game going through a Far Cry psychedelic experience. When you come to, you wake up naked in the desert with an incredible thirst and a fear that night will soon be upon you. You must do whatever it takes to survive the harsh wilderness and hostile natives while piecing together the events that led you to this point as you try to make it back towards civilization with your humanity intact.

Far Cry 6: Samurai
In another period piece, this would transport players to late 12th century Japan during the rise of the samurai. You play a young warrior learning their ways and must complete some sort of pilgrimage before your training is complete. If you survive your journey and return, you will become a samurai warrior and may aid your clan in the battles to come.

Bold move – A Far Cry and Assassin’s Creed Crossover
If we can get a Final Fantasy and Assassin’s Creed crossover, why not take two of Ubisoft’s most successful franchises and mash them together? It would probably have to be some sort of DLC where the samurai meets and/or battles against an assassin, but we’d love to see a game where these two duke it out. Oh wait, that’s For Honor …

Bolder move – A Far Cry/Assassin’s Creed/For Honor Crossover Extravaganza

 

For our thoughts on the most recent Far Cry, check out our review of Far Cry 5 and some of the craziest things to do in Hope County. What would you like to see from the next Far Cry game? Let us know in the comments below!

In a journey as long as one to the center of the galaxy, the crew at Hello Games have announced a free expansion to No Man’s Sky titled No Man’s Sky NEXT coming this summer. This expansion as well as all previous content, and the game itself, are also coming to the Xbox One for the first time.

Hello Games confirmed the news today, dropping the logo and screenshots for the expansion. The new expansion launches this summer on all available platforms. Details are sparse at the moment, with nothing beyond screenshots and a tweet from Sean Murray, but we should know more soon.

The expansion will also be coming on day one to the Xbox One version of the game. While Sony published the game physically on the PlayStation 4, they obviously won’t be doing that on the Xbox One, so 505 Games is stepping in to publish the physical version. The game will also be Xbox One X enhanced with HDR and 4K.

Finally, No Man’s Sky is coming to Tencent’s service WeGame, which may not matter to you if you don’t live in China. But for those who do, this gives No Man’s Sky’s already fairly large Chinese audience a booster shot with way more possible players racing to the center of the universe.

 

Our Take
By and large, most players agree that the No Man’s Sky has improved dramatically since it first released. If that continues with what Hello Games seems to be implying is a major expansion, then hopefully No Man’s Sky NEXT is at least closer to the game people want than it was at release.

Twitch streamer Ninja has had a rollercoaster month, becoming one of the biggest names in online video streaming, playing games with superstars, and now finds himself humming a tune that has come up on the Twitch jukebox before.

During a stream last night, the prolific Fortnite streamer who has broken records for viewership, was performing his normal routine of streaming Fortnite for his retinue of fans. Ninja, whose real name is Tyler Blevins, was playing with his friend Matthew “Nadeshot” Haag when the two started listening to music together to go along with their Fortnite gameplay. 

Eventually, the two came across rapper Logic’s 44 More.

Blevins starts to sing along with the song, but stumbles a bit here and there as he tries to keep up. Vibing on the music, Blevins starts to ad-lib lyrics, to Haag’s amusement until Blevins improvised multiple uses of a racial slur within the lyrics. The lyrics Blevins made up are not anywhere in the song 44 More, nor likely to be mistaken for them easily.

We caution you that there is a strong language warning for this video, but the video taken from Haag’s side of the stream can be found here.

The problem arises from Blevins pulling the lyrics from thin air, but also follows a frustrating pattern of streaming gaming personalities who claim to have accidentally used the same slur. Last September, popular Youtube personality PewDiePie did something similar during a PlayerUnknown’s Battlegrounds stream and later apologized. 

Thus far, Blevins, who has been active on Twitter since the incident, has not acknowledged or apologized yet. He has taken the night off from streaming the game, however.

 

Our Take
There is an argument to be made that Blevins simply repeated things he’s heard in music before, but ignorance is only an excuse when acknowledged and regretted. Streamers are finding themselves in the unenviable positions of holding influence where they may previously have never had anything resembling that responsibility. In the case of Blevins, he became almost literally an overnight success and, while I sympathize, it’s just so easy not to say racial slurs during streams. Apologizing for doing it is probably a lot harder than just not doing it at all, but it’s also pretty damn important.

Bandai Namco only recently announced that Geralt from the Witcher series will be coming to Soulcalibur VI, but they have now released a video explaining exactly how the Butcher of Blaviken works in the game.

Developers from CD Projekt Red, creators of The Witcher games, explaining what makes Geralt unique, from his animations to his tools. One example is Geralt’s use of signs, something he can spec toward or generally just use for trivialities in the Witcher games, as part of his fighting style and repertoire in Soulcalibur VI.

Igni, for example, can be used as part of a combo, while Axii makes the opponent stand up to get comboed as part of Geralt’s critical art. You can check out the video below to see more of what the Assassin of Kings can do.

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Soulcalibur VI is scheduled for release later this year on PlayStation 4, Xbox One, and PC. We recently went through a history of Soulcalibur’s guest characters, and their highs and lows, which you can find right here.

Microsoft has announced sales accolades for Sea of Thieves, Rare’s open-seas pirate adventure, claiming it as the fastest-selling first-party new IP of this generation.

Over two million players have joined in on the first week, prompting Microsoft to not only call it the above-mentioned fastest-selling first-party new IP, but also declare it the best selling Microsoft Studios game on Windows 10. There are a number of qualifiers in that statement, but Microsoft marketing boss Aaron Greenberg has pointed out that these accolades do not include Game Pass numbers.

These numbers also make the game a strong success for Microsoft who has been struggling in recent years with first-party development and sales growth. While Game Pass has been going for some time, Sea of Thieves is the first title from Microsoft first party to launch on the subscription service.

[Source: Gamasutra]


Our Take

Microsoft is likely touting these numbers as means to assure other publishers and developers that Game Pass will not inhibit high sales and will instead be value-added. It’s more than just analysts watching to see how Microsoft’s ambitious (and risky) first-party-on-Game Pass plan works.

Joakim Sandberg, the creator of Noitu Love and Iconoclasts, might be teasing a Switch port.

Sandberg posted a picture of a light switch on Twitter, the international symbol for Switch ports, or might just be posting a context-free light switch for the hell of it. It would not be terribly surprising if Iconoclasts came to the Switch – Noitu Love 2 came to the Wii U and the Switch supports Construct 2, the HTML5-based engine that was used to build Iconoclasts.

If you have already finished the game on PC or PS4, we had a spoiler-filled conversation with Sandberg just the other day, which you can find here

Since its reveal, Far Cry 5 has been billed as a game that would boldly look into the dark fears that underlie the current geopolitical climate. Creative director Dan Hay has been frank in his conversations about the paranoia and armageddon nightmares that fueled Far Cry 5’s inspirations, as per his interview with The Telegraph late last year:


I felt like the global village was being pulled apart, and we’re starting to hear people talk about separation, people talking about “us” and “them.” It really felt like we had taken a turn. I was in downtown Toronto and there was this guy who came around the corner wearing a sandwich board, and he was kind of disheveled and basically said “the end is near.” I remember I had two thoughts from that.

Thought number one is “well that guy is probably right,” and thought number 2 is “that’s the first time I’ve ever looked at somebody wearing that sign while thinking he might be right.” It dawned on me: we had taken a step closer.

Set in Hope County, a secluded community in Montana, the latest in Ubisoft’s sandbox-shooter series finds players squaring off against a religious cult, called Eden’s Gate, that’s seized control of the area and is recruiting people against their will into its ranks. The leader of the cult, Joseph Seed, sees the end of the world bearing down on civilization and believes that God has chosen him to lead its survivors to endure what he calls The Collapse.

On paper, the premise sounds terrifying, something that could result in an unapologetic, bold portrait of American home-grown terror of modern times. A game that could look upon controversial subjects such as gun rights and the intersection of religion and violence with an unwavering, critical gaze. However, the truth is that the final version of Far Cry 5 plays it safe. There are hints of an apocalyptic vision and references to The End Times as the game forces you to sit through a monologue from each antagonist multiple times. The game certainly has enough grisly scenes around the county, with corpses strung up to make an example of those who don’t join Eden’s Gate. However, the problem with Far Cry 5 is that it doesn’t do the groundwork for the terror and paranoia it supposedly seeks to inspire.

The game spends a large amount of time telling you that you should feel a certain way instead of actually trying to get you to feel that way. Take Joseph Seed, for example. At every turn, characters are telling you how charismatic and terrifying he is, and yet, there’s no evidence of it. Seed’s mostly just another Daniel Koresh-type sporting a manbun instead of greasy overflowing locks. At the same time, there’s the implication that Eden’s Gate has taken advantage of the international fears of nuclear war and incompetent leadership to bring people into its fold and manipulate them, but there’s never any scenes that showcase how such an extremist brand of religion functions in earnest. Instead of letting you see the means to which such groups trap people into their way of living, Far Cry 5 is content to rely on lazy tropes, like drugs being used as a way of mind control, sleepwalking the same, exact trails that BioShock blazed over a decade ago.

In truth, cults gain power from desperation. These organizations prey on people who are having a rough go of it, whether it’s from substance abuse, being socially ostracized, not being able to keep down a job, so on and so forth. Cults give the downtrodden a sense that their lives have value in a way that they didn’t before, that they are validated emotionally and spiritually. To explore that as a theme would be an arduous undertaking, one that could result in something genuinely compelling. That Far Cry 5 settles for anything less is a huge disappointment to me.

The cult followers you fight in Far Cry 5 are functionally no different than the pirates you fight in 3 or the fascists you fight in 4. They either run at you screaming, firing blindly, or they stick to cover and shoot at you. They’ll insult you. They’ll say they’re giving their life for Joseph Seed, so on and so forth, the kind of barks you expect from all first-person shooters. You don’t really get to know any of these people or the cultural symptoms that made them the way they are. You’re just expected to believe what the game tells you: that these people, through one way or another, came to be a part of Seed’s cult and now they have to die. I understand that the genre requires you to see these people as targets more than characters, but given the deadly serious subject matter, that Far Cry 5 doesn’t bother to try and humanize the cultists, to try and make you understand why they’ve fallen under the sway of a madman, is a fatal flaw in the game’s attempts to create an unnerving, bleak world.

Instead, Hope County is a strange, hollow playground. It’s a land where, one moment, I’m looking up at a dead man hanging from a billboard, his guts spilling into the street, and in another, I’m cutting off a bull’s testicles for some hick festival. Far Cry 5 wants to be wacky and fun, wants you to kick turkeys to death and ride ATVs off mountains while, all in the same breath, point a finger at America’s decayed institutions and have some profound realization that never comes, because, again, the game hasn’t done the legwork. My profound disappointment with Far Cry 5 isn’t because the game is a complicated, moral mess or that it isn’t fun to play (on the contrary, combat and exploration in Far Cry 5 are as fun as they’ve ever been in the series). Instead, my dismay stems from the fact that during my 23-plus hour stint in Hope County, I never saw, not once, something that could be described as an earnest attempt on the part of Far Cry 5 to engage with its dark subject matter at all. Not once. I find that astonishing.

To be clear: I do not mean that Far Cry 5 presented politics or ideology that I disagree with, and it bummed me out. Instead, Far Cry 5 has no stance, has nothing substantial to say about cults, religion, politics, or the world at large. It’s simply a run-and-gun exercise through a poorly built nightmare world. To even call it cheap and cynical would assert that the game has a viewpoint in the first place. It doesn’t. And that’s more disheartening than any criticism I could levy against it for having a bad story or poor writing. It feels like a game with a bold vision that’s been compromised in some fatal way. I can stand a piece of work that presents ideologies and philosophies I bristle against, but for a game to assert that it has something to say, something profound about modern ills in particular, and then not bother to take a stance feels cowardly.

There’s a certain amount of cynicism when it comes to triple-A games doing experimental and bold things in order to tackle complicated issues. Players and critics often profess to feeling weary with how many games emerge from big-budget developers and publishers that attempt to take on complicated subject matter and often result in something that’s not quite there. Mafia III, Spec Ops: The Line, 1979 Revolution: Black Friday, and Nier Automata are all recent games that come out hard, with strong beliefs, often at the expense of interactivity or systems, but they’ve got heart. They say something in the end. It may not be a philosophy you agree with, as a player, and the way they articulate these beliefs are messy but they are games with things to say. About love, violence, war, sex, race, so on and so forth.

By my measure, Far Cry 5 does not seem like such a work. It talks a big game. It boasts and promises to gnash its teeth and not go down without a fight. And then it looks into the darkness at the heart of America ever so briefly, and flinches.

For more on Far Cry 5, check out our review here.

As previously mentioned during the last Nintendo Direct, Kirby Star Allies is getting a new update with a host of Kirby history characters.

Characters like Metaknight, Banana Dee, and King DeDeDe are already in the game, but an update today added multiple free DLC characters. From Kirby’s Dream Land 2 come Kine, Coo, and Rick as a single unit, Gooey, and Marx accessible from the Dream Fortresses unlocked in the game.

The update also adds a new puzzle picture for players to collect pieces to complete, as well as a few visual improvements. You can read our review of Star Allies right here.

Just in time for the release of Star Wars: The Last Jedi on Blu-ray, we get a glimpse of some of the on-set antics.

Disney Movies and ET Online released two new blooper reels from The Last Jedi. Boyo, looks like they had a wild time making that film. What a hoot.

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Check out the other gag reel of BB-8 making babies here.

By this point, you’ve probably already seen The Last Jedi, so you might be interested in watching us debate all of the films major spoilers.