Gait Games

**The Heartbreaking Saga of *Fortune’s Run*: Development Stopped Amidst Controversy and Legal Challenges**

*Fortune’s Run*, an immersive simulation and boomer-shooter blend, has drawn the interest of gamers and industry observers. Regrettably, its development narrative has taken a severe and heartbreaking twist, primarily due to the personal difficulties of its lead developer, Dizzie. Once halted owing to Dizzie’s year-long imprisonment, the game is now allegedly “cancelled,” citing its downfall to a multitude of accusations against a prior associate, as well as ongoing legal disputes with Valve, which owns Steam.

Central to the chaos is a widely covered conflict between Dizzie and a former collaborator named Kim. Dizzie claims that Kim was abusive and misused funds earmarked for *Fortune’s Run*, leaving Dizzie in precarious financial circumstances. She asserts that Valve is effectively preventing her from reclaiming ownership of the game by retaining $9,000 that she believes is justly hers. This claim is intensified by Dizzie’s controversial return to prison, where she spent another 25 days before coming back to express her concerns with the gaming audience.

In a passionate and forceful update shared on Steam, Dizzie detailed her challenges, openly discussing the alleged mistreatment she faced. Her message asserted, “Kim abused me and took all of the project’s funds,” presenting a story filled with emotional and financial distress. She voiced her frustration with legal and institutional responses to her predicament, noting that her attempts to press criminal charges against Kim were dismissed as a civil issue. Dizzie’s circumstances are further complicated by her parole stipulations, which have obstructed her from obtaining crucial identification documents.

Amidst the Turmoil, a Ray of Hope

Remarkably, in the midst of the chaotic downfall of her project on Steam, Dizzie has alluded to the chance of pursuing development on different platforms. She has indicated on Discord that it might be feasible to claim ownership of *Fortune’s Run* on alternative sites like GOG and Epic Games Store, although she acknowledges that these platforms yield considerably lower revenues than Steam. While *Fortune’s Run* has reportedly generated around $200,000 on Steam, returns from GOG only total roughly $5,000 over a similar duration.

In another communication, Dizzie highlighted her efforts to navigate Valve’s bureaucratic system, demonstrating the difficulties involved in transferring ownership of the game. Her exchanges with Valve’s support staff uncovered a clear misunderstanding regarding the power to initiate the transfer, emphasizing the intricacies of ownership changes in collaborative ventures.

The online community has responded to the unfolding situation, with *Fortune’s Run* undergoing review bombing. The game’s recent evaluations have been labeled as “Mostly Negative,” although from a limited set of 63 reviews, contrasting with an overall “Mostly Positive” rating from 599 reviews. Dizzie has linked this negative response primarily to campaigns initiated by Kiwi Farms, a contentious online forum.

A Wider Concern at Stake

Dizzie’s predicament highlights broader issues within the gaming sector, especially regarding the management of personal disputes entwined with development endeavors. The hurdles faced by indie creators who maneuver through legal frameworks and public perceptions can result in troubling outcomes not just for the developers, but also for the projects they passionately pursue.

As *Fortune’s Run* remains enveloped in ambiguity, the gaming community eagerly anticipates clarity on the future of both the developer and the game. Initiatives from Valve to assist and support developers in complicated scenarios like Dizzie’s would be immensely beneficial, yet it remains uncertain whether *Fortune’s Run* will secure a new direction or continue to be an unfinished segment of a poignant narrative in the gaming landscape.

**Trump’s White House Arcade: A Contentious Recreation Inspired by Recognizable Games**

Recently, the White House during President Trump’s administration launched an “arcade” section on its official website that includes MAGA-themed versions of popular video games. One of these is a game called *Build the Wall*, which bears a striking resemblance to the classic puzzle game *Tetris*. This new feature has ignited controversy and backlash, including a vigorous response from The Tetris Company, the legitimate owner of the *Tetris* brand.

On September 4, the Tetris Company used Instagram to voice their disapproval of the White House’s use of their intellectual property. They highlighted their view of gaming as a platform for fostering connections among people, stating, “At Tetris, we believe in the power of connection and bringing people together, not dividing them.” The post resonated with their fanbase, which has since flooded the comments section urging the company to take legal action against the Trump administration.

The Tetris Company released a definitive disclaimer asserting they had no role in the creation of *Build the Wall*, reiterating their dedication to safeguarding their copyright. They issued a straightforward message, “P.S. The Tetris Company was not involved in the creation of ‘Build the Wall.’ P.P.S. We take copyright infringement very seriously.” This stance was positively received by fans and the media alike, who are advocating for the protection of creative works against perceived unauthorized usage for political gain.

Should the Tetris Company opt to pursue legal action, it could establish a significant precedent as it would represent the first time a video game company has legally contested a presidential administration over the unauthorized use of its intellectual property in a political arena. This scenario is not entirely unprecedented, given that prior marketing and social media content produced by Trump’s team has featured improper adaptations of franchises like *Persona 5*, *Halo*, and even a MAGA rendition of the *Pokémon* theme.

In March, the Pokémon Company also released a statement distancing itself from these political adaptations. Spokeswoman Sravanthi Dev remarked, “We were not involved in its creation or distribution, and no permission was granted for the use of our intellectual property.” Their goal, she asserted, is to unite the world rather than endorse specific political agendas. Despite their attempts to separate themselves from Trump’s usage of their brand imagery, no legal actions have been taken to date. Reports suggest that officials in Japan are advocating for an end to these practices, indicating a broader international concern regarding the exploitation of cherished gaming and anime franchises.

As the controversy continues, the question lingers: will the Tetris Company take action against the White House’s appropriation of its game, or will it follow the lead of other companies that have opted for silence? The situation remains dynamic as the intersection of politics and gaming culture progresses, drawing public attention to the ramifications of copyright in political discourse.

### Interior: My Home Office

Within a snug home office, a gathering of legendary vampires congregates around a couch, captivated and amused by the latest video game, *The Blood of Dawnwalker*. Present are Daniel Molloy, Vampire Armand, Louis de Pointe du Lac, Lestat de Lioncourt, and their daughter Claudia de Lioncourt de Pointe du Lac. Their feedback on the game reflects a combination of intrigue and critique, showcasing their unique personalities and historical viewpoints on both humanity and gaming.

#### A Veteran’s Perspective

Daniel, identifying as a journalist, reminisces about his limited engagement with video games, comparing their progression to his childhood recollections of *Pac-Man*. His remarks convey a sense of nostalgia for more straightforward times, yet he swiftly acknowledges the technological advancements and narrative complexity that have emerged since.

#### Aesthetic Expectations

Armand, with his discerning taste for beauty, is displeased with the portrayal of the leader vampire in the game, criticizing it for not conforming to the traditionally romantic images associated with vampires. This reaction illustrates the group’s ongoing investigation of identity, aesthetics, and moral conflicts inherent to their eternal lives.

#### The Curious Child

Claudia’s youthful exasperation becomes apparent as she interjects, challenging Armand’s assertions and emphasizing her own preference for vampire-focused storylines in the game. Her boldness underscores her battle against being viewed solely as a child while revealing her gothic intrigue regarding the darker facets of their existence.

#### The Drama of the Past

Lestat, exhibiting both sarcasm and nostalgia, reflects on the tumultuous events of history he has lived through, showing a mixture of pride and regret for not having been part of the chaos of the Black Plague. His theatrical nature persists, even in the context of a contemporary game.

#### Humor and Conflict

In a rapidly escalating exchange of banter, Daniel and the vampires exchange clever quips about the game’s mechanics, such as the oddly specific tasks of wood chopping and finding pigs, implying that perhaps gaming hasn’t progressed as significantly as he first assumed. Claudia’s desire for violence and action introduces a darker tone, leading to a humorous clash of philosophies within the group, with Louis questioning the glorification of violence.

#### A Tapestry of Relationships

The intricate relationships among the characters unfold through playful teasing and serious assessments. Lestat’s jibes about Louis’ self-hatred and his own contentious history generate both tension and laughter. Armand challenges the plot’s believability regarding the inexperienced hero’s ability to confront an ancient vampire lord, contrasting their lived realities with the game’s storytelling conventions.

#### The Intersection of Worlds

As their gaming experience unfolds, familiar themes from their vampiric existence blend with the fictional universe of the game. Ideas of power, love, and ethical decisions permeate their discussions, along with their disdain for the mundane elements depicted within the game. Claudia’s fascination with the grotesque elements of vampirism in the game echoes a deep-seated curiosity about the macabre.

#### Concluding Thoughts

In this lively dialogue within a home office, laughter intertwines with philosophical reflections on life, death, and the essence of existence—both as vampires and within a virtual sphere. The scene captures not only their responses to a video game but also reflects on enduring questions of identity, ethics, and what it means to be. Amidst humor and banter, they contend with their pasts and the peculiarities of both vampirism and contemporary society—a poignant reminder of how history molds our current experiences, even within fantastical settings.

# Star Wars Zero Company: A Strategic Odyssey in a Galaxy Far, Far Away

## Introduction
Let’s address this right away. Indeed, EA and Bit Reactor’s latest tactical *Star Wars* game, [*Star Wars Zero Company*](https://kotaku.com/star-wars-zero-company-everything-we-know-about-the-xcom-inspired-strategy-game-2000682244), resembles a contemporary *XCOM* title both in gameplay and aesthetics. With the studio founded by *XCOM* art director Greg Foertsch, the resemblances are clearly intentional. However, the lingering question is: does *Star Wars Zero Company* establish its own identity in the gaming realm, or does it simply come off as an inferior overlay of a well-known tactical strategy title? After investing close to 30 hours and finishing the game, it’s evident that Bit Reactor has produced something remarkable, leveraging the expansive *Star Wars* universe to design an engaging tactical adventure.

## Setting and Storyline
*Star Wars Zero Company*, available on consoles and PC, takes place during the closing stages of the Clone Wars, a crucial time shown in the prequel films and the *Clone Wars* animated series. Players take on the role of Hawks, a former Republic captain removed from duty after a mission goes awry. Now at the helm of a small mercenary team featuring diverse characters like Runa, the Togruta second-in-command, the wounded Clone soldier Trick, a former alien boxer known as Kabbney Uppercut, and the Lesat smuggler Neesh, Hawks embarks on clandestine missions for the Republic to confront a nefarious cult led by the mysterious Fathom, who possesses a supernatural ability to control her followers.

Throughout its 20+ hour storyline, *Zero Company* presents an immersive *Star Wars* tale that competes with many recent live-action projects. Filled with plot twists, thrilling appearances from legendary figures such as Anakin Skywalker, and a narrative arc that feels authentically *Star Wars*, the game keeps players engaged in its evolving story. The story’s conclusion left many players eager for more, even as it offered a satisfying finale.

## Character Interactions and Development
A highly lauded aspect of the game is the interpersonal relationships among the characters. By the conclusion of the journey, Hawks assembles a diverse cast, including former Separatists, Republic clones, outlaws, Jedi, and bounty hunters. The chemistry between these characters, enriched with unique dialogue and backstories, makes returning to base a delightful experience. The game includes a comprehensive dialogue system that rarely recycles lines, rewarding players who invest in their crew and monitor the evolving relationships that impact gameplay.

For instance, the growing camaraderie between Trick and an Umbaran sniper named Luco—originally enemies in the Clone Wars—adds unique narrative depth and emotional stakes, especially given that characters can meet permanent ends, amplifying the significance of player decisions.

## Tactical Combat
From a gameplay perspective, *Star Wars Zero Company* will satisfy fans of tactical strategy. Players can deploy up to four squad members on missions, each fulfilling particular roles—like sniper, medic, or gunslinger—that confer distinct abilities and tactical edges. Players typically encounter immediate combat 80% of the time upon arriving at a mission, with each character granted three action points to manage across movement, attacks, and special maneuvers.

The turn-based combat is where *Zero Company* truly excels. Objectives in missions vary—from fending off waves of foes to disarming explosives or saving civilians—offering a varied gameplay experience that keeps players alert, despite occasional map repetition. The combat system of the game skillfully balances player choices, ensuring that each turn entails strategic decisions while avoiding overwhelming players.

## Mixed Moments
While *Zero Company* excels in numerous aspects, it does have its imperfections. Players should prepare for some camera problems, awkward lulls during battles, and graphical anomalies. Certain sections necessitate navigating in third-person mode, which can feel prolonged and unnecessary, detracting from the overall pacing.

Performance issues are also a notable concern, primarily visible during larger confrontations where the game may freeze momentarily or suffer significant frame rate drops. Such technical hurdles can disrupt the flow of exhilarating encounters and diminish immersion.

## Summary
In summary, *Star Wars Zero Company* is both an outstanding addition to the *Star Wars* gaming legacy and a title that struggles with a series of technical issues. Despite its drawbacks, the captivating storyline, character dynamics, and thrilling tactical combat render it a must-play, particularly for strategy game enthusiasts.

As it stands, the game’s potential is clear, yet its performance problems may hinder some players. Nevertheless, with potential future patches and support, *Star Wars Zero Company* has the ability to transform into an exceptional title worthy of recommendation for anyone who enjoys *Star Wars* and turn-based tactical gameplay.

**The Consequences of Xbox’s Overhaul on Game Studios: An In-Depth Examination of Double Fine**

Recently, speeches about Xbox’s major reorganization, which encompasses around 3,200 job cuts, have sparked a divided conversation within the gaming sector. At the heart of this discussion are the perceived shortcomings of Game Pass and the ramifications for studios affiliated with Xbox. Xbox CEO Asha Sharma has defended these job cuts as an essential action in light of decreasing profits, launching a dialogue about the accountability for these difficulties.

The emphasis on Game Pass, a service designed to boost subscriber growth by providing a wide selection of games, is particularly striking. For many years, Xbox has focused on ensuring a consistent stream of games for Game Pass, deliberately trying to attract gamers who may not find traditional titles appealing. Nevertheless, this strategy has faced backlash, especially from affected studios, which some assert should not have to shoulder the consequences of leadership tactics that may not have worked.

One studio that has attracted attention in this discussion is Double Fine Productions, recognized for its eccentric and unconventional games. Founded by Tim Schafer, Double Fine is viewed as a smaller and more specialized creator within Xbox’s array. Critics have frequently pointed to the studio’s seemingly disappointing sales as proof of their risk on distinctive concepts at the cost of broader market attractiveness. However, Schafer expressed a contrasting viewpoint in a recent interview with Bloomberg, defending the studio’s artistic decisions.

Schafer underscored that the studio never consciously aimed to design games likely to fail. He claims that titles such as *Keeper*, although seen as niche by some, possess significant mass market potential. “I think people might say, ‘Oh, *Keeper* seems like this art house project that nobody expects to succeed.’ But for me, it’s the type of game that someone who doesn’t typically play games would enjoy,” he stated, conveying his confidence in the game’s wider appeal and the opportunity to engage new players.

The original concept behind Game Pass was to alleviate the typical volatility found in the gaming industry by creating a more stable and predictable revenue growth. By providing an extensive range of games, Xbox sought to entice players who primarily view gaming through mainstream titles like *Madden* and *Call of Duty*. Despite the strategy’s noble aim, its effectiveness has been questioned. Schafer’s remarks suggest a persistent optimism for *Keeper*, which has recently launched on PlayStation 5, perhaps finding a more welcoming audience on that platform.

Looking forward, Schafer noted that Double Fine will persist in seeking new possibilities, including potentially creating ports and remasters while generating ideas for upcoming projects. The studio’s dedication to innovation amid the precarious terrain of the gaming industry highlights both the obstacles and determination faced by developers in the aftermath of significant corporate restructuring. As the gaming community watches the aftermath of Xbox’s overhaul, the destiny of studios like Double Fine will remain an essential element of the broader story about the changing gaming landscape and the strategies that will support it moving forward.

**Double Fine’s Path to Self-Sufficiency: A Fresh Creative Era**

Earlier this summer, Double Fine Productions, a cherished game development studio recognized for titles like *Psychonauts* and *Brütal Legend*, confronted the alarming possibility of closure. However, in an astonishing twist, the studio has reclaimed its independence and is launching a new $400,000 Kickstarter campaign aimed at nurturing creativity and innovation through its upcoming game jam.

Tim Schafer, the founder of the studio and a well-known personality in the gaming sector, recently shared reflections on this challenging time in an interview with *Bloomberg*. Despite the anxiety derived from the potential shutdown, Schafer conveyed a feeling of opportunity and development: “Some people said: ‘I’m checking out, this is one too many battles for me.’ But for the rest of us, it’s like a creative awakening.”

Double Fine’s recent efforts include the critically acclaimed yet commercially lacking *Keeper*, released in 2025, and the less positively received pottery game *Kiln*, launched earlier this year. The studio, now independent again, did not come out unscathed; it had to let go of 23 employees, and some initial backing from Microsoft, which helped in their transition under Xbox’s guidance, is running low. Despite these challenges, the creative freedom associated with independence invigorates the team, sparking a refreshed sense of urgency and ambition.

Schafer compared his position to that of a captain steering through rough seas, voicing his frustrations about the industry’s hurdles while concentrating on guiding his “little fishing boat” through the chaos. He underscored the need for adaptability and resilience in a field rife with unpredictable situations: “The games industry is full of terrible things, and I can’t change most of them… Just keep this little boat afloat.”

The studio’s connection with Xbox offered various advantages, but as leadership shifts occurred—with Asha Sharma taking over from Phil Spencer—Double Fine encountered a new trajectory that didn’t align with its creative aspirations. “We had a mutually beneficial mission… and then their mission changed,” Schafer remarked, suggesting that the studio’s ability to flourish was hindered as Xbox’s emphasis moved away from creating exceptional games for Game Pass.

The abrupt choice by Xbox to divest from Double Fine surprised the studio, leaving Schafer with lingering questions while he navigated the evolving landscape. Rather than succumbing to resentment, he opted to unite his team and the broader community. Schafer has been proactive in advocating for Double Fine at events, such as PAX West, where he engages directly with fans and supporters.

In defining his leadership essence, Schafer asserted, “No one puts Double Fine out of business except for me.” This statement embodies his resolve to safeguard the studio’s future and highlights his dedication to preserving the creative vision that has characterized Double Fine throughout its history.

With this regained independence, Double Fine stands at a pivotal moment, brimming with opportunities and challenges ahead. As Schafer and his team embark on this new chapter, the gaming community eagerly looks forward to the fresh ideas and groundbreaking creations that will arise from this iconic studio.

**Previewing 1001 Threads of Mizan at Gamescom 2026: A Leap into Controversy**

Gamescom 2026 has emerged as a fascinating venue for surprising game unveilings and insights from developers. A key moment this year was the introduction of *1001 Threads of Mizan*, a game rich in the tales of *One Thousand and One Nights*. This preview sparked inquiries not just about the game, but also regarding the environment in which it was created, especially given the substantial impact of Saudi Arabia’s Public Investment Fund (PIF) on the gaming sector.

### The Build-Up to the Reveal

Participating in a preview at an occasion like Gamescom usually carries an air of intrigue, as was evident this year. An invitation for a “Brand New Studio and Game Preview Opportunity” arrived with scant details, a typical tactic to lessen leaks. Nonetheless, curiosity drove many, myself included, to embrace the uncertainty, motivated by suggestions that the game would be remarkable post-reveal.

When *1001 Threads of Mizan* was disclosed during Opening Night Live, the reasons for its prominent billing became clear. Created by MBC Game Studio—an entity under the Saudi government’s influence—it aims to weave narratives from a vibrant cultural heritage into a modern gaming framework. As pointed out by industry analyst Daniel Ahmed, the studio positions itself as a trailblazer for Saudi Arabia’s video game development within the global market.

### The Broader Context of Saudi Investment in Gaming

This enthusiasm for video games forms part of Saudi Vision 2030, a strategy designed to diversify the economy and diminish dependence on oil. Consequently, Crown Prince Mohammed bin Salman has authorized considerable investments across various sectors, notably in entertainment and esports. This environment is intricate, with investments frequently characterized as “sportswashing,” or attempts to enhance the country’s international image amid its human rights issues.

The acquisition of firms like SNK and Electronic Arts by Saudi entities underscores a strategic move into gaming, aimed at both economic diversification and cultural sway. These developments place new titles such as *1001 Threads of Mizan* at the confluence of entertainment, culture, and global affairs.

### Developing *1001 Threads of Mizan*

During the preview, creative director Lars Bonde provided vital insights into the game’s creation, underscoring its potential to showcase underrepresented cultures. He remarked that the *One Thousand and One Nights* IP encompasses a plethora of storytelling possibilities that remain largely unexplored in gaming.

However, discussions surrounding funding and the studio’s affiliations were significantly unclear. Bonde claimed that the studio enjoys creative liberty beneath MBC’s umbrella, a major media force in the Middle East and North Africa. Nevertheless, questions regarding the specifics of their financial support, particularly about the PIF, were met with ambiguity, suggesting a cautious stance towards the intricate implications of their developmental context.

### Responses from the Preview

The preview session was marked by a blend of excitement for the gameplay and complexities arising from the political setting. As players traversed gameplay elements like flying carpets and participated in cooperative boss battles, queries regarding the wider implications of endorsing a government with a problematic human rights record loomed large.

Even with the freshness of the gameplay and the potential for rich storytelling, the experience encouraged critical introspection on personal values and the fight for representation. The reality that the game is supported by a regime that is directly antagonistic to the rights of LGBTQ+ individuals adds further layers to this narrative, prompting many participants, including myself, to wrestle with the ethics of supporting such an initiative.

### Conclusion

*1001 Threads of Mizan* presents a distinctive perspective in gaming, viewed through a lens that merges cultural representation with political contexts. The game itself, as it was previewed, shows promise as a collaboration of diverse talents and narrative techniques. Yet, it also serves as a stark reminder of the extensive issues within the industry connected to funding, governance, and societal values.

As the gaming community continues to engage with projects from entities like MBC Game Studio, the hope is that this engagement encompasses dialogues about the ethical ramifications of backing initiatives linked to contentious governments. How *1001 Threads of Mizan* will navigate these complexities is still uncertain, urging us to reflect on how to reconcile our passion for gaming with our dedication to ethical principles.

There’s a holiday weekend approaching. Looking for something enjoyable to play? Here are five games that are all fantastic and currently very affordable on Steam.

## *Tomb Raider* (2013)
What if *Uncharted* resembled a Metroidvania more closely? That’s one of the queries raised in the inaugural game that launched the contemporary *Tomb Raider* resurgence. It features excellent bow-and-arrow gameplay and a compelling narrative, and it’s presently [only $3 on Steam](https://store.steampowered.com/app/203160/Tomb_Raider_Game_of_the_Year/). Alternatively, you can grab the entire *Survivor* trilogy for just under $11 (until September 7).

> From the *Kotaku* review:
>
> “The aspirations of the Crystal Dynamics creative team are palpable in the design of the game’s various elements. The presentational aspects—story, dialogue, voice acting, and art design—all shine. Some characters might lean too heavily on stereotypes, but not to an extent that becomes truly bothersome. This game is also visually stunning, with impressive animations and modeling/texture work that’s overflowing with vibrant, ghastly detail in both the characters and environments.”

## *Shadow Tactics: Blades of the Shogun*
Rich atmospheric strategy and exceptional level design set in Japan’s Edo period. That’s what *Shadow Tactics* delivers, a strategy title that sparked a resurgence in real-time isometric stealth gaming. Usually priced at $40, it’s [currently only $4](https://store.steampowered.com/app/418240/Shadow_Tactics_Blades_of_the_Shogun/?curator_clanid=4777282) on Steam.

> From the *Kotaku* review:
>
> “What keeps me examining every map, more than even the strategies and planning, is how beautiful everything appears. There’s a delightful toy-like quality to the game’s world, as if it’s a large diorama crafted by master artisans, and it’s a joy to find moments to simply move the camera around and absorb everything, from the gentle flow of a river to the activities of townsfolk, to the mayhem of a battle unfolding at the map’s perimeter.”

## *Grim Dawn*
It’s not *Warhammer*, it’s [*Grim Dawn*](https://kotaku.com/after-six-years-in-development-this-action-rpg-is-fina-1760756925). Regarded as a spiritual heir to *Diablo 2* upon its release a decade ago, this action-RPG transports isometric looting to a distinctive, Victorian-inspired apocalyptic fantasy realm. It was always recognized as being more hardcore than the pure sugar rush of some loot-driven *Diablo*-esque titles, but recent updates have shifted it more towards a top-down Soulslike, much to the dismay of some long-time supporters. For others, that’s a bonus.

If you’ve never ventured into this genre before, you can currently do so [for just $3.75 on Steam](https://store.steampowered.com/app/219990/Grim_Dawn/). No *Kotaku* review for this title, so you’ll need to rely on the 94-percent positive rating from Steam users.

## *A Plague Tale: Innocence*
*A Plague Tale: Innocence* stands out as a visually stunning and evocative stealth adventure. There are echoes of *The Last of Us* here, viewed through the perspective of a rat-infested Europe in the 1300s. It’s somewhat like a 8-to-10-hour playable movie, but a very compelling one. You can try it for [just $4 on Steam right now](https://store.steampowered.com/app/752590/A_Plague_Tale_Innocence/), and it serves as an ideal follow-up if you recently played the action-driven prequel, [*Resonance: A Plague Tale Legacy*](https://kotaku.com/resonance-a-plague-tale-legacy-the-kotaku-review-2000727936), without having already experienced the previous installments of the series.

> From a spoiler-filled *Kotaku* article:
>
> “It’s been such a long time since a game has genuinely terrified me that *A Plague Tale: Innocence* completely caught me by surprise. Tense, chilling, and meticulously crafted, *Plague Tale* excels at invoking a feeling of total helplessness. Set in late 1349 in Aquitaine, France, the medieval backdrop is one of the game’s strengths, setting it apart with the context of a dark, and tragic, history.”

## *Guardians of the Galaxy*
Five years later, it still appears that *Guardians of the Galaxy* has not received the acknowledgment it deserves. Detracted by the chaos surrounding the live

**CS2 Tracker’s Slurs Monitoring Feature Causes Debate in Counter-Strike 2 Community**

CS2 Tracker has recently introduced a new function called “Slurs Monitoring” for Valve’s Counter-Strike 2 (CS2), which has regrettably resulted in a noticeable rise in the use of racist and offensive language within the game. Players, now motivated to compete on slur-related leaderboards, are allegedly increasing their use of slurs to boost their standings.

Following the feature’s rollout, Kotaku reported that a considerable portion of players in the highest ranks for terms such as the “n-word,” “r-word,” and “f-slur” exhibited relatively low levels of usage beforehand. However, the latest statistics indicate that the minimum usage count for the “n-word” category has surpassed 976 instances. Content creator Thour observed that the link between the feature’s introduction and the surge in offensive language was not merely coincidental. He contended that players are more frequently using racist and abusive language to improve their leaderboard standings.

The response from players has been predominantly negative, with many openly recognizing their involvement in this competition. A striking instance includes the third-ranking player in the “n-word” category, who stated in their chat logs a commitment to achieve the top rank on the hate speech leaderboard.

In spite of these occurrences, Valve’s stance on the matter remains ambiguous. Players have expressed dissatisfaction with the game’s inadequate language-filtering systems since its launch, which seem to prioritize third-party marketplaces for weapon skins over in-game chat. The community has also raised alarms about the increase in cheating, with wall-hacking and auto-aim cheats becoming more prevalent, leading to critiques of Valve’s inability to address such conduct.

Kotaku has reached out to Valve for comments regarding their intentions to tackle the concerning rise in racist and homophobic language within CS2, but a response has yet to be given.

The situation underscores a significant challenge for the CS2 community and emphasizes the risks of promoting toxic behavior through competitive features.

The Moonlighter games cast you as Will, a dungeoneer-merchant hybrid, delving into randomly shifting combat arenas by night and selling the treasures you unearth there by day. In the dungeons, you fight various monsters and beasties and are then offered upgrades to your combat build or a handful of relics you must fit in your bag. In the shop, you figure out how to get the best price for these items. And then you spend that money on upgrades that help you to dungeon delve better and start all over again.

All this time, you will be thinking about multipliers.

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