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How well have past GOTY winners sold?
We’re less than two months away from 2026’s The Game Awards, and what a year it’s been for fantastic games, including Resident Evil Requiem, Forza Horizon 6, Slay the Spire II, the Blood of Dawnwalker, and Control Resonant – just to name a few. So as we approach the end of the year, we thought we’d look back on our estimates for the GOTY winners of the past four years. In terms of revenue, Elden Ring (2022 winner), Baldur’s Gate 3 (2023), Astro Bot (2024), and Expedition 33 (2025) have generated a combined $3.8B via 73M copies sold: Let’s have a look, then. Elden Ring has generated $2B in revenue Elden Ring is a phenomenon in every sense. It’s sold a whopping 36.4M copies across Steam (50%), PS5 (35%), and Xbox (15% across console and PC). Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Elden Ring also just passed an astronomical milestone: $2B in revenue. While PlayStation and Xbox account for half of Elden Ring’s copies sold across these three platforms, they account for 57.5% of revenue. This – as ever – is due to regional pricing and the higher relative share of PC gamers in lower-priced markets. For example, around 17.4% of Elden Ring’s Steam copies sold were in China, where the game costs about 26% less than the price in the States. There’s an … interesting narrative going around these days that console gamers are only interested in ball-and-gun games and have the patience for little else. Well, Elden Ring’s impressive sales prove that is simply not true, and across all platforms. What’s more, over 9.8M people have played Elden Ring for over 100 hours, with nearly 3.5M people getting all of the achievements and trophies. For reference, 10.9% of Elden Ring’s PlayStation players have the platinum trophy, while 10.5% of players on Steam and 3.9% of Xbox players unlocked all the achievements. Git gud, Xbox players! Of the 1.5M people who played Elden Ring on PlayStation last month, 4% also played Dark Souls 3 last month, 4% played Bloodborne, and 3% played Sekiro. There’s those Soulsborne diehards for you. By many accounts, including my own, Elden Ring is one of the best games of all time. It’s an evergreen seller that will continue to be a cash cow for Bandai and FromSoftware for years to come. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Elden Ring has sold another 2M copies across Steam, PlayStation, and Xbox this year, generating almost $110M. This means it’s outperforming many of this year’s high-profile releases. Even Elden Ring’s standalone run-based PvE spinoff, 2025’s Nightreign, has sold 7.8M copies and generated $282M in revenue. Baldur’s Gate 3 is another billion-dollar-plus banger Another cross-platform phenomenon is Baldur’s Gate 3, which has sold 23.2M copies and generated over $1.2B in revenue. About 18.7M of these copies (80.6%) are via Steam, 2.9M via PS5 (12.7%), and 1.6M (6.8%) via Xbox. Around 1.3M folks on Steam bought BG3 before it hit 1.0. The PlayStation version launched about a month after the PC 1.0 release, while the Xbox version came four months later due to technical issues around developing local co-op on the Series S. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Across platforms, Baldur’s Gate 3’s monthly active users have never dropped below 2M, including 2.2M MAUs last month (68.5% on Steam, 21.9% on PS5, and 9.6% on Xbox). And it still regularly brings in 280K to 400K players every day: About 1% of BG3’s Steam player base has played for over 500 hours! That’s a little under 200K people. Astro Bot is also an evergreen seller, albeit a more niche, family one Astro Bot, 2024’s winner, has now sold 4.7M copies and generated $291M in revenue. The budget, including marketing, is almost certainly under $100M, given the small Japan-based core team and three-year dev timeline. You can really see why the tides are changing toward less expensive hubs. Astro Bot is the only first-party winner on this list, but follows other first-party winners of The Last of Us Part II (2020’s winner), God of War (2018), and Breath of the Wild (2017). Around 46.6% of Astro Bot’s copies sold have been physical, which is far higher than the typical game. This makes sense for a couple of reasons: There’s a large family audience for this one, and physical boxes are an item to wrap when giving Astro as a gift. Astro has collector value for the PlayStation core (this is nostalgia-fueled platformer celebrating PlayStation’s history) Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Astro is another one of those games that continues selling over time, regularly selling more than 100K a month. It’s sold around 1M more copies this year ($60M in revenue) and is a popular title with families. We can see this using the Alinea platform’s MAU crossover tool: Astro Bot’s top #2, #3, and #4 games by crossover in any given month this year are Minecraft, Fortnite, and Roblox – without fail. The #1 title every month, though, is Astro’s Playroom, a pack-in with all PS5 consoles. For every month this year, between 20% and 30% of Astro Bot players also played Astro’s Playroom that month. So the free pack-in is a noice funnel for converting players to a full paid product. Expedition 33 sells 8.7M despite Game Pass cannibalisation Finally, we have last year’s winner – Expedition 33. The turn-based-RPG banger has generated $366M via 8.7M copies sold, with 58.8% on Steam, 35.7% on PS5, and 5.5% on Xbox. Xbox’s share of copies sold is this low due to Expedition 33 launching on Game Pass, where 4.3M people across console and PC accessed the game. A little under 700K Xbox players used their subscription to play Expedition 33 this year. That said, the game’s 1.5-year Game Pass deal ended last week on October 16, and we’re already beginning to see a positive trend on Expedition 33’s copies sold via Xbox (but the jury’s still out!). There’s understandably a lot of French pride behind this one, as France is the game’s #3 market on both Steam and PlayStation. Vive la France! One thing that stood out to me is that the GOTY winners aren’t $300M Hollywood productions made in the US. They’re mostly mid-budget studios outside the traditional AAA cost centres. Lots to think about there. Also, good games sell well; who’d have thunk it!? And there’s a whole load of them this year, with GTA 6 still to come, too. GTA just made the cutoff point for the VGAs this year. What a coincidence! Loading... Cool links and other stuff Our physical games newsletter from Tuesday was picked up by GameSpot, Eurogamer, TweakTown, and a bunch of others. We’re offering a free trial of our platform for games companies. Send us a message here, or reply right here on Substack/email, and we’ll set you up. Next week, we’ve got some exciting news regarding the future of our newsletter, so stay tuned! The last word Reply to this email – or reach out here – if you have any feedback for the newsletter – or want to request a game for us to cover. Want to see why these companies (and many others) are subscribed to Alinea? Get a free platform trial! [Alinea Analytics boasts the most accurate PC and console estimates in the business. Game makers use our platform to understand their audience, keep an eye on the competition, monitor sales trends, and spot new opportunities. We equip game studios and financial institutions with accurate data and the confidence to make smarter, data-driven decisions. Want to talk about all things games market data? We’d love to chat!]
First-person Soulslike Valor Mortis is already making a profit after seven days, despite launching against some stiff competition
Ghostrunner studio One More Level is wall-running toward another success with Valor Mortis, which has already broken even after a week on sale.
After a few hours with Yakuza studio's soulful Stranger Than Heaven, I'm smitten, but I suspect this ambitious role-playing epic will be a divisive game
I played RGG Studio's Stranger Than Heaven, and came away impressed by the bold new direction its younger team is taking.
First-Person Soulslike Valor Mortis an Official Success, Now Turning a Profit
Game breaks even after one week
Missoula County to prohibit sale of kratom in retail food businesses
The sale of kratom products in retail food businesses in Missoula County will be prohibited beginning in November, as the city-county health department aims to restrict access to the unregulated substance that can have opioid-like effects.
City of Memphis investing millions in Soulsville housing, development
Also this week, early voting is underway and a judge is pondering whether to lift a ban on several people who were barred from Memphis City Council.
Women are baring their souls to make the midterm elections feel personal
By sharing their stories, everyday women are becoming trusted messengers on issues such as immigration, intimate partner violence and healthcare.
K-Pop Newcomers A2O Lite and A2O Soul Make Their Debut
The multinational girl and boy groups are the latest project from Lee Soo-man, the former SM Entertainment producer.
Music Review: Remi Wolf emerges, dirty but renewed, on 'Mud'
Remi Wolf, the singer-songwriter known for her funk and soul-inspired choruses and danceable beats, comes down to earth on “Mud,” her third album. Wolf settles into new territory on the
Cirie Fields and Parvati Shallow discuss who would have won a “Survivor: Micronesia” final 3
The dynamic duo also reveals details of their upcoming Soulmate tour.
Weekly Entertainment Report: Live music and lively arts, Oct. 15-18 » Nashua Ink Link
"Let the music soothe your soul, let the music take control."
Commentary: New Hampshire sure is beautiful this time of year, apolitically speaking
It’s mid-October, and New Hampshire has never been more stunning. How stunning? The autumn reds and golds are barely muted by the pall of another election season. Not that this campaign cycle hasn’t tried its soulless best to drape the landscape in gray.
Is there anything like October for sports in LA?
Brown Soul Brewing Co. prepares for an extra busy and fun-filled run in October
Soule favored to start alongside Dybala and Malen vs Real
Gian Piero Gasperini won’t limit the quality of his players out of fear of Real Madrid. Los Blancos have a team of phenomenal players, but the Giallorossi coach has no intention of focusing solely o...
First-Person Soulslike Valor Mortis Is Brutal, Frightening, and Strangely Chill
It's refreshing seeing Napoleon leave the strategy-game realm
County GOP dissent shows how Prop. 45’s CEQA reform challenges political lines
Small group of county parties differed from state party leaders over CEQA reform measure that has driven much political soul-searching
Lee Soo-man returns to K-pop with A2O Soul, A2O Lite and 4D VR technology
Lee Soo-man is back with A20 Entertainment and its first girl group and boy band in Korea in a classic showcase by the industry legend.
Matias Soule tipped to start against Real Madrid
After a 0-0 draw at Como, Roma, who had been down since the 53rd minute, are ready to make their Champions League debut at the Stadio Olimpico. Wednesday’s fixture is a huge one: Mourinho’s Real M...
SM Entertainment founder's A2O Entertainment to debut A2O Soul and A2O Lite
A2O Entertainment will debut boy band A2O Soul and girl group A2O Lite together, with former SM producer Yoo Young-jin overseeing their music and performances.
Lee Soo-man’s A2O Entertainment debuts A2O Soul and A2O Lite
A2O Entertainment will debut boy band A2O Soul and girl group A2O Lite together, with former SM producer Yoo Young-jin overseeing their music and performances.
Music Review: Remi Wolf emerges, dirty but renewed, on 'Mud'
Remi Wolf, the singer-songwriter known for her funk and soul-inspired choruses and danceable beats, comes down to earth on “Mud,” her third album. Wolf settles into new territory on the
Discover Southern Flames: Fairfield's new restaurant + entertainment destination
🔥FAIRFIELD'S NEW HANGOUT IS OPEN: Southern Flames is serving Saturday brunch, Soul Food Sundays and gameday on the big screen, plus a cigar lounge and a stage for live music and comedy.
Soule eyeing starting role in Como showdown
Roma is approaching their match against Como, scheduled for Sunday, October 11th, at 12:30 PM at the Sinigaglia Stadium. After the international break, Gian Piero Gasperini can finally count on an alm...
Pellegrini favored to start in Como-Roma
Gian Piero Gasperini is ready to welcome back the remaining players who have been on international duty, preparing for the trip to Como, scheduled for Sunday at 12:30 PM. Mora, Castro, Soulé, and Bal...
Missoula Public Health seeks public input in community health survey
Missoula County residents may get a knock on their door later this month, as Missoula Public Health and local partners are conducting a community health survey
Kacey Musgraves covers Selena and finds 'Middle of Nowhere' in Houston
Kacey Musgraves brought Selena covers, Tex-Mex soul & radical inclusion to Houston’s Toyota Center.
Burglars hit 4 Chatham businesses, steal empty cash drawer and cake slices from Soul Veg City: VIDEO
Burglars hit four South Side businesses, and they were caught on camera stealing an empty cash drawer and cake slices from Soul Veg City, according to the restaurant.
Central Texas Soul Fest returns to Temple for fourth annual celebration
The Central Texas Soul Fest will bring Southern Soul, R&B and live entertainment to the MLK Festival grounds on Saturday, Oct. 10, in Temple.
This groove-heavy trio is bringing the dance party to the Bay Area
British trio Jungle brings its groove-heavy blend of funk, disco and neo-soul to the Greek Theatre in Berkeley behind its new album, “Sunshine.”
More power or more gauges? How the sports car market has become divided
Technology has "slowly hacked away at the soul of the sports car," one analyst said.
Both parties must reject the politics of resentment (Editorial)
America does not need more political entertainers, like Hasan Piker, who profit from anger. It needs leaders willing to disappoint their own side when principle demands it. The soul of both parties is at stake. More importantly, so is the…
Soulection celebrates 15 years with upcoming L.A. show
Soulection, the radio show, independent label and global music collective is celebrating its 15th anniversary on Saturday at Reframe Studios Outdoors.
Missoula Public Health offers free mammograms Oct. 14
Women in Missoula have an opportunity to get a free mammogram this month, regardless of whether they have health insurance.Missoula Public Health says women age
Germany's political center fights for relevance after far-right and far-left gains
Centrist politicians are soul-searching after electoral gains by the far right and the far left. Today's weak coalitions, political fragmentation and dire economy echo a past that led to the rise of fascism.
Studying Science in an Anti-Scientific Time
This Chronicle Review Deep Cut was first published in 2025. By Julianne Werlin Thanks for reading The Chronicle Review! Subscribe for free to receive new posts and support my work. Subscribe The last two decades have not been kind to science studies. Already bruised and battered by the “science wars” of the 1990s, by the 2000s sociologists of science — who had long argued that science had to be understood in its human context — were encountering the funhouse-mirror version of their own views in right-wing critiques of climate scientists. It was enough to give some prominent scholars pause. “Was I wrong to participate in the invention of this field known as science studies?” asked Bruno Latour, the most famous sociologist of science in the world, in 2003. “Should we apologize for having been wrong all along? Or should we rather bring the sword of criticism to criticism itself and do a bit of soul-searching here: What were we really after when we were so intent on showing the social construction of scientific facts?” In response, Latour proposed a change of method and attitude. Science studies, now chastened and contrite, would no longer seek to strip facts of their authority, but to enrich and enhance them. What this meant in practice was never fully clear. But his diagnosis of problems resonated, even if his solutions did not. Latour’s exercise in public hand-wringing signaled a shift in mood. By 2016, with the first election of Donald Trump, the idea that skepticism of science was a right-wing position, not a left-wing one, had become a commonplace, discussed eagerly in The New York Times. For liberals, vaccine denial during the Covid era and Trump’s second-term attacks on the funding of scientific research, covered extensively in these pages, added a new urgency to the defense of science on both practical and principled grounds. There was little appetite for a sociology or philosophy of science that emphasized the messiness and missteps of the scientific process rather than its integrity and triumphs. The distinguished historian of science Peter Dear’s new book, The World as We Know It: From Natural Philosophy to Modern Science (Princeton University Press, 2025), which seeks to tell the story of 18th- and 19th-century science for a general public, may seem comfortably remote from these bitter contests. In its 16 short chapters, Dear draws swift, sure sketches of major discoveries from Newton to Einstein, ably guiding the reader through debates on stellar nebulae, animal taxonomy, atomic chemistry, evolution, and other flashpoints in the history of science. But though a work of history, Dear’s book must still negotiate our polarized present. In a blurb on its back cover, the historian of biology Lynn K. Nyhart alludes to the “present moment, when scientific knowledge is being swamped by misinformation and its institutions are under siege.” Dear himself, in his conclusion, refers to the “yard signs” and “bumper stickers” that proclaim “Science Is Real.” One antidote to both anti-science propaganda and to reductive slogans in science’s defense is a robust history and philosophy of science: exactly what Dear’s scholarship has long offered. But his new book illustrates how difficult such work has become. Dear, an emeritus professor of history at Cornell University, is best known as a creative and philosophically minded historian of the Scientific Revolution. His edited volume The Literary Structure of Scientific Argument (1991) analyzed the rhetoric of Galileo’s thought experiments to brilliant effect. Discipline and Experience: The Mathematical Way in the Scientific Revolution (1995) was a major contribution to the analysis of scientific experiments in early modern Europe and beyond, while Revolutionizing the Sciences: European Knowledge in Transition, 1500-1700 (2001), now in its third edition, remains one of the best overviews of the profound epistemological upheavals of 16th- and 17th-century science. But Dear has also ventured into later periods. Nearly two decades ago, in The Intelligibility of Nature: How Science Makes Sense of the World (2006), he turned to the 18th and 19th centuries to sketch a history and theory of scientific knowledge. Aimed at a generalist audience, Dear’s simple prose belied serious philosophical ambitions. Science, Dear argued, has two aspects: “natural philosophy,” the quest to understand the true nature of the universe, and “instrumentality,” the applied skills and technologies that allow us to manipulate the world for human advantage. Both strands are ancient, but the innovation of the phenomenon we call “science” was to yoke them together. As Francis Bacon wrote, “Human knowledge and human power meet in one; for where the cause is not known, the effect cannot be produced,” an insight typically abridged to “knowledge is power.” Or, in Bertrand Russell’s characteristically blunt phrase, science has two functions, “1. to enable us to know things, and 2., to enable us to do things.” So far, so conventional. But Dear took issue with this familiar story in one respect. Bacon’s formula implied that theory and practice could be fused in a single method. In fact, Dear argued, the quest to understand nature and the desire to manipulate it were coupled only loosely. They could come together, but they could also pull apart. Focusing on natural philosophy, the “knowing” half of the scientific circle, he used a series of case studies from cosmology, taxonomy, chemistry, electromagnetism, and quantum theory to show how theories changed over time, in dialogue with practice, but never reducible to it. Take the case of matter, the basic substrate of the physical world. In the 18th and 19th centuries, scientists not only disagreed about what it was, but also about how well it could be known. In 1789, the chemist Antoine Lavoisier dismissed speculation about the atomic composition of chemicals as “discussions entirely of a metaphysical nature,” as he sought to orient chemistry away from philosophical abstraction and toward laboratory results. But in the 19th century, atoms returned with a vengeance in the atomic chemistry of John Dalton, who wanted to explain the underlying structure of nature. It was not just that Dalton and Lavoisier had a different set of experimental results, or even a different theory, Dear showed. What counted as an explanation had changed. In arguing that scientific theories depended on their intelligibility to human beings with complex arrays of beliefs and commitments, Dear was in sympathy with science studies. Key figures such as the sociologist Steven Shapin emphasized the importance of psychological mechanisms like trust in the formation and acceptance of scientific ideas. But in focusing on the scientific pursuit of knowledge, not its politics or economics, Dear resisted the more cynical perspective of some of his colleagues. The Intelligibility of Nature strikes a very different note than Shapin’s collection of a few years later, Never Pure: Historical Studies of Science as If It Was Produced by People With Bodies, Situated in Time, Space, Culture, and Society, and Struggling for Credibility and Authority (2010), to name just one example. Walking a very fine line, Dear depicted science as driven at once by complex social dynamics and by the intellectual power of real discoveries. It was a testament not only to his own acumen but also to the vitality of the field that he was able to do so. Nearly two decades later, The World as We Know It returns to the questions broached in The Intelligibility of Nature. Like Dear’s earlier study, it begins with the Newtonian cosmos and ends with debates between Einstein and Bohr on quantum physics. Beyond its terminal figures, many of the same characters appear in both studies, including the naturalists John Ray and the Comte de Buffon; the chemists Étienne François Geoffroy, Antoine Lavoisier, and John Dalton; as well as Charles Darwin and Michael Faraday, among others. Its subject is nearly identical: As in The Intelligibility of Nature, The World as We Know It considers natural philosophy as opposed to instrumentality, here defined as the “desire to create a picture of what the world is really like — the world as God knows it — rather than simply having instrumental or operational control over it.” The two books also overlap in insights — and sometimes even in language. The reader who has learned in The Intelligibility of Nature that Buffon’s method of classifying animals “reflected his belief in the importance of the senses and empiricism in learning about nature (a doctrine associated with Newton and the philosopher John Locke)” will experience a sense of déjà vu on reading, in The World as We Know It, that the classification “reflects Buffon’s commitment to the epistemological stance of Newton and his philosophical underlaborer John Locke, who stressed the role of the senses in creating natural knowledge.” Later in the passage, we read that, “because of its stress on understanding the ways of life of animals in their environments, Buffon’s approach could almost be labeled (anachronistically) as ‘ecological.’” And again, “an anachronistic way of putting it would be to say that Buffon recommends an ecological mode of understanding.” Likewise, in The Intelligibility of Nature we read of Dalton that he was initially drawn to meteorology, and that: He did a bit of experimental work on these things, especially having to do with the water-holding capacity of gases, but his real interest lay in understanding what, at an underlying natural-philosophical level, was really going on physically.” Whereas, in The World as We Know It: He did experimental work on these things, especially concerning the water-holding capacity of gases — although not at a very refined level quantitatively — but he was continually trying to develop a theoretical conception of what was happening physically. The final full chapter of each book closes on the same resigned note. Intelligibility: These days, most serious work on the natural philosophical underpinnings and implications of quantum mechanics is performed not by physicists but by philosophers of science. Among scientific practitioners themselves, Bohr’s attempt to use instrumentality as sufficient grounds for a respectable science has met with a high degree of success. And again, in The World as We Know It: Bohr’s and Einstein’s concerns are now questions that are mostly discussed by philosophers of science rather than by physicists themselves. The marginalization of these sorts of questions amounts to the demise of natural philosophy, at least in physics, in the 20th century. Quantum mechanics “works,” and that’s good enough for most scientists who encounter it. Examples could be multiplied. When handling the same subject matter, some echoes are inevitable. Scholars should not feel that because they have written “Isaac Newton died in 1727” in one book, in the next they must describe him as perishing, expiring, or meeting his maker. But the repetitions of language and arguments (not to mention six reproduced images) threaded throughout The World as We Know It are more extensive than that. They should have been caught by Princeton University Press or its reviewers, and revised. Because the two books have so much in common, it is easy to see where they diverge. The World as We Know It is a less theoretical work than its predecessor. The sociology of knowledge that organized The Intelligibility of Nature has been reduced in scale and folded into readings and examples. The taut interplay between history and theory, which gave the earlier study so much interest, is there, but it is subtle. In the earlier book, the case studies demonstrated theoretical claims about the character and development of science. In the later work, each narrative of discovery is an end in itself. Insights emerge from the history, but they do not control the organization of the study. With the theory muted, it can be hard to understand the logic uniting Dear’s sprawling history of more than two centuries of scientific knowledge. The 16 brisk chapters cover an enormous amount of material. But the closer the volume edges to comprehensiveness, the more obvious the missing elements become. A chapter on “Institutions and Pedagogy,” describing the birth of the research university, illustrates the problem. Inserted roughly halfway through the book, the unnumbered chapter is designed as an “entr’acte,” in acknowledgement that it does not fit the study’s organization around scientific discoveries. Yet as Dear is well aware, no general history of the development of modern science can bracket its 19th-century institutionalization and professionalization. It was the 19th-century university, after all, that gave us the “scientist,” a term coined by the Cambridge philosopher William Whewell. Dear’s history of scientific discoveries implies a wider social and institutional history, but it remains largely subterranean, only occasionally extruded under the pressure of the narrative. It must be said that the balance is not all on the side of the earlier study. There are some advantages to the more historical, less theoretical organization of The World as We Know It. Dear’s accounts of paradigm shifts are remarkably lucid, no small accomplishment given that they span fields and centuries. He makes excellent use of the wealth of new scholarship on Darwin and his influences, to which he has himself contributed. It is satisfying to see puzzle pieces from Buffon’s natural history, Georges Cuvier’s animal taxonomy, Thomas Robert Malthus’s demography, and Charles Lyell’s geology recombined seamlessly in the Darwinian jigsaw. Likewise, Dear’s discussion of stellar nebulae, divided between chapters two and 15, shows vividly how Newton, Kant, Herschel, and Hubble reimagined insights and observations as they sought to discover whether the diffuse light that filtered through early telescopes was a glowing, gaseous substance or discrete but distant stars. Yet despite such pleasures, the book remains a more modest work than The Intelligibility of Nature. Dear has clearly not changed his views about the history of science. But in the two decades that have elapsed, the discipline and the world around it have changed, making it harder to write a sociologically and philosophically ambitious history of science for the general reader. That is a shame, because in the age of Silicon Valley and biotechnology, both the reciprocity and the tensions Dear identified between the epistemological and instrumental ambitions of science are more evident than ever. In recent years, some of the most exciting new books on the history of science in early modernity have focused precisely on this pressure point. Important studies such as Pamela H. Smith’s From Lived Experience to the Written Word (2022), James Poskett’s Horizons: The Global Origins of Modern Science (2022), and Vera Keller’s The Interlopers: Early Stuart Projects and the Undisciplining of Knowledge (2023) all shed new light on how early modern science negotiated the relationship between its instrumental and epistemological ambitions, or in Russell’s phrase, knowing and doing. There is every opportunity for a philosophically informed approach to draw new insights from this wealth of material. Dear, unfortunately, has not done so in The World as We Know It. But for future scholars of the history of science, his body of work over nearly four decades may provide just the model. Julianne Werlin is an associate professor of English at Duke University. Thanks for reading The Chronicle Review! Subscribe for free to receive new posts and support my work. Subscribe
Ten bucks says you’ll love this community science project
Today marks the first day of Rut Watch 2026 With another season of Deer Spy in the books thanks to community scientists like you, biologists are now on a mission to pinpoint the peak of the white-tailed deer breeding season in Maine. Every observation of deer breeding behavior and sign helps define the timing of the rut, and this project uses the power of community science to collect deer data all fall long. Hunters, hikers, and wildlife watchers - Rut Watch pairs well with any outdoor adventure you have planned this season. It’s a perfect excuse to slow down and connect with nature as you look for clues. So get outside, rack up that deer data and submit rut reports from now through December 1. The online form is science made simple: Location Date and time Breeding behavior observed Submit a Rut Report What to watch for Active Breeding The most obvious breeding behavior to observe is a buck mounting a doe, but that is a rare sight as it only lasts a moment. You are more likely to witness a buck “tending” a doe, following closely, chasing, nuzzling, or pawing at her rump until she is receptive. Sparring After bucks shed their velvet, sparring helps sort out who is who in the dominance hierarchy. Early season matches are often less intense than later season matches between similar sized bucks. Most sparring is complete by the time breeding begins. Rubs Don’t just look for deer, pay attention to the trees. Rubs are marks made by bucks when they rub their antlers on trees, removing bark and leaving their scent calling card in the process. Scrapes Look to the forest floor for this sign of breeding season behavior. Scrapes consist of two parts - a licking branch, and a patch of cleared earth. Bucks break a low branch around head height, then paw at the leaves below to expose the dirt. Covered in scent, a scrape tells does and other bucks, “I’m here!” Learn More More information What’s next for deer community science: Northern Maine Wintering Deer Survey Other active community science projects: Fish Tag Reporting Maine Golden Eagle Study Maine Amphibian & Reptile Atlas Project Maine Deer Management: Maine’s Big Game Management Plan Game Species Conservation & Management Report The Benefits of Hunting: Supporting Wildlife, Conservation, and Community Subscribe Share Leave a comment
PS5 emulation is suddenly making big strides on PC
Games like Astro Bot and Demon’s Souls are running ably without a console.
The Meet Up brings live jazz and soul music to east Gainesville
The Meet Up jazz lounge opens Friday in east Gainesville, offering live jazz, dancing and an upscale atmosphere for music lovers.
Gregg Allman documentary to be screened at Kamin Science Center
Fans of Gregg Allman and the Allman Brothers Band will have a chance to experience his story on the big screen when the documentary “Gregg Allman: The Music of My Soul” comes to the Kamin Science Center starting today. Presented by longtime Pittsburgh concert promoter Rich Engler, the 96-minute documentary explores the life, music, and […]
The 25 best scary movies for streaming and screaming
It’s okay to leave the lights on. ‘Carnival of Souls,’ ‘Night of the Living Dead,’ and ‘Rosemary’s Baby’ may be decades old, but they still deliver the scares. See EW’s picks for the best scary movies streaming now.
A New Era For Professional Sports And Entertainment In Seattle, A Fireside Chat With Samantha Holloway
”The structure had a soul,” Samantha Holloway, majority owner and managing partner of One Roof Sports and Entertainment, said of Climate Pledge Arena during
Gambit's Best of New Orleans 2026: Entertainment
Design by Dora Sison / Gambit Best Bounce Artist googletag.cmd.push(function() { googletag.display('ad-1492300'); }); 1. Big Freedia (Instagram: @bigfreedia)2. Ha Sizzle (Instagram: @hasizzlethevoice)3. Subtweet Shawn (Instagram: @subtweetshawn1) Trixie Minx Photo by Sophia Germer / The Times-Picayune Best Burlesque Performer1. Trixie Minx (Instagram: @trixienola)2. Bella Blue (Instagram: @bellablueforever)3. Miss Angie Z (Instagram: @missangiez) Best Casino1. Caesars New Orleans (8 Canal St., 800-427-7247; caesars.com/caesars-new-orleans)2. Treasure Chest Casino (4550 Williams Blvd., Kenner, 504-443-8000; treasurechest.com)3. Boomtown Casino (4132 Peters Road., Harvey, 504-366-7711; boomtownneworleans.com) Best Drag Performer1. Debbie with a D (Instagram: @debbiewithad)2. Katrina Waters (Instagram: @katrinawaters504)3. Laveau Contraire (Instagram: @laveaucontraire) Best Festival (that's still around)1. New Orleans Jazz & Heritage Festival (nojazzfest.com)2. French Quarter Festival (frenchquarterfest.org)3. Hogs For The Cause (hogsfest.org) Best Food Festival1. New Orleans Fried Chicken Festival (friedchickenfestival.com)2. Oak Street Po-Boy Festival (poboyfest.com)3. New Orleans Jazz & Heritage Festival (nojazzfest.com) Tipitina's Photo by Sophia Germer / The Times-Picayune Best Live Music Venue1. Tipitina’s (501 Napoleon Ave., 504-895-8477; tipitinas.com)2. The Broadside (600 N Broad St., 504-766-0871; broadsidenola.com)3. The Fillmore (6 Canal St., 504-881-1555; thefillmorenola.com) Best Live Music Club1. Maple Leaf Bar (8316 Oak St., 504-866-9359; mapleleafbar.com)2. Snug Harbor Jazz Bistro (626 Frenchmen St., 504-949-0696; snugjazz.com)3. Chickie Wah Wah (2828 Canal St., 504-541-2050; chickiewahwah.com)3. Blue Nile (532 Frenchmen St., 504-766-6193; bluenilelive.com) Best Local Blues Artist/Band1. Little Freddie King (littlefreddieking.com)2. Samantha Fish (samanthafish.com)3. Tab Benoit (tabbenoit.com) Best Local Brass Band1. Rebirth Brass Band (rebirthbrassband.com)2. Hot 8 Brass Band (hot8brassband.com)3. The Soul Rebels (thesoulrebels.com) Best Local DJ1. Paul Lakeway (Instagram: @paul_lakeway)2. DJ Soul Sister (Instagram: @djsoulsister)3. ANTWIGADEE! (Instagram: @antwigadee) Best Local Funk Band1. Dumpstaphunk (dumpstaphunk.com)2. Galactic (galacticfunk.com)3. Big Sam's Funky Nation (bigsamsfunkynation.com) Kaye the Beast Provided Photo by Catherine Debuys Best Local Hip-Hop Group/Artist1. Kaye the Beast (Instagram: @kayethebeast)2. La Reezy (Instagram: @lareezymusic)3. Pell (Instagram: @pellyeah) Best Local Movie Theater1. The Broad Theater (636 N. Broad St., 504-218-1008; thebroadtheater.com)2. The Prytania (5339 Prytania St., 504-891-2787; theprytania.com) googletag.cmd.push(function() { googletag.display('ad-1492297'); }); 3. The Prytania Theatre at Canal Place (333 Canal St., 3rd floor, 504-290-2658; theprytania.com) Best Local Music Artist/Band1. Robin Barnes & The Fiya Birds (robinbarnesmusic.com)2. Trombone Shorty (tromboneshorty.com)3. Sweet Crude (sweetcrudeband.com) Best Local Rock Band1. The Revivalists (therevivalists.com)2. Better Than Ezra (betterthanezra.com)3. Cowboy Mouth (cowboymouth.com) Best Wedding Band/ DJ1. The Mixed Nuts (themixednuts.com)2. Bucktown All-Stars (bucktownallstars.com)3. Warm Advice (warmadvice.com) Doreen Ketchens Provided photo Best Local Street Performer1. Doreen Ketchens (doreensjazz.org)2. Jourdan Blue (Instagram: @jourblue)3. Sariyah Idan (ariyahidan.com) Best Local Theater Company1. The Tennessee Williams Theatre Company of New Orleans (504-264-2580; twtheatrenola.com)2. Le Petit Theatre (616 St. Peter St., 504-522-2081; lepetittheatre.com)3. The NOLA Project (504-302-9117; nolaproject.com) Best Local Traditional Jazz Group/Artist1. Preservation Hall Jazz Band (preservationhalljazzband.com)2. Kermit Ruffins (@ruffinsbbq)3. Trombone Shorty (tromboneshorty.com) Best Marching Band1. St. Augustine High School Marching 100 (Instagram: @staugmarching100)2. Edna Karr High School Marching Band (Instagram: @theofficialkarrband)3. The Roots of Music Marching Crusaders (therootsofmusic.org) Best Mardi Gras Parade1. Muses (kreweofmuses.org)2. Iris (kreweofiris.org)3. Endymion (endymion.org) 610 Stompers Photo by Chris Granger / The Times-Picayune Best Mardi Gras Dance Krewe1. 610 Stompers (610stompers.com)2. Amelia EarHawts (aecabinkrewe.com)3. The Jamettes (Instagram: @thejametteskrewe) Best Place to See Burlesque/Drag1. The AllWays Lounge & Cabaret (2240 St. Claude Ave., 504-218-5778; theallwayslounge.net)2. The Original Nite Cap (1300 St. Bernard Ave., 2nd floor, 504-224-2854; Instagram: @originalnitecap)3. The Country Club (634 Louisa St., 504-945-0742; thecountryclubneworleans.com) Best Place to See Comedy1. Sports Drink (1042 Toledano St.; sportsdrink.org)2. The Howlin' Wolf (907 S. Peters St., 504-529-5844; thehowlinwolf.com)3. Big Couch New Orleans (1045 Desire St.; bigcouchnola.com) Best Local Comedian1. Ryan Rogers (ryanrogerscomedy.com)2. Mark Normand (marknormandcomedy.com)3. Cyrus Cooper (Instagram: @cyrusjcooper) Best Strip Club1. The Penthouse Club (727 Iberville St., 504-524-4354; penthouseclubneworleans.com)2. Rick’s Cabaret (315 Bourbon St., 504-524-4222; rickscabaretneworleans.com)3. Larry Flynt's Hustler Club (225 Bourbon St., 504-524-0010; neworleanshustlerclub.com) Best Performing Arts Center1. Jefferson Performing Arts Center (6400 Airline Dr., 504-731-4700; jeffersonpac.com)2. Saenger Theatre (1111 Canal St., 504-525-1052; saengertheatreneworleans.com)3. Mahalia Jackson Theater for the Performing Arts (1419 Basin St., 504-525-1052; mahaliajacksontheater.com) .donate-gambit-article-module-container { text-align: center; padding: 10px; /* background-color: #24da6d; */ background-color: rgb(153, 0, 0); margin-bottom: 20px; } .donate-gambit-article-module-title { font-weight: bold; color: #fff; } .donate-gambit-article-module-copy { color: #fff !important; font-size: 16px; } .donate-gambit-article-module-button { background-color: black; width: 50%; border-color: black; font-size: 16px; } .donate-gambit-article-module-button:hover { background-color: black; } @media only screen and (max-width: 600px) { .donate-gambit-article-module-button { font-size: 14px; width: 100%; } .donate-gambit-article-module-copy { font-size: 14px; } } BECOME A GAMBIT MEMBER AND JOIN OUR KREWE TODAY For more than 40 years, Gambit has covered New Orleans, for New Orleans. We’ve stood up to city hall with you, cheered the Saints with you, danced in the streets with you and cried over our collective loss with you. And we’re plannin’ on being here for 40 more. To do that, we need your help. Become a Gambit member today and help us continue our mission SUPPORT GAMBIT
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SCIENCE-BATS/
Bats from a cave near the Wat Khao Chong Phran Temple fly out of the cave in search of food at dusk Sept. 14, 2009, in Ratchaburi province west of
SCIENCE-BATS/
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Public invited to meet author at Oswego library
OSWEGO — Just in time for spooky season, author Savannah Stephens will visit the Oswego Public Library Oct. 3 from 1-2 p.m. to talk about her book, “Witch Queen Rising.”Step into gothic kingdoms, cursed forests, and haunted palaces where every bargain with magic demands blood, loyalty, or your soul. × This page requires Javascript. Javascript is required for you to be able to read premium content. Please enable it in your browser settings. kAm$E6A96?D :D 2 52C< 72?E2DJ 2FE9@C H9@ AC@F5=J 4C62E6D E96 C6AC6D6?E2E:@? D96 =24A=6I AC@E28@?:DED 2C6 H2CC:@CD[ BF66?D[ 2DD2DD:?D[ H:E496D[ 2?5 >@?DE6CD H9@ 2== 6>3@5J q=24< v:C= |28:4] w6C 8@2= :D ?@E @?=J E@ 8:G6 C6256CD 72?E2DE:4 H@C=5D E@ 6D42A6 :?E@[ 3FE =6DD@?D 2?5 E@@=D E@ DFCG:G6 E96 C62= @?6 H96? E96 A286D DE@A EFC?:?8]k^AmkAmw6C $@FE96C? v@E9:4 72?E2DJ 563FE[ “(:E49 "F66? #:D:?8[” H2D 2? p>2K@? t5:E@CD’ !:4< 7@C q6DE $4:\u: U2>Aj u2?E2DJ WpAC:= a_aeX]k^Am#placement_726068_0_i{width:100%;margin:0 auto;}var rnd = window.rnd || Math.floor(Math.random()*10e6);var pid726068 = window.pid726068 || rnd;var plc726068 = window.plc726068 || 0;var abkw = window.abkw || '';var absrc = 'https://ads.empowerlocal.co/adserve/;ID=181918;size=0x0;setID=726068;type=js;sw='+screen.width+';sh='+screen.height+';spr='+window.devicePixelRatio+';kw='+abkw+';pid='+pid726068+';place='+(plc726068++)+';rnd='+rnd+';click=CLICK_MACRO_PLACEHOLDER';var _absrc = absrc.split("type=js"); absrc = _absrc[0] + 'type=js;referrer=' + encodeURIComponent(document.location.href) + _absrc[1];document.write('');kAmq@@>F?:EJ C@@> @? E96 =@H6C =6G6= @7 E96 =:3C2CJ[ =@42E65 2E `a_ t] $64@?5 $E][ ~DH68@] %9:D AC@8C2> :D 7C66 2?5 @A6? E@ E96 AF3=:4]k^AmkAmu@C 2?J BF6DE:@?D[ 42== b`d\bc`\dgef @C 6>2:= k2 9C67lQ>2:=E@i@DH=:3o?4=D]@C8Qm@DH=:3o?4=D]@C8k^2m]k^Am googletag.cmd.push(function() { googletag.display('ad-2978731'); });
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15 discouraging hours with Onimusha: Way of the Sword, and 10 brilliant ones with He Who Watches
In the last few weeks, while playing some video games that I might review, I emailed two cries for help. I sent the first to a rep for Capcom, confessing that the company’s samurai game Onimusha Way of the Sword (out today for PC and console) was crushing me. “Feels like I’m playing ‘hard’ mode, not ‘normal,’” I wrote. “And I don’t want to have to knock it down to “story”. I’m exploring, trying to level my gear, but these two-phase boss fights with no mid-fight checkpoints are brutal.” I wagered I was only about halfway through the game, if that. I wasn’t sure I could keep up with the steepening difficulty curve. Was I missing something? Then, on Monday, I took some photos of some puzzles that were baffling me in the mind-bending He Who Watches (out now on PC), wrote out lengthy descriptions of how I’d been trying to solve them and asked Bobby Vanden, the game’s solo developer, for a nudge in the right direction. I told Vanden I’d spent hours on these puzzles. “I’m stuck in triplicate,” I told him. Could he tell me if the solutions I was attempting were even on the right track? I didn’t mention that the puzzles—coupled with major time pressures from other work—were stressing me out so much that playing the game was giving me headaches. This double dose of panic was unusual. I’m used to managing a workload full of reporting and reviewing, used to a crowded schedule and the need to stay calm amid the bustle. But I was stressed about these games. No one was forcing me to review them, nor even play them. I’d simply found them interesting enough to start, hoped they’d be interesting enough to write about and I’d sunk hours into them assuming I’d made the right call. Suddenly, however, I felt trapped. I was emailing for a way out. Above: This guy took me about an hour to beat. The feedback I got from Capcom confirmed my fears. They didn’t say it, but I will: Onimusha Way of the Sword is not for me. It’s a brutally hard game in need of a normal difficulty level. It’s a game that spikes so severely during its abundant boss fights—yet offers such flawed ways to improve when outside of them—that it feels like a bait-and-switch. In the new Onimusha, you play as famed samurai Musashi Miyamoto, aided by a magical soul-absorbing gauntlet that is possessed by a lady who offers advice. (Way of the Sword is a continuation of Capcom’s long-dormant Onimusha series, but that set-up had me wondering if the company was cribbing from their ill-fated Bionic Commando reboot; read about “wife-arm” when you get a chance). Way of the Sword is partially set in 17th century Kyoto, an explorable city where Miyamoto can fight demons, help civilians and eventually rescue ghostly dogs. The city evolves over time, with new mini adventures and obtainable loot on offer, all feeding into systems that promise to upgrade your gear and sword-fighting skills. Upgrades, however, are so incremental as to be imperceptible, causing the exploration of Kyoto to feel like inconsequential busywork. From that hub, players can go on linear missions into forests and old temples, where they will encounter many of the game’s tough bosses. Combat in Way of the Sword is akin to many modern melee games. Players are asked to mix attacks with dodges and parries. They’re encouraged to deplete an enemy’s stamina bar in order to do greater damage to its health bar. The old Onimusha games’ signature move was the issen, a counter-attack so sudden it’s all but pre-emptive. You strike just as they begin to strike toward you, beating them to the cut. By definition, the issen is a high risk move, leaving you wide open to pain. It feels risky in the game, especially against bosses, who can maul you in just a few blows. A game might train you to perform an issen well by offering a variety of lesser enemies who are not as tough as the boss but get close. Or it might offer a toehold against bosses by saving or checkpointing the player’s progress when a boss’ first health bar has been destroyed and before the second health bar appears. It might offer the less skilled player a chance to over-level their character, should the player simply commit to playing through its optional sidequests. Way of the Sword does none of this. Fighting its trivially easy grunt enemies and then its ferociously adept bosses is like playing a game of chess where I’ve got a rook, while the opposing side is all pawns and five queens. Bosses simply don’t checkpoint. You may be able to clear a boss’ first phase without taking much damage. Good for you. Do it again, every time you fail the second phase. As for the the central Kyoto hub, I kept pace with all of its added side activities and never felt like I was overpowered. Bosses could still easily buckle me. The new Onimusha, I concluded, is just too discouraging to keep playing. The advice I got from Capcom had been well-intentioned. They reminded me of the game’s various systems. They alerted me to an optional assist that flashes recommended button inputs (basically: counter this move; dodge that move). It was a little helpful. So was dropping down to “story mode,” which I tried last night. Story mode turns on those button prompts by default. It makes countering and dodging way too easy, nearly automatic. I don’t consider myself a master of action games like these, but I’ve cleared the likes of God of War, Stellar Blade, Star Wars Jedi and others of sub-Sekiro difficulty and had a fun time doing so. Not here. Not yet. Unless they patch Onimusha: Way of the Sword and add a middle difficulty or just checkpoint the damn bosses when they’re between health bars, my streak of loving Capcom games released in 2026 will likely end at two. It’s a shame, because I was having a good time finding those ghostly dogs. And then there’s He Who Watches, a phenomenal first person puzzle game with Portal vibes, except instead of a portal gun you’ve got a magical bow that shoots one arrow that can activate switches or be used to drag blocks. The twist is an actual twist: you can also walk on walls and the ceiling, reorienting gravity as you do, thereby placing blocks onto those other surfaces. Walking on walls and ceilings to solve problems is really the best thing. Would that I could in reality. He Who Watches consists of locked-room challenges, each brief enough to only require about a minute to actually solving, though it will take five, 10, eventually 30 minutes to figure out said solutions. They are not obvious! It’s a game of layered mechanics and shocking solutions. For example, see if you can follow this: You can drag a block to a wall. Then you can walk on the wall, which now feels like the floor, and drag that block across the wall. Later, back on the floor, you might realize you can look up. The block is still on the wall, stuck to it. You can shoot your magic arrow to its underside. Doing so creates a tether, so that you can yank the block off the wall and carry it, as if it were a balloon, into the spot where you need it to be to solve the puzzle. Here, watch Vanden explain some of the game’s basics in this launch trailer: As with any great puzzle game, the solutions to He Who Watches’ puzzles elicit relief and amazement. Oh my god, that worked! I didn’t even think that could be possible! Learning to solve the game’s puzzles feels like learning magic. But, oh, does the game get hard. Its Steam reviews, mostly glowing, are full of players remarking how quickly He Who Watches made them sweat. Wrote one: “loving this one already although my brain is hurting!” Wrote another: “As you get further in the game it feels like you need an IQ level of at least 120+.” Vanden has shown some mercy. Each locked room puzzle includes an optional junior version of the puzzle, meant to teach you. Difficulty nevertheless ramps severely. By the time I was emailing Vanden for help, I was struggling to even clear one of the hint puzzles. When I messaged him, my stress was exacerbated by strange things I’d found in the game’s various hubs: suspicious passageways, odd blocks and some intriguing locked doors. These were hints of secrets, I realized, yet I sensed I needed to play further into the game to understand them. I was stuck, but I wanted to see the rest. Vanden offered to give me the exact solutions, to solve those three puzzles for me, but first he gave four nudges. Three were for the specific puzzles, but his best hint was for all and ultimately proved to be a terrific life lesson: go back a bit, he suggested. Do the puzzles right before those. They were teaching you something. Focus on what their lesson was. Don’t rush, in other words. Recognize what you’ve accomplished. Build off of that. I did so. I absorbed the lessons. I saw those three tough puzzles in a new light. I solved one the night after he wrote back, another the morning after. I left a third for another time. I didn’t need it and I wanted to plunge deeper into the game, closer to the moment when I was sure I could start unlocking those secret doors. My head stopped hurting, too. He Who Watches feels special. It’s got more challenges, and I’m undeterred. It’s also nice that its puzzles don’t have a surprise second health bar. Game File is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe Item 2: In brief… 🎮 Ilari Kuittinen, co-founder of Helsinki-based Housemarque (Super Stardust HD, Resogun, Returnal) has stepped down from his studio, after a 31-year run, saying he’s “ taking a rare and well-deserved breather.” Sony purchased Housemarque in 2021, and the studio released its newest game, Saros, earlier this year. Trend-watch: Sony-owned Insomniac saw its founder Ted Price retire in early 2025, after a 30-year run. Sony-owned Sucker Punch saw its co-founder Brian Fleming step down in late 2025, after a 28-year run. 👀 Savvy Games Group chief Brian Ward is stepping down from the Saudi-government-backed games conglomerate, Bloomberg reports. No word on a long-term successor yet, nor if this augurs any closer integration between Savvy and Electronic Arts. EA was purchased by a consortium led by Saudi’s sovereign wealth fund, in early August. 💿 Square Enix has denied a Japanese media report that the company was planning to go private. In very different Square Enix news, the company revealed that the physical version of Final Fantasy VII: Revelation, the April 2027 finale of its radical remakes of FFVII, will include just one disc in its case, requiring a download for the rest. The first two FFVII remakes in the trilogy shipped on two discs apiece. While Square hasn’t commented on the reason why, a feature here in Game File last month broke down the processes and costs for physical games. The expense of a second disc comes out of the game publisher’s cut of each copy. Square could be saving in excess of a dollar a copy with this move. 🟥 Grand Theft Auto IV’s 26-minute ’‘extended look” gameplay showcase that premiered on Netflix last week—and was exclusive to the platform for six hours—drew 31.1 million views in its first four days, the streamer announced. (Netflix calculates views as total viewed hours divided by runtime; excludes replays). Compared to YouTube: The version that later premiered on Rockstar Games’ YouTube channel is sitting at 22.6 million views after seven days (YouTube’s more liberal counting system tallies anyone who viewed even just the first few second.) Compared to other Netflix mega-events: Last year, Stranger Things season 5’s first four episodes, which debuted together, drew a record 59.6 million views in their first few days on Netflix. For more of a live event type of comparison, in 2024, the Jake Paul vs. Mike Tyson boxing match drew 65 million concurrent streams as it happened; Netflix didn’t release live numbers for the GTA premiere. ☁️ Microsoft is changing the way it charges for cloud gaming, from an all-you-can-play offer for Xbox Game Pass subscribers, to caps for the subscription’s tiers (15 hours per month at the Ultimate tier), with the option to buy more hours in bulk beyond that. The company also said it will sell batches of cloud gaming time to non-Game Pass subscribers, details TBA. Microsoft does not release figures for cloud game usage, but said its changes would impact 4% of Game Pass subscribers. That implies a small portion of its subscribers exceed the 15-hour monthly mark. Cloud gaming offers the promise of playing games without the need for console or PC hardware, as the graphics, sound and controls are all transmitted via a streaming connection. Microsoft notes that its cloud gaming service can be used for a range of things, including Xbox One players using it to play newer-gen Xbox Series games via streaming; and people playing games via streaming, sans any console, “in markets where consoles are less available or affordable.” (That latter use case could even be relevant in Xbox’s home market soon, as console prices keep rising.) Take Two Interactive chairman Strauss Zelnick recently told investors he expects game-streaming tech, which has been only lightly adopted by gamers for over a decade, to be widely used within three years. 🇺🇸 The Trump administration has published multiple agenda-driven web video games to the White House’s website. One called Build The Wall partially clones Tetris as it asks players to build a wall to stop a “zombie border siege.” While actual Tetris involves clearing lines and basically not building a wall, the Trump-backed game omits the line-clearing aspect (and omits the fun as well). On Instagram, Tetris’ official license holders reacted by stating: “At Tetris we believe in the power of connection and bringing people together, not dividing them. To our fans everywhere: we love you, we see you, and we’re grateful to have you in our community. P.S. The Tetris Company was not involved in the creation of ‘Build the Wall.’ P.P.S.: We take copyright infringement very seriously.” Item 3: The week ahead: Tuesday, September 8 Game releases: Mewgenics (consoles; already out on PC) is an engrossing tactical combat game (with cats). It is getting its console port right after the release of a Star Wars tactics game and ahead of the late September launch of a Fire Emblem–a bumper crop for the genre. Wanderburg (PC) is an auto-shooting game like Vampire Survivors, but you’re a castle on wheels Event: Nintendo airs a 30-minute Nintendo Direct (10am ET) focused on The Legend of Zelda’s 40th Anniversary. A full unveiling of the upcoming remake of The Legend of Zelda Ocarina of Time is expected. Will they also show footage from next year’s live action movie? Tease the next big 3D Zelda? Add Link to Mario Kart World? Shadow-drop a new Tingle game? Wednesday, September 9 Event: Nintendo again! On this day, they’re planning to air a 45-minute Nintendo Direct (10am ET) focused on games heading to Switch 2 this winter. Followed by about an hour of gameplay demoed by the company’s Treehouse team. The September Nintendo Directs are always some of the year’s biggest. The 2025 edition included announcements of several major 2026 Switch/Switch 2 games: Pokémon Pokopia, Mario Tennis Fever, Yoshi and the Mysterious Book, Fire Emblem Fortune’s Weave. Plus the return of the Virtual Boy. Friday, September 11 Game release: EA Sports NHL 27 (PlayStation, Xbox) is a hockey game. There are so few that an indie studio that had been making wacky sci-fi first-person shooters just announced that, hey, we’re going to fill a void and make a hockey game for PC.
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