Suliman, Exodus’ Bad Boy Companion, Is Intentionally ‘Self-Important And Arrogant’

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Exodus is an ambitious sci-fi RPG from Archetype Entertainment that shares some DNA with Mass Effect. It’s evident if you know the studio’s history (many of its higher-ranking developers used to work at BioWare), but you can also tell just by looking; it’s nearly impossible to make a story-driven sci-fi game without those comparisons being made. One of the easiest parallels comes with Exodus’ companions, and when I played the game at Archetype’s Austin offices, the dark-haired companion Suliman left quite an impression.

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“Suliman is one of the leaders of the Tenjin Dynasty, which is a very powerful faction on Lidon,” Exodus narrative director Drew Karpyshyn told me. “The thing about the Tenjin Dynasty is they are very closely tied in with the Awakened. Suliman […] has a special relationship with them, and is basically a master assassin and spy who you need to ally with to help you.”

Awakened animals are essentially larger, smarter, longer-living versions of their standard Earth counterparts. Each has a translator chip so humans can understand them. Suliman is the human representative of a Dynasty that is mostly Awakened, and you need his help in an early mission. As such, he’s generally accompanied by ravens, who have a knack for spying and collecting sensitive information.

“Suliman was essentially – we don’t want to spoil too much of his backstory – raised by the ravens, because they saw him as a useful tool,” Karpyshyn said. “[Suliman] became sort of the face of the Dynasty to make it easier to work with humans. Him being smart and intelligent, he has learned to leverage his position to become more than just a figurehead and become an actual important player in the dynasty itself.”

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Suliman is confident, with dark hair, a pretty-boy vibe (the developers mention they used some K-Pop celebrities as a reference), and a know-it-all attitude, probably because intel from his raven companions means he does know quite a bit. He speaks to everyone as if he’s the one in charge, unconcerned with the opinions of others and completely self-assured in his position. He’s not quite rude, though, and even though he’s not really my cup of tea, game director Chris King says they adjusted Suliman over time to be a little less abrasive.

“It’s [a] case where, especially with the Dynasty characters, we were experimenting with a little bit of like, you don’t necessarily want to like them right off the bat, and you’re kind of doing this just because of the job at hand,” King said. “At one point, he was kind of like a rich, spoiled kid that you were meant to hate. But we sort of softened that down a little bit, I would say. And still, he’s maybe a little off-putting when you first meet him. But I think as you get to develop that relationship with him further, people start to like him.”

Karpyshyn adds, “Yeah, He’s pretty self-important and arrogant. But then once you see him in a level and you see his abilities, you’re like, ‘Oh, okay, yeah, he walks the walk, doesn’t just talk the talk.'”

I had this exact experience in my demo. Suliman guides Jun, the protagonist, on a mission to Khonsu, a space station that orbits your homeworld, Lidon. It’s a dangerous situation, as the orbital platform is crawling with both enemy troops and Ghosts (essentially ancient security robots), but Suliman makes the whole ordeal much easier. And that’s especially true if you’re trying to move stealthily.

Combat in Exodus has you play as Jun to shoot enemies in third-person, but pressing one of the bumpers allows you to command your companions as well. Suliman’s basic ability, Shadow Step, has him turn invisible and essentially teleport behind an enemy to take them out. It reminds me of the recruits in Assassin’s Creed Brotherhood and Revelations, where you can tap a button and summon an ally from a nearby bush to take out an opponent. Suliman spawns in, deals a bunch of damage, and retreats without being seen. 

Meanwhile, his Ultimate Ability, Vendetta, has him deal damage to three enemies and apply a corrosive effect. You can use that to trigger a synergy, one of the main ways you interact with companions in combat, by throwing a thruster grenade and spreading the corrosion even farther.

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“If you’re not into stealth, Suliman still comes in handy though,” King tells me. “All [of Suliman’s moves] are valid in normal, regular, action combat, but I think that’s sort of his area of expertise. […] If you like sneaking around, he can really get you some quick kills off the bat.”

I will likely not romance Suliman (though that is an option), but I wouldn’t be surprised if he finds his way into my regular adventuring party purely due to his cool combat abilities. I also can’t help but sympathize with his empathy for Awakened – it’s hard to side against a guy telling people not to point guns at giant frogs, my favorite faction in the game.

Exodus launches next year on PS5, Xbox Series X/S, and PC. For more exclusive interviews, hands-on impressions, and details on other companions (like Salt, the octopus in a mech suit), check out our coverage hub, which we’ll continue to update for the entire month.

Joy Is Reason Enough

Legend of Zelda: Breath of the Wild artwork

It’s been a busy year for games so far. A new Nintendo console just launched. I haven’t yet beaten Clair Obscur: Expedition 33 or Doom: The Dark Ages, despite truly loving what I’ve played, and I’m at least three games behind on the new releases I want to check out. And yet, these past few weeks, whenever I’ve sat down to play a game in my spare time, it’s been 2017’s The Legend of Zelda: Breath of the Wild.

Now, outside of it being my favorite game of all time, it also recently received a big performance upgrade through the Nintendo Switch 2 version, making for an improved experience in the year 2025. Still, I haven’t been able to shake a persistent feeling of guilt each time I paraglide back into Hyrule.

Whenever I’ve fired up Breath of the Wild, a voice in the back of my head screams, “Shouldn’t you play something else? Something new?!” Part of that is thanks to my job as a member of games media, where I feel professionally obligated to stay abreast of the latest releases in any given year. But as I’ve reflected on my complicated feelings surrounding replaying my favorite games, I’ve realized there’s more to it than just my career.

In the age of social media, we are constantly pushed to experience the latest form of entertainment, whether it’s the current blockbuster film, the newest streaming sensation, or, yes, the most recent hit video game. Aside from people obnoxiously telling you, “Well, you should have stayed off social media if you didn’t want to be spoiled,” participating in the discourse surrounding the latest cultural zeitgeist has become an event unto itself. I didn’t see Sinners until a few weeks after it hit theaters, and as a result, I missed out on the most rewarding conversations taking place across the social platforms, and after I finally caught it, I was kicking myself for not seeing it sooner. The fear of missing out is exacerbated when the conversation dominates the platform that serves as the only way you communicate with your long-distance friends.

But it’s even more than that. Maybe it stems from growing up and constantly being told I should be doing something other than playing video games with my spare time, but that same guilt has transferred to whenever I consume entertainment I have before. A few years ago, I rewatched the entire Marvel Cinematic Universe, one of my favorite entertainment franchises ever. That is an absurd amount of time to devote to something I’ve already seen, but when that guilty feeling popped up, I talked myself down from letting it overtake me and dissuade me from my plan.

How did I pull that off? By reminding myself that time spent doing something you love isn’t time wasted. I think we should all travel to places we’ve never been, try foods we’ve never eaten, attempt a new hobby we’ve never done, and maintain a healthy level of physical activity and outdoor time, but if something brings you joy and it’s not hurting anyone, why deny yourself that pleasure? Yes, there’s abundant value in cooking a new cuisine, but sometimes, that same dish you’ve made over the last 15 years just hits right.

Comfort-food gaming has been a staple of my entire life – I’ve replayed Super Mario World, Final Fantasy X, and Pokémon Blue more times than I can count – and I would argue that with the tumult and uncertainty of the 2025 news cycle, we need it now more than ever. If gaming is your most prominent hobby, as it is mine, don’t deny yourself the joy and escapism that re-embarking on your favorite adventure grants you. So, plan that movie-rewatch marathon, fire up Switch Online’s retro libraries, and do your best to not count how many games you bought in the most recent Steam sale that are still sitting at “0 minutes played.” I’ve been trying to treat my hobby more like a hobby rather than a checklist to complete, and I’m getting more enjoyment out of it as a result.  

This article originally appeared in issue 370 of Game Informer in July 2025.

The Video Games And More You Should Play This Weekend – September 4, 2026

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Welcome to September 2026, which will forever be known as pre-pre-GTA VI month. Alternatively, it might be known as the month when every single video game came out. We’re already feeling the weight of the September gaming waterfall, but the water is invigorating, if a bit intense. We have lots of game recommendations below (and we didn’t even cover everything this week, frankly), but before we get to that, here are some of our biggest stories of the week.

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Onimusha: Way Of The Sword

Welsey LeBlanc

Remember that old samurai Onimusha series from the early 2000s that was basically Resident Evil with swords, and it was really cool and something you may or may not have played at your friends’ house because your parents wouldn’t buy it for you because of demons and blood? Well, guess what: it’s back. Onimusha: Way of the Sword is the first new Onimusha game from Capcom in over two decades, and after covering it all month long for Game Informer’s cover story hub, I’m happy to report that the final game is absolutely worth your time and money. The combat is incredible – challenging, intricate, complex, and constantly building on itself. The characters and setting are good fun, too, and though it has more repetition in its combat arena design than I’d prefer, you still get to kill stuff with protagonist Musashi’s sword… and that’s always a great time. It’s out today, and you can read my Onimusha: Way of the Sword review while it’s downloading. Oh, and if you’re worried about difficulty, don’t be: Onimusha: Way of the Sword has an incredible easy mode.

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The Blood Of Dawnwalker

Charles Harte

I was optimistic about The Blood of Dawnwalker after reading my coworker Brian Shea’s articles from his cover story trip, but I was still very surprised by how much I like the game. You play as Coen, a Dawnwalker (which means you’re a vampire by night and a human by day) who has 30 days to save his family from an evil vampire lord. Each quest you complete advances the clock by a little, and you only have a limited amount of time before the game concludes, which means you have to pick and choose your missions carefully. What I didn’t realize until playing, however, is that there’s no main quest – you choose what feels important to you in your journey to save your loved ones. It’s an incredibly empowering combination, and I really feel like my decisions matter when I focus on a quest to reforge an ancient sword instead of buddying up with some revolutionaries. I also enjoy the directional combat, the different mechanics in the night and daytimes, and the general atmosphere. Our reviewer Diego was a little less enthusiastic than I, so your mileage may vary, but if you’re a fan of games with choice-based stories, I highly recommend The Blood of Dawnwalker.

Game Informer‘s The Blood of Dawnwalker review

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Orbitals

Charles Harte

I like Orbitals, but I don’t love it. It’s an absolutely gorgeous game with visuals inspired by 80s anime and a wicked soundtrack to match. The characters are fun and charming, and even the menus are expressive and unique. The vibes are immaculate, but the actual gameplay is just okay. It’s co-op only, and you’ll spend its 6-hour runtime collaborating with a partner to solve puzzles and save your home space station. I just wasn’t impressed with the game itself – it has some good ideas, but fails to meaningfully stand out the way similar co-op-only games do. I also don’t love the story, but it’s admittedly not much of a hurdle until the final moments. Despite those gripes, it’s still such a joyous experience that I recommend it nonetheless. If the art style draws you in, you’re in for a pretty good weekend with a friend. For my full thoughts, you can read my review here.

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Halloween: The Game

Wesley LeBlanc

Friday the 13th: The Game developer IllFonic has finally made the asymmetrical horror game I’ve been wanting since playing as Jason and camp counselors, and it’s called Halloween: The Game and is out now. Kind of. IllFonic is doing the whole “pay for the more expensive edition and get early access to it” thing I hate (because it preys on FOMO and is just generally lame), so you can technically hop in right now. But if you decide to wait for the real launch, that’s next week, on September 8. Either way, I recently wrapped up its single-player campaign (IllFonic’s first) and am starting my multiplayer journey ahead of reviewing the game sometime next week. If you’re a fan of John Carpenter’s Halloween, this single-player campaign is a passionate love letter to it… but it’s also only a couple of hours long and basically a glorified tutorial for actually playing as Michael Myers in the game’s primary multiplayer experience. So, would I recommend picking this game up for just its campaign? No, absolutely not. But if you’re a fan of asymmetrical horror games, or if you’ve never tried an IllFonic joint (they’re good fun, with or without friends to join you), Halloween: The Game is shaping up to be great.

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Crimson Moon

Marcus Stewart

Crimson Moon has Souls-inspired combat, but it isn’t a true Soulslike. It’s actually more of a roguelike thanks to its run-based blueprint, where you embark on missions as a nephlim (a human-angel hybrid) to slay a bevy of grotesque and dangerous demons. I’m not sure entirely why – I’m sure it benefits whatever version of Earth this is – but you’ll likely not care too much because the combat is completely serviceable, the run-based format is more forgiving since you have multiple lives before you start over, and the elaborate presentation is impressive for a $20 game. While it’s not perfect, Crimson Moon offers a pretty good time, likely even more so if you rope in a friend for two-player co-op. I played the first two hours of the game on a stream this week, so be sure to check out that VOD if you want a better look at Crimson Moon in action.

 

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NBA 2K27

Brian Shea

The NBA 2K series is perpetually the most frustrating sports game franchise. It possesses quite possibly the best gameplay, visuals, and Franchise mode in all of sports gaming, but so many of its other offerings are riddled with microtransactions in ways that feel, at times, more aggressive than many free-to-play titles. This year, developer Visual Concepts seems to have dialed back the microtransactions in MyCareer, the single-player focused mode, allowing you to largely avoid the live-service billboard that is The City in favor of focusing on your created player’s career, but the elements are still there if you step outside the comfort of your player’s apartment. However, now you can choose whether you want to play through a narrative prologue where your character rehabilitates from a career-threatening injury to make it to the NBA, skip straight to the NBA action, or even play in a different era of the NBA; playing at a time when titans like MJ and Shaq were dominating the courts is a really nice touch. And that time-travel ability continues to extend to the still-excellent Franchise mode, making this a solid entry in the long-running king of the court.

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Marsupilami 2: Salsa Palombia

Matt Miller

This under-the-radar title could be easily overlooked, but for fans of classic 2D platformers (especially in the vein of Donkey Kong Country) that would be a mistake. This is a charming and approachable platform adventure that can be played either solo or with a partner, in which you happily bounce and swing through jungle (and other) environments, collecting pick-ups, uncovering secrets, and mastering a surprisingly nuanced control scheme. While the game starts out very approachable, the levels gradually ramp up to offer significant challenge, demanding you master the three marsupilami characters’ distinct movesets as you switch between them on the fly.

Catchy music, vibrant visuals, and finely tuned gameplay all help this game hit some impressive notes. There’s also a fun unlockable “Salsa Mode” that uses the in-game music to ramp you up into a combo of pick-ups before your meter vanishes, leading to a fun and replayable twist on the already-played levels. There’s barely any real story here in the game, so don’t worry that the “2” in the title is going to leave you confused. The game is an outgrowth of a long-running Belgian comic book character, but rest assured, the taut and enjoyable gameplay of this particular project requires no special French connection to enjoy. Find the game on PS5, Xbox Series X/S, Switch, or PC.

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Keeper

Kyle Hilliard

The various Microsoft layoffs have been devastating for the gaming industry and the long-term impact of all that destruction won’t be clear for some time, but one little hopefully bright spark of optimism in that darkness is that developer Double Fine (creators of Psychonauts and lots more) were able to spin-off and become independent again. That process wasn’t without its difficulties as Double Fine had to do some layoffs, but the important detail is that Double Fine is still making games and that’s good news.

Double Fine’s penultimate game with Microsoft was Keeper, a game where you play as a sentient lighthouse, and it’s available now on PlayStation 5. Keeper coming to PlayStation 5 was likely already in process before the studio was forced to spin off, but its release feels a little extra special considering its Microsoft separation and newfound re-independence. Who knows exactly how the ownership of Keeper works. It’s entirely possible Microsoft is profiting on sales of the PlayStation 5 version, but it feels like it belongs to Double Fine, which I hope it does.

For more on the game, which Matt Miller described as “an astonishingly beautiful visual experience,” you can read Game Informer‘s Keeper review at the link.

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Tabletop Pick – Fibbage

Matt Miller

Longtime fans of Jackbox Games’ many excellent party video game releases likely need no introduction to the concept of Fibbage. It’s been a popular and included option in various iterations of the series since 2014, and playing the video game version remains a most amusing time. But we all enjoy a break from our screens from time to time, and the popularity of the video game version has driven Jackbox to release a physical card game that perfectly captures the same fun while gathered around a table.

In this version, players take turns reading a card with an unusual piece of trivia upon it, such as “In March 2006, a burglar in Osaka, Japan, knew he screwed up when he broke into a building that contained 20 ____. The answer (in this case “Sumo Wrestler”) is written on a whiteboard by the player who revealed and read the card, while everyone else writes down their own pretend answer. Players then vote on which answer is actually true, with points for the player who tricks the most people, and an additional bonus point for the funniest answer. It’s all quite lighthearted and silly, and this card game version ably stands by its original digital counterpart as an ideal pick for your next get-together with friends.

Grand Theft Auto VI Extended Look Reactions | The Game Informer Show

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It’s a packed week of The Game Informer Show. Marcus, Charles, and Eric discuss last week’s Grand Theft Auto VI Extended Look, and talk about where their personal hype levels for GTA VI stand. Then, we break down the double-header Sony State of Play showcase, and talk about our favorite announcements from AAA and smaller studios alike.

After the break, we get into a trio of big game reviews that dropped over the last week: The Blood of Dawnwalker, Onimusha: Way of the Sword, and Orbitals. The fall season is in full swing, and the crew talks about which of these three games are already standing out. 

The Game Informer Show is a weekly podcast covering the video game industry. Join us every Friday for chats about video game reviews, news, and exclusive reveals alongside Game Informer staff and special guests from around the industry. Support the show by subscribing to our physical video game magazine! Submit a question or topic you’d like to hear us discuss: Podcast@GameInformer.com.

Watch or Listen to the Podcast:

Listen to “Grand Theft Auto VI Extended Look Reactions + 3 Big Game Reviews” on Spreaker.

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Timestamps:

00:00 – Introduction06:08 – Grand Theft Auto VI Extended Look Reactions38:38 – Sony State of Play Highlights01:08:49 – Ad Break01:08:52 – The Blood of Dawnwalker Review01:32:07 – Onimusha: Way of the Sword Review01:50:35 – The Dan Ryckert Tangent01:54:15 – Orbitals Review

Onimusha: Way Of The Sword’s Easy Mode Expertly Teaches Parrying To Those Who Hate Parrying

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Onimusha: Way of the Sword is finally out, and if you were considering picking it up – you should! It’s great, and you can read why in my review for Game Informer here. Now, if you’ve read any reviews for the game, or even previews leading up to its launch, you’ve likely heard about its difficulty, particularly its boss fights. While standard mob enemies have you feeling powerful, bosses absolutely put you in your place. There’s one boss I died more than a dozen times trying to defeat. But, if that scares you, don’t let it. Onimusha: Way of the Sword features the perfect easy mode for a game like this. 

Capcom calls it Story (Storyline Focus) mode, a difficulty that lets you focus on the story and is recommended for action game beginners. That’s true in that, yes, it is a much easier difficulty mode compared to the Action (Combat Focus) mode that aims to test you at all times. Enemies do less damage, you do more damage to enemies, parry windows are wider, and other similar features are what tune the Story mode difficulty down, but the most interesting part of it is the Action Prompts feature. 

This is on by default in Story mode, and I am blown away by how transformative it is. Onimusha: Way of the Sword’s combat is intricate and complex. You must parry at the right time, complete Issen Breaks within even tighter timing windows, dodge at the right moment to avoid damage, deflect incoming attacks, and more. Capcom has created one of my favorite sword-based melee action games ever, and it’s all these moves that protagonist Miyamoto Musashi has in his kit that make it so fun. 

However, I know what all these terms mean and how these timings work. If you don’t, well, there’s basically no hope of getting through Onimusha: Way of the Sword. Its later bosses demand near-perfection to win, and that means nailing every parry, deflection, and dodge. The game features tutorials but ultimately, it’s still on you to learn these timings and that can be difficult when you’re getting your face kicked in every time you miss one. The Story mode’s action prompts fix this entirely by showing you exactly the button to press and when to press it on-screen – it’s incredible! 

It’s such a simple feature, and though I’m blanking on it right now, surely other games have done this, right? Regardless, it’s exactly the kind of feature newcomers to this type of game need. It goes above and beyond the beginning tutorials and shows you, in real time, exactly what to press and when. This gives you all the satisfaction players who intimately know and love these types of games feel when they play Onimusha: Way of the Sword in its Action mode, for example. You can turn off the prompts too within the Story mode once you have a grasp on the timing, but you can also keep the prompts on from beginning to credits and beyond. And have no shame doing so – Onimusha: Way of the Sword is great, and you should do what you have to in order to reach the end (because its final hours rule). 

And hey, maybe after enough time learning the dance of swords that is Onimusha: Way of the Sword’s combat, you might try the Action mode and find success! 

If you’re a newcomer, try Story mode because it will teach you everything you need to know about timing, parries, deflects, dodges, and more without feeling like you’re stuck in an extra-long tutorial. If you’re a character-action veteran, try Story mode because it’s cool, and I bet you’ll hone your timing in doing so. 

For more, read Game Informer’s Onimusha: Way of the Sword review, and then head to Game Informer’s Onimusha: Way of the Sword coverage hub for all kinds of exclusive behind-the-scenes features, interviews, videos, and more. 

Two Nintendo Directs Air Next Week, And One Of Them Celebrates Zelda’s 40th Anniversary

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Apparently not to be outdone by PlayStation airing back-to-back State of Play presentations this week, Nintendo has announced two Direct broadcasts scheduled for next week. This includes a traditional Nintendo Direct and a special Direct celebrating The Legend of Zelda’s 40th anniversary.

The news was first announced on the Nintendo Today app. On Tuesday, September 8, The Legend of Zelda: 40th Anniversary Direct airs at 7:00 a.m. PT/10:00 a.m. ET. It will last approximately 30 minutes. Nintendo has not detailed what announcements to expect, but it’s fair to assume updates on The Legend of Zelda: Ocarina of Time remake and the live-action film The Legend of Zelda are on the table. 

The next day, Wednesday, September 9, a standard Nintendo Direct airs at 7:00 a.m. PT/10:00 a.m. ET. This presentation will run for roughly 45 minutes. It’s anyone’s guess as to what to expect. Announced upcoming Nintendo first-party/Switch-exclusive projects, other than the aforementioned Ocarina of Time, include Fire Emblem: Fortune’s Weave, which launches on September 17, as well as Xenoblade Genesis and Pokémon Winds and Waves, both of which arrive next year. Nintendo has a penchant for announcing major projects with little to no prior hints or leaks, so it’s fair to expect just about anything could be showcased next week. 

 

What announcements do you hope/expect to see at these Nintendo Directs? Let us know in the comments!

Saving The Space Frogs On Khonsu In Exodus | New Gameplay Today

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Last month, we traveled to Austin, Texas to play Exodus, a promising sci-fi RPG made by former Mass Effect developers. We cover a lot of ground in our exclusive 14-page cover story, including several missions of hands-on gameplay, but the piece ends with impressions of a mission set on Khonsu. It’s an orbital platform above Lidon, the game’s home world, and it’s home to a society of giant talking frogs. In other words, it was a highlight of the demo.

Today, I (Charles Harte) am joined by senior associate editor Marcus Stewart as I finally get to show off the sequence I saw firsthand on the cover story trip. It includes stealthy (and not-so-stealthy) combat encounters, a major narrative decision, and a boss fight against a massive armor-clad War Bear. You can check it out for yourself below.

For more Exodus, you can head to our coverage hub, which we’ll be updating all month with new articles and videos. If you’re a fan of talking animals, there are already pieces about Salt, the mech-piloting octopus companion, and the Kay, the aforementioned frogs. And as always, for more exclusive game coverage, you can subscribe to our physical magazine, which is now available all around the world.

Xbox Announces Monthly Hour Limits To Cloud Gaming Are Coming In November

Game Informer

Xbox has announced a major change to its cloud gaming service, which is included in Xbox Game Pass subscriptions. Starting in November, Game Pass plans will now have limits on the number of hours players can spend cloud gaming based on their subscription tier. 

Xbox Cloud Gaming launched in 2020 and allows users to stream select games over the internet to supported mobile devices, letting them enjoy console-quality experiences on the go. There has never been a limit to using the feature, but this will soon change according to an Xbox Wire Post. In November, the number of cloud gaming hours allotted each month will be as follows: 

  • Game Pass Ultimate: 15 hours
  • Game Pass Premium: 10 hours
  • Game Pass Essential: 5 hours

“Today, eligible Game Pass subscribers can stream without these monthly hour limits,” reads Xbox’s post. “We recognize that introducing limits is a meaningful change, particularly for players who regularly spend more time gaming through the cloud. We expect this upcoming change to impact 4% of Game Pass subscribers.”

Xbox adds that once players use up the hours of cloud gaming play time included in their monthly subscription, they can purchase additional hours. This pricing has not been detailed yet, and will vary by market. Additionally, players can now use cloud gaming without subscribing to Game Pass by purchasing cloud playtime hours à la carte to stream games on supported devices. Xbox promises to provide information on pricing for playtime hours, the eligible games, how to check remaining hours, and more in November. 

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As for why Xbox is making this change, it states, “We’re introducing this model because the cost of providing cloud gaming grows as more people use it and play for longer. Moving to monthly limits allows us to keep offering the service while continuing to invest in its reliability and performance. We understand that for some players the practical result is a higher cost.”

This move is the latest big change in a year full of them for Xbox. Following the appointment of current CEO Asha Sharma in February, the company has undergone a massive restructuring, resulting in 3,000 layoffs across the entire Xbox division and the splitting off of five internal development studios. Xbox Game Pass subscriptions dropped in price in response to a previous hike, but Xbox consoles had another price increase in the past month. Most recently, Xbox announced a program letting players use their physical game discs to claim entitlement to their digital counterparts. These big shifts come as Xbox prepares its next-generation console, Project Helix

Playing Halloween: The Game’s Single-Player Campaign Is A Tutorialized Love Letter, But Not What You’re Here For

Halloween The Game Michael Myers Illfonic Gun Interactive Single Player Campaign

Colorado-based developer IllFonic has been making asymmetrical multiplayer games based on iconic movie IPs for most of its existence. Arguably its biggest hit remains its first stab at the genre, with 2017’s Friday the 13th: The Game (a great game now infamous for its shutdown), but since then, the team has released Predator: Hunting Grounds, Ghostbusters: Spirits Unleashed, and most recently, Killer Klowns from Outer Space: The Game. 

Finally, though, IllFonic is making the biggest horror-movie-turned-asymmetrical-multiplayer layup game of all time with Halloween: The Game. If you preorder the more expensive fancy-smancy version, you can hop into the game early on September 4; otherwise, the game goes wide on September 8. I need more time to work through and digest IllFonic’s multiplayer offering in Halloween, but I have completed the single-player campaign (the studio’s first in one of these games) and wanted to bring you some initial thoughts. 

A Few Notches Above Glorified Tutorial

Game Informer

If you aren’t a multiplayer person and were curious about picking up Halloween for its single-player offering… I wouldn’t. It lasts just a couple of hours – though you can extend it by replaying chapters to knock out optional objectives and unlock cosmetic rewards – and is just a few notches above a glorified tutorial for playing as Michael Myers. Each chapter introduces new mechanics in his kit that you will then hone and master in the multiplayer side of Halloween. There is a heaping dose of love from IllFonic, however, to the movies, primarily the 1978 Halloween from director/synth player/gamer John Carpenter that started it all, that elevates it just so.

As you might expect, a single-player campaign where you play as Michael Myers based on the first Halloween film is, well, a video game version of that movie. If you’ve never played an IllFonice game before, this campaign will give you the rundown on how its games feel, including the at-this-point-must-be-a-feature-and-not-a-bug baked-in instability. I encountered nothing game-ruining, but like its predecessors, Halloween has a distinguishable jank to it that you will either come to love because it adds to the unpredictable nature of these multiplayer experiences or you will hate because… it’s still jank. It runs fine, performance-wise, but I did encounter some noticeable bugs, like falling through floors or being unable to hide bodies in designated hiding areas; I would not categorize this as the acceptable jank I expect in an IllFonic game, and I hope the team is working on patching issues like that up. 

Game Informer

Nonetheless, escaping Smith’s Grove, killing a mechanic and donning Michael’s trademark navy blue jumpsuit, and killing the clerk at a department store so you can steal and put on the William Shatner mask to complete the set is good fun. A filmic look overlaid on the game’s true-to-movie visual style sells the aesthetics. Though if you aren’t a fan of film grain, you won’t like what you see. 

Performances in the campaign are fine, with Dr. Loomis being the only real standout/named character in the otherwise boilerplate cast who are there to be victims. Running around Haddonfield’s suburbs as Michael is good, terrifying fun. In quiet moments, his pained breaths add a sinister air to every step, while screams from nearby houses or hushed breathing in closets sell the idea that you embody evil and everyone is afraid of you. So, too, does the wide array of kills at your disposal. 

You can stalk victims from afar, completing minigames to raise what is essentially their fear level, and then strike using your knife, your hands, other weapons you find out and about like pitchforks and fire pokers, or even the environment for special contextual kills (like piercing bodies onto telephone poles or throwing someone off a second-floor porch). It remains a good time throughout the short campaign, which ends with Michael escaping Haddonfield to presumably go kill a bunch of random players in online matchmaking lobbies, but it does little more than teach you the ropes within the context of some of Michael’s most notorious kills. 

Game Informer

I’m satisfied as this campaign is about what I expected, but I would have liked something bigger to dig my knife into for IllFonic’s first go at a single-player experience like this. Admittedly, however, that’s not what you’re here for (or at least, not what you should be here for). IllFonic’s games of this ilk live and die by the multiplayer, and though I can see how playing as Michael will be interesting, I still have no idea what it’s like to play alongside real players or as a resident running from him. With the campaign behind me, I’ll be starting my multiplayer Halloween journey properly.

Look forward to my review for Game Informer at a later date.

In the meantime, read Game Informer‘s reviews for Friday the 13th: The Game, Predator: Hunting Grounds, and Killer Klowns from Outer Space: The Game. After that, read our interview with IllFonic about what to expect in Halloween.