Month: June 2026

Platform:
PlayStation 5, PC

Publisher:
Konami, Annapurna Interactive

Developer:
Screen Burn

Release:
September 24, 2026

Silent Hill: Downfall is, in several ways, following the blueprint for a successful renaissance that worked wonders for Resident Evil. It roared back with a well-received remake of a beloved second entry in 2024’s Silent Hill 2, saw a proper sequel that served as a reinvention of sorts with last year’s Silent Hill f, and now it’s making the jump to first-person in Silent Hill: Townfall. As a fan of developer Screen Burn’s (formerly known as No Code) last released game, the sci-fi horror adventure Observation, I’ve been itching to see how it would handle Konami’s most frightening franchise. After watching a hands-off gameplay demo at Summer Game Fest Play Days, the game looks to be a fusion of franchise staples with Screen Burn’s intriguing quirks.

Screen Burn is based in Glasgow, Scotland, so to imprint its unique cultural roots, Silent Hill: Townfall takes place on the Scottish island of St. Amelia. The bespectacled Simon Ordell returns to this island, beckoned by a mysterious woman appearing on his portable television device, begging him to find her. This handheld CRTV is Townfall’s reinvention of the classic Silent Hill radio and the game’s centerpiece mechanic. The screen occasionally displays video of this woman as her static-filled messages fuel Simon’s search. Screen Burn went as far as to record the CRTV’s videos using old cameras and equipment to create footage that matches the appropriate quality.

As Simon explores the abandoned city streets (with buildings rendered using photo scans of real Scottish towns), the sense of dread immediately sets in. There’s no music, and the ambient noises that occasionally break the oppressive silence can be startling. The CRTV acts as a compass of sorts; following the static signal eventually leads him to a house. Simon knocks, but no one answers. However, the door is ajar, so he cautiously creaks it open and enters the abode. 

A pile of letters lies at Simon’s feet, the top of which is addressed to Zoe Ellis. Simon calls out to Zoe, but again is met with silence. It’s here that Screen Burn tells us that Simon is not a chatty protagonist. He rarely speaks aloud when he’s alone, so his inner thoughts are presented as plain text on screen, such as “No one is here,” or “The girl in this photo looks happy” when examining a framed picture. As he inspects both floors of the impressively rendered home, Simon finds gauze used for healing and a flashlight missing batteries. Later, he enters the kitchen and finds an unexpected and disturbing item: an organ transplant container. A combination lock seals the box shut, so we’ll have to wait before we see what’s inside. Simon then finds a closet under the stairs, but it’s pitch-black inside. It’s time to look for batteries for the flashlight. 

Simon heads upstairs, and at the center of the room sits a side table with a framed portrait of himself. Why would there be a picture of him at this house? As he ponders that, he finds some batteries in one of the rooms, gets the flashlight working, and heads to the stairway closet. Now that he can see inside, he finds the problem: the fuse box needs an electricity card inserted into it. Perhaps it’s because I’m American, but I have no idea how this system works. The demoer explains that, back in the old days in Scotland, you needed to buy special cards from stores to insert into a fuse-box-like panel to turn on the power. Or at least, that’s the gist of it.  But this puzzle highlights Screen Burn’s desire to do away with the more outlandish, unrealistic puzzles of other Silent Hill games in favor of more grounded, believable riddles centered on old technology. 

Simon needs to visit a news store to find an electric card, which will bring him back onto the streets. He pulls out his in-game town map that marks points of interest and, when flipped over, has a legend on the back. He eventually finds the news store, but the front door is locked; he needs to find another way to enter. Unfortunately, it’s at this point that we meet our first enemy. A grotesque bipedal creature shambles in, its torso bound by straps like it’s wearing a straitjacket. Its head, so to speak, is impaled by a metallic rectangle, giving it’s skull an axe-like appearance. Simon is unarmed, so his safest option is to avoid being seen. 

You can peek behind corners, and Screen Burn touts how its take on this mechanic is more advanced, meaning you can peek at additional, more flexible angles while remaining concealed. We also get to see another feature of Simon’s seemingly supernatural CRTV: the ability to reveal enemies through walls. Instead of sticking your neck out to see where a monster lurks, holding up the radio reveals a digital silhouette of nearby threats to provide a heads-up on their position. Using this feature, Simon slips past the monster unseen and enters a back door to the store. He finds an electri-card and his first weapon, a wooden 2×4, and exits. It’s a good thing he found that weapon because he comes face to face with the broad-headed creature he’d previously avoided.

The first-person combat is weighty and deliberate, much like in most Silent Hill games, but in a new perspective. He takes some overhead swings at the monster, creating sickening impacts, but the creature is too fast and too powerful. After just a couple of headbutts, Simon goes down. He may be fragile, but he has a useful and intriguing trick up his sleeve in the ability to instantly revive. This is due to an IV that’s, for some reason, attached to his left arm, and the revive can only be done once per death, it seems. We don’t get to see how round two goes because it’s here that the demo ends.

I love first-person Resident Evil games because I find the more intimate perspective ratchets up the scares tenfold. The same feels true of Silent Hill: Townfall. The demo retained the oppressive atmosphere I’d expect from the series as well as some presentational and gameplay staples, and I’m intrigued to see Screen Burn layer its own take on puzzle-solving. I don’t know what to make of Simon or his plight yet, but it has my curiosity as well as my attention. I look forward to uncovering the answers when Silent Hill: Townfall launches on September 24. 

Publisher:
Sega

Developer:
Ryu Ga Gotoku Studios

The Virtua Fighter franchise has been one of innovation. After pioneering 3D polygonal fighting in 1993, each successive entry has added new folds to the formula en route to 2006’s critically acclaimed Virtua Fighter 5. However, following that, something happened: The series vanished. Sega has released revisions of Virtua Fighter 5 over the years, with the most recent one hitting just last year, but an all-new series has eluded fans. With the developers behind the Like a Dragon series and the also-upcoming Stranger Than Heaven, RGG Studio, at the helm, Virtua Fighter is finally coming back in 2027, and it may be its most innovative title since the advent of the series.

Amid a broader landscape, which sees Sega reviving many of its dormant classic franchises, with new entries in series like Shinobi, Golden Axe, and Crazy Taxi either recently released or on the horizon, Virtua Fighter also being revived makes sense. Still, according to RGG Studio, it was less about timing and more about the team figuring out an appropriate innovation to continue pushing the series forward.

“Just to talk about why there hasn’t been one in so long, it’s because every time we release a new number, there had to have been a really big, innovative part; it’s almost like our duty,” head of the Virtua Fighter IP Toshihiro Nakaya says. “The new title has to be something really awesome, innovative, and creative. That’s why it took so long to get where we are. And because in that amount of time, the video game landscape has changed dramatically, the new concept here is breaking the mold of what a fighting game is, and releasing an amazing package of a game.”

To achieve this innovation, RGG Studio established what it considers a new genre, the fighting adventure, with the aim to move beyond the scale of traditional fighting games and revitalize the franchise. In that way, Virtua Fighter Crossroads features a large-scale narrative that, according to RGG Studio, expands beyond what the fighting-game genre has seen to this point. Leveraging the studio’s storied history with narrative-driven action games, like the Like a Dragon games, combined with an all-new action movie-inspired combat system, Virtua Fighter Crossroads redefines the franchise.

Taking place in a fictional Southeast Asian city called Vilasapara, players find themselves in familiar setting for Like a Dragon developer: an area full of unsavory characters, run by gangs. Here in Vilasapara, firearms are banned, but that doesn’t mean violence isn’t absent. In fact, in this seedy society, most disputes are settled via fisticuffs, to the extent that the city attracts people who are down on their luck in search of money through underground fight tournaments. 

For narrative inspiration, RGG looked toward The Watchmen comic series, to find a narrative that is simultaneously both outlandish and believable. “[Previous] Virtua Fighters have a story, but it’s never been, in-game, really well documented,” creative director and producer Riichiro Yamada says. “But we still want to pay homage to that, but really modernize it, so that it makes sense in the current climate. The other really important point we really drove home is that it has to be believable, even though it’s sort of a different world, and some stuff might be a little off, like RGG does with their stories, it makes it very grounded.”

In keeping with that philosophy, the next in-universe tournament is not so underground, as President Bato introduces the Vila Fight Fest tournament in hopes of boosting the economy. Meanwhile, a mysterious man known as The Bakunawa Killer has been targeting martial artists in the city. This serves as the jumping off point and backdrop for a story that follows four protagonists through a living city full of a venerable buffet of content for players to explore. In addition to the battle content, players can visit restaurants, participate in side quests, play minigames, and even expand and develop relationships. 

In addition to that, the story is multi-branching, adapting to the choices and actions of the player. “It’s a big differentiator between other RGG titles,” Yamada says. “There hasn’t been a game like this, so that’s why we’re calling it a crossroad-style adventure.”

The combat itself is more technical than a standard RGG game, drawing inspiration from the fighting game genre as a whole. Action Adventure mode features multi-opponent fights that add new twists into the franchise, but one on one battles, similar to traditional Virtua Fighter mechanics, are also available to play. However, everything just has a completely new sheen of modernity, with new systems like Break and Rush, where you can target parts of your opponent’s body to “break” them, giving you the advantage. 

Meanwhile, Flow Guard is a new cinematic defense system to give players more control over how they guard against incoming attacks, and Stunner attacks open opponents to take additional damage. And thanks to RGG’s love of action movies, as evident by pretty much its entire catalog, the battles play out in much more cinematic fashion; in one final blow I witness, the camera zooms in on the recipient’s face as the punch connects and his tooth goes flying before he collapses in defeat.

However, RGG is hesitating to go more into the fighting mechanics, even telling us that it will ultimately be up to the players and community on whether or not the game is tournament-ready. “There’s a lot of fighting game players who are going to want to know more details, more nitty gritty, more mechanics, and we hear you,” Yamada says. “We just really want to show off that this is a new game, there’s action adventure, there’s a whole new concept. But of course, down the line, we will be explaining more and more for you guys later. It is sort of a new genre of fighting adventure. For me, the most important bit is just people can pick it up and they’ll love the game. They’ll play it, they’ll have a great time, and it’s a fusion of both genres. All that matters is people love the game.”

I’m disappointed I didn’t have the chance to play Virtua Fighter Crossroads, and I have additional questions about how this will all come together while still retaining the soul of a fighting game. However, it’s impossible to deny that Ryu Ga Gotoku Studio is taking massive swings in hopes of completely flipping not only the fabled Virtua Fighter franchise on its head, but also expanding what a fighting game can even be, just as it did in 1993.

Believe it or not, Persona 4 Revival was first revealed a year ago today, when a trailer dropped during the Xbox showcase and gave the first confirmation that the highly-rumored game was real. Yesterday, we got a new look at its gameplay, along with a release date reveal, during the Xbox Games Showcase, but there are still plenty of unanswered questions. Luckily, it sounds like developer Atlus wants to give us more of those details fairly soon, as it’s announced a Persona 4 Revival Broadcast will air next week. It will begin on June 18 at 4 p.m. PT / 7 p.m. ET, and you’ll be able to find it on the official Atlus YouTube channel, right here.

Persona 4 Revival is a remake of the beloved JRPG first released on the PlayStation 2 in 2008. Revival, much like 2023’s Persona 3 Reloaded, will update Persona 4’s visuals and mechanics to more closely align with the modern entries in the series, first established in Persona 5. While we expect a general facelift and quality of life improvements, it’s yet to be revealed just how different Revival will be from its source material. It also appears to include at least some content from Persona 4 Golden; fans have spotted footage of an interaction with a character named Marie that does not appear in the base game. 

We’ll learn more at this broadcast next week, on Thursday June 18. Persona 4 Revival is scheduled to be released on February 18, 2027 on PlayStation 5, Xbox Series X/S, and PC. For more Persona, check out this week’s reveal of Persona 6. For more Summer Game Fest, check out Game Informer’s coverage hub.

Game Informer can exclusively reveal that The Blood of Dawnwalker, the vampire RPG launching this September that’s also our current cover story game, is getting the art book treatment later this year. More specifically, The Blood of Dawnwalker: The Art of the Game will be published on November 24, just a couple of months after the debut game from Rebel Wolves launches on PlayStation 5, Xbox Series X/S, and PC on September 3. 

Titan Books is publishing the art book, which is set to feature 192 pages of artwork, behind-the-scenes insight, and exclusive interviews exploring the creation of this new world. It’s being authored by Matthew Pellett, a veteran magazine editor and gaming consultant whose writing contributions include bylines at Edge, PC Gamer, Official Xbox Magazine, Nintendo Gamer, and more. It will be published as a hardcover book for $50. 

Here’s a look at the official cover for The Blood of Dawnwalker: The Art of the Game: 

For the uninitiated, The Blood of Dawnwalker sees Rebel Wolves draw on their veteran experience and history working on RPGs like The Witcher 3 and Cyberpunk 2077 to deliver a vampiric story set in 14th-century Europe. As the Black Death plague spreads across the wartorn lands, vampires seize on the opportunity to leave the shadows and claim what they feel denied of for centuries: freedom and power. Other mysterious creatures of the night follow suit, and protagonist Coen, himself turned into a Dawnwalker – human by day, vampire by night – must fight against the clock to save his family. Uniquely, Coen will fight with a sword in unique directional-based melee combat by day, but can tap into his vampiric abilities and deadly claws at night. 

You can read plenty more about that in Game Informer’s The Blood of Dawnwalker coverage hub, which includes all kinds of stories, such as: 

• Exclusive Details On How Romance And Infamy Are Handled
• Just how Choice-Driven Is Rebel Wolves’ Debut Game?
• How The Combat Hopes To Keep You Immersed In The Action
• A Choice-And-Consequence Playground Lives Up To The Witcher 3 Pedigree

“Go behind the scenes of Coen’s journey in this book, featuring exclusive interviews and artwork exploring the creation of this intricate and dark world of monsters, characters, and scenery,” a press release for The Blood of Dawnwalker: The Art of the Game reads. “Packed with hundreds of illustrations from concept art to final designs, this book is essential for anyone interested in video game art, especially medieval, fantasy, and supernatural settings.” 

The Blood of Dawnwalker: The Art of the Game will be published on November 24. The game itself launches on PlayStation 5, Xbox Series X/S, and PC on September 3. 

Are you picking up this art book? Let us know in the comments below!

Nintendo has announced it will host a Nintendo Direct presentation tomorrow, on Tuesday, June 9, at 7 a.m PT/10 a.m. ET. It was announced in the Nintendo Today app, and Nintendo says it will run for approximately 50 minutes, followed by a 95-minute Nintendo Treehouse presentation. 

It’s been a jam-packed week of reveals for publishers and developers alike across various showcases, like last week’s PlayStation State of Play, Geoff Keighley’s Summer Game Fest showcase, and the Xbox Games Showcase. Fans have been clamoring for news from Nintendo about a suspected Direct, and it’s finally happening. As for what to expect, there’s still a lot we don’t know about 2026 and the Nintendo Switch 2, like the release dates for Fire Emblem: Fortune’s Weave, FromSoftware’s The Duskbloods, and more, not to mention the impending release of Splatoon Raiders. 

The Nintendo Direct will air on the company’s YouTube channel here. 

In the meantime, check out Game Informer’s reviews for the Switch 2’s biggest releases of the year so far, including Mario Tennis Fever, Pokémon Pokopia, and Yoshi and the Mysterious Book. 

What do you want to see at this Nintendo Direct? Let us know in the comments below!

Hellblade studio Ninja Theory announced its next project, an action-adventure game called Senua, set in the Hellblade universe, at yesterday’s 2026 Summer Xbox Games Showcase. In a new interview posted on the Xbox Wire blog about Senua, studio head Dom Matthews has revealed that the experimental horror game Project Mara, announced in 2020, has been canceled. 

In the interview, Matthews explains that smaller teams at Ninja Theory worked on the first two Hellblade games, but notes that the entire studio is working on Senua.  And if everyone is working on Senua, nobody is working on Project Mara, something Matthews immediately addresses. 

“And with the fact that we have the entire team working on this game, I suspect some people might ask what’s happened to Project Mara [a previously announced horror title] – I took the decision to not work on that any further,” Matthews says in the interview. “These decisions are never easy, but I did so to take the opportunity to have all the talent and expertise in the studio, all 85 creatives, working together to realize the potential of what Senua can be.” 

This isn’t necessarily surprising – since that 2020 reveal, we’ve heard basically nothing about Project Mara – but it’s nice to have the official confirmation, so those who might have been excited about it won’t wait around for something that was never going to appear. 

For more, read Game Informer’s round-up of every announcement from the 2026 Summer Xbox Games Showcase, and then read our reviews for Hellblade: Senua’s Sacrifice and Senua’s Saga: Hellblade II. 

What did you think of the Senua reveal? Let us know in the comments below!

It’s once again time for the annual deluge of gaming showcases surrounding Summer Game Fest. Most of them have plenty of great games, but there’s also a lot of trailers to parse through, and the PC Gaming Show is perhaps the most stuffed of all. To simplify things, we watched the showcase live and assembled the most interesting and exciting trailers and reveals from the event. Here are our favorite games from the 2026 PC Gaming Show, presented in alphabetical order.

2 Fights 2 Tight Spaces

Developed by: Ground Shatter

Fights In Tight Spaces was a slick card battle with a unique premise, enough so that it got a spin-off called Knights in Tights Spaces. But the original game is now getting a true sequel in the form of 2 Fights 2 Tight Spaces. The new game features online cooperative multiplayer for 1-3 players, alongside an attractive new visual style. The first trailer for the game looks great, featuring some exciting melees that see lots of environmental hazard attacks. But today didn’t just bring news of the new game — it has also shadow dropped into early access, so you can give the game a try right now if you like. – Matt Miller

About Fishing

Developed by The Water Museum

I love how many questions I have after seeing the trailer for About Fishing, a game that really seems like it’s about more than fishing. Between its Resident Evil-style inventory management, a screenshot of an old, barnacle-crusted handgun, and the generally eerie tone, it almost seems more like a horror game or a moody drama. Luckily for me, there’s a demo available now, so I can play it for myself to see if I can reel in any substantial conclusions. – Charles Harte

Ascenders: Beyond The Peak

Developed by Ludogram

Turn-based gameplay in video games is most associated with combat, but there’s no reason that has to be the only reason to use it. In Ascenders: Beyond: The Peak, turn-based gameplay is used to climb a mountain with a group of three, and gives you time to hone your strategy and keep the crew alive. There are nine classes you can assemble a team from, and each brings unique abilities to help you ascend a grid-based cliffside in a roguelike structure. If you think it looks cool, check out our recent coverage of its reveal and play the demo now on Steam. – Charles Harte

Carcass Clad

Developed by Wrong Organ

Mouthwashing is one of my favorite horror games ever, so I was more than delighted to see that its developer, Wrong Organ, was working on something new. But instead of an atmospheric horror game, Carcass Clad is a three-player co-op game where you and two friends pilot a tank through the city of Vhorgorod. It’s a substantial pivot, so I was glad the team answered some of my questions about the game and what to expect from it. It’s not the project I asked for, but I like Mouthwashing enough that I’m more than willing to give Wrong Organ’s next project a chance. – Charles Harte

El Paso, Elsewhere 2

Developer by Strange Scaffold

The original El Paso, Elsewhere combines Max Payne-style shooting (complete with slo-mo) with monster hunting madness, an original hip hop soundtrack, and a low-poly aesthetic. The sequel is cut from the same cloth, but this time the protagonist has become a vampire, and has to use new weapons to fight new monsters in 20 brand new levels. It doesn’t have a release window yet, so add it to your wishlist to be notified when it launches on Steam (though it’s also coming to Xbox). – Charles Harte

Into the Wind

Developed by Bloom & Gloom Games

I generally think people throw around comparisons to Studio Ghibli and Miyazaki a little too liberally, but Into the Wind is a game that’s actually deserving of the association. Its Italian-inspired city and dogfighting gameplay is straight out of Porco Rosso, but its package delivery mechanics (which are also reminiscent of Death Stranding) are similar to Kiki’s Delivery Service. It also has a generally whimsical tone that I’m excited to experience for myself: your vehicle is neither motorcycle nor plane, but a sentient motorcycle-plane; townsfolk ask for packages, but also live swordfish; and hitting an obstacle causes you to ragdoll off your vehicle and onto the ground. It’s coming soon to early access, but for today, it’s coming to my Steam wishlist. – Charles Harte

Shroom & Gloom

Developed by Team Lazerbeam

Shroom & Gloom has a lot of elements that stand out to me as appealing, but nothing could ever grab my attention as quickly as its unique, papercraft art style. It’s moody, but bright, and as common as paper-y aesthetics are in modern games, it’s rare to find them in a first-person perspective. Of course, the gameplay also looks awesome; it’s a double deckbuilder, so you’ll be crafting different decks for exploration and for combat. I’m so curious about how it plays, so I’m over the moon (or over the shroom?) that there’s a demo available right now. – Charles Harte

Signet City

Developed by Jump Over The age

Here’s an excerpt from a larger news post senior associate editor Wesley LeBlanc wrote about Signet City, the next game from the creators of Citizen Sleeper:

“In Signet City, you control a parasite in the titular coastal city, which is in sharp decline because in this world, the biological computer has outgrown the silicon chip. Born in the brackish waters of Signet City’s bay, you must inhabit human minds and guide your hosts into their final season. ‘From the stained wallpaper of the squats to the towering monuments that dot its skyline, grow through and into this strange city, changing it forever,’ a press release reads. It looks awesome, and considering how great both Citizen Sleeper and Citizen Sleeper 2: Starward Vector are, we’re keeping our eyes on Signet City.”

There Are No Ghosts At The Grand

Developed By Friday Sundae

I look forward to playing this game one day, but I also really like its unreleased state, because the experience I get from watching new trailers is always such an insane roller coaster. There Are No Ghosts At The Grand is a renovation game, a la Powerwash Simulator, except there’s also a narrative, a mysterious supernatural element, some kind of puzzle-solving, and right when you think you’re comfortable, BAM: someone starts singing, because it’s also a musical game. This new trailer has a particularly disarming singing police officer, but also every other element above, presented when you least expect it. I haven’t played it yet, but if I ever decide I want to see what it actually feels like, I can play the demo on Steam. – Charles Harte

Thief: The Dark Project Remastered

Developed by Nightdive Studios

Nightdive Studios is leading a remaster of the original Thief, the incredibly influential early stealth title that set the stage for many of the infiltration and simulation experiences that would follow in the years and decades to come. The new remaster is touted as a very faithful rebuild rather than reinventing the game. Expect it to run great on modern hardware, with re-recorded dialogue from original voice actors, but otherwise this will be a chance for new and returning players alike to experience what was great about the original, targeting a launch this winter. For now, you can wishlist it on Steam. – Matt Miller

Vampire: The Masquerade – Eternal Whispers

Developed by Flyos

Vampire: The Masquerade fans have no shortage of video game adaptations to check out, but for a series born from a tabletop RPG, it’s surprising how few true RPGs the series has in video game form. Eternal Whispers, a new CRPG from Flyos, seems to be exactly what fans of the tabletop mechanics have been waiting for. It’s a single player, choice-driven RPG based around the game’s stat systems, complete with on-screen dice rolls. Developed by “a hybrid team experienced in both board games and video games,” it looks great, and while I’m certain the final game will be more nuanced than this, it will likely satisfy fans who have hoped for “Baldur’s Gate, but built with Vampire: The Masquerade.” Time will tell if it lives up to that promise; for now, you can keep it on your Steam wishlist until it emerges from its torpor. – Charles Harte

Mouthwashing is one of my favorite horror games ever, and a lot of that is due to its heavy focus on writing and atmosphere, prioritizing narrative. It’s surprising, then, that developer Wrong Organ’s next game, Carcass Clad, is so different. Shown off at today’s PC Gaming Show, it’s a multiplayer tank game, where three players each take a different role to guide a tank called Yksiö through the streets of Vhorgorod. I had lots of questions about this new project, most of them around how and why it’s so different from Mouthwashing. Thankfully, they reached out and offered to answer them over email.

Game Informer: After such a heavy emphasis on narrative in Mouthwashing, why pivot to this gameplay-focused game?

Gameplay lead Jeffrey Tomec: After our first title, How Fish Is Made, it felt obvious that the next step was just to do the same thing but bigger. There was so much more we wanted to explore in the walking-simulator side of horror. But now we’re pretty content after Mouthwashing. It fills that hole, and we don’t want our next game to just live in its shadow. So we’ve decided to swing hard in the opposite direction. We want to try and pursue that distinct Wrong Organ charm and atmosphere through a gameplay-led experience. Stretch our legs a bit y’know. We’re definitely not done making narrative games, but we’re determined for our next game to be a big swing. My philosophy is that Wrong Organ should never be making what you expect us to.

Why is it called Carcass Clad?

Tomec: Well the simple answer is that the vehicles your enemies ride in will be clad in carcasses. Half-dead conjoined farm animals that serve as armor. But there’s always more to it than that. Mouthwashing’s namesake isn’t just Dragonbreath Mouthwash, of course.

Are the players in Carcass Clad named characters in the story, or more avatars that players inhabit?

Writer and art director Johanna Kasurinen: The player characters have names and have defined personalities and backgrounds in the world of the game, but the game is not focused on telling their stories outright. You could draw some comparison to something like Left 4 Dead. You can find out some lore details and light interaction in sections of the game but the focus will always be on the gameplay within the tank itself. We considered using just sort of “faceless” avatars for the player characters but having a dynamic between the crew, even to a minimal degree, was more fun and I just like designing characters at the end of the day.

How does the gameplay differ between the three roles? Is the whole game set in the Yksiö, or are there moments when you leave?

Technical and tank designer Dave van Egdom: In gameplay terms, the Yksiö is divided into asymmetric functions where all crew members are responsible for managing these functions through weighty, physical controls. The driver is responsible for maneuvering the heavy vehicle through the streets of Vhorgorod, among other things. As Erkki, the gunner, your main responsibility is controlling the Yksiö’s turret and 158mm cannon. Lastly, the commander is responsible for making navigational decisions and being the eyes and ears of the tank, considering she has the best vision from her cupola. The success of your crew, of course, depends on how well each individual manages their stations, but even more so on the ability to communicate information clearly and effectively with each other.

As of right now, players will spend most of their time inside the Yksiö. We are still exploring if there are moments in the game where the crew can leave the vehicle, though this is very subject to change. It would be cool!

Are there any elements of storytelling or worldbuilding you’re able to achieve in Carcass Clad that you couldn’t (or didn’t want to) attempt in Mouthwashing?

Kasurinen: In Mouthwashing, keeping the mention of the larger outside world to a minimum was to keep the immediate narrative as claustrophobic and focused as possible. In Carcass Clad, we have a more defined idea of the larger world outside of Vhorgorod, but the scope of where we can or want to add in more narrative detail is much, much smaller. It’s a very different beast overall from a writing perspective, both projects have been challenging in their own distinct ways. Narrative largely preceded everything else in Mouthwashing, and now we’ve gone for the exact opposite.

How has Mouthwashing’s success affected Wrong Organ’s future?

Sound designer and composer Martin Halldin: With the success of Mouthwashing, we are privileged to find ourselves in a position where we can truly focus on creating bold and unique experiences. We have brought on some extra people to help bring our ideas to life as well, a luxury that was hard to imagine before the release of Mouthwashing. Knowing that the sustainability of Wrong Organ doesn’t singlehandedly hinge on whatever our immediate next project is has been amazing and we can only hope we continue to find ourselves in that position. All the doors that have opened and all the people that we’ve met, we’re grateful for, and we’re looking forward to bringing you more games in the future!

Crazy Taxi: World Tour was just announced at the Xbox Games Showcase and players were quick to notice that the game’s Steam page contained a generative AI disclaimer which reads, “At SEGA Corporation, we utilize generative AI as a support tool for developers, aiming to provide better content to our users and enable developers to focus more on creative tasks We have used such generative AI support tools during development of Crazy Taxi: World Tour. No AI was used in reference to the performers in the game.”

We reached out to Sega for confirmation and a potential response to the details on the Steam page. Many fans excited for the return of Sega’s racing game have already expressed frustration over the use of generative AI assets. Below is Sega’s response, which repeats some of the details on the Steam page:

At SEGA Corporation, generative AI is available as an optional support tool for developers, enabling our teams to focus more on creative tasks and ultimately focus on what matters most: delivering better games to our consumers.

Generative AI was used to support our teams during the development of background assets for ”Crazy Taxi: World Tour”. Assets generated were still subject to review by the development team.

No AI was used in reference to the performers in the game.

To learn more about Crazy Taxi: World Tour’s reveal during the Xbox Games Showcase, head here.

Publisher Fellow Traveler and Citizen Sleeper creator Gareth Damian Martin have unveiled Signit City, a first-person “fungalpunk” RPG where you play as a parasite. There’s no release date for it yet, but Fellow Traveler says it’s “coming soon” to PC. 

In Signet City, you control a parasite in the titular coastal city, which is in sharp decline because in this world, the biological computer has outgrown the silicon chip. Born in the brackish waters of Signet City’s bay, you must inhabit human minds and guide your hosts into their final season. “From the stained wallpaper of the squats to the towering monuments that dot its skyline, grow through and into this strange city, changing it forever,” a press release reads. It looks awesome, and considering how great both Citizen Sleeper and Citizen Sleeper 2: Starward Vector are, we’re keeping our eyes on Signet City.

Check it out for yourself in the Signet City reveal trailer below: 

Fellow Traveler says Signet City blends first-person exploration with tabletop-inspired narrative RPG design in a world inspired by post-punk 1980s Britain and weird fiction. Because you play as a parasite – decidedly not human – you can move through the city’s social body, shape conversations how you see fit, influence Signet City inhabitants, and more, according to a press release. Notably, all of this will happen in stark black-and-white, a nod to the game’s visual identity, which is rooted in brutalist architecture and post-punk movements. 

Here are some additional screenshots: 

Signet City is coming to PC soon. 

What do you think of this new direction for the creator of Citizen Sleeper? Let us know in the comments below!