From the studio behind the Warhammer titles, Mordheim: City of the Damned, and Necromunda: Underhive Wars, comes a fresh project developed internally with Nacon handling the publishing. The game studio Rogue Factor, based in Montréal, Canada, is finally poised to create an original IP game: Hell Is Us. This forthcoming third-person action-adventure video game is scheduled for release on September 4th, 2025, across PC, PlayStation 5, and Xbox Series X|S.

As the release date approaches in fall 2025, CGMagazine engaged with members of the Rogue Factor team to gain deeper understanding of the studio and the creation of Hell Is Us. Creative director and art director Jonathan Jacques Belletête, founder and head of Rogue Factor Yves Bordeleau, and audio director Antoine Vachon discussed facets such as the audio design, visuals, combat, inspirations, and overall atmosphere of the game.

This marks Rogue Factor’s first original IP game, yet the team boasts significant experience. What characterizes Rogue Factor’s culture and community-building—what is that unique element?

Yves Bordeleau: Excellent question. The key aspect is our long history together. When I founded the studio, we were a very small team. Several individuals here are people I’ve known and collaborated with for the past 20 years. It feels very family-like. We’re a small family that began by developing Warhammer games.

Then Jon [Jonathan Jacques Belletête] reached out, and we were like—

Jonathan Jacques Belletête: I said, ‘Hey there! I’m done with [AAA] games.’

(Everyone laughs)

Yves Bordeleau: [That’s when I replied], ‘Let’s do it.’ Jon brought a wealth of the AAA experience, along with the high-level principles necessary for crafting quality titles. I contributed the scrappy, resilient indie mentality. We essentially formed Voltron together. (Everyone bursts into laughter).

Jonathan introduced some of his team from Deus Ex: Human Revolution, and I brought my entire crew. That guy (gestures to Antoine Vachon) was employed by a buddy of mine, and after sharing a beer together, I managed to persuade him to join us.

Antoine Vachon: My background is more indie. What I can say about Rogue Factor is that we’re [situated right between indie and large studio]. We’ve retained the creative freedom of an indie team, despite our scale.

Yves Bordeleau: We have about 62 members on board, with 55 developers contributing to [Hell Is Us]. Everyone here is a seasoned [developer] with a wealth of experience.

Jonathan Jacques Belletête: [Hell Is Us] sits within the AA range. It wasn’t prohibitively expensive, but it wasn’t inexpensive, either. It looks more costly than it is. This is due to our multi-talented team and the abundance of experience we have.

In my honest opinion, [Hell Is Us] is nearly a flawless game, acknowledging that no game is truly perfect. Resident Evil 4 on GameCube had lengthy and tedious segments in the castle, and BioShock’s shooting mechanics don’t compare to Call of Duty. Aesthetically, [Hell Is Us] isn’t perfect. However, when considering its pricing, [everything fits].

Yves Bordeleau: Having everything produced in-house is a major advantage. Instead of being a colossal, cumbersome vessel, we operate like a swift speedboat. We can quickly adapt and execute iterative changes, which significantly benefits us. That’s the enchantment and fortune of [Rogue Factor].

Jonathan Jacques Belletête: Indeed, fortune. We’re fortunate to have built what we have. We’re genuinely pleased with it!

Yves Bordeleau: A crucial moment for us was when we were acquired by Nacon; that’s when we realized we might have the chance to develop our first original IP. Having talented individuals like Jonathan and the experienced personnel from [entities such as] Eidos-Montréal and Warner Bros. [Games Montréal] greatly enhanced our creative process.

Hell Is Us unveiled its initial teaser trailer in 2022, coinciding with the full reveal of Unreal Engine 5. Knowing Hell Is Us utilizes Unreal Engine 5, how did that influence its development?

Yves Bordeleau: We have a great rapport with the folks at Epic Games. We’ve collaborated with them previously. The tools and innovations introduced with Unreal Engine 5 significantly aided

Taking a quick look at future endeavors, Game Con Canada hosted its inaugural GCC Studio Showcase featuring Devolver Digital, Bloober Team, and several others.

Returning for its third iteration, Game Con Canada takes place from June 13 to 15, offering a venue for gamers to engage in video and board games, cosplay, participate in workshops, and meet special guests. On the first day of the expo, with CGMagazine’s Dayna Eileen as part of the panel, Game Con Canada hosted its first annual GCC Studio Showcase, providing an exclusive preview and highlights of titles from Focus Entertainment, tinyBuild, Devolver Digital, and Bloober Team.

The initial GCC Studio Showcase was held on the Intel Gaming Mega Stage, showcasing forthcoming titles from four prestigious studios, alongside Hollywood celebrities, influencers, and developers. For those who couldn’t attend or prefer a summary, here is a list of studios that took part in the Game Con Canada Studio Showcase to unveil their games:

tinyBuild

Beginning the GCC Studio Showcase, tinyBuild revealed two forthcoming games. The first was Sand, an open-world PvPvE extraction shooter created by Hologryph and Towerhaus and published by tinyBuild. Set in 1910 after the Austro-Hungarian Empire’s colonization of space, players navigate the perilous planet Sophie on massive walkers known as Tramplers. To thrive, players must enhance and upgrade their Tramplers, combat other players and creatures, and explore to collect essential resources. Sand is set to launch in 2025, with a wishlist currently available on Steam.

The second title introduced was Kingmakers, crafted by Redemption Road Games and published by tinyBuild. As elite agents, players go back to 15th-century England to alter history and avert a future apocalypse — either solo or with up to three friends. Carrying the fate of the world, players wield a range of military weapons and vehicles to confront AI-led medieval forces while devising strategies against varying unit types. Kingmakers Early Access launches on Steam on Oct. 8, 2025.

Focus Entertainment

Created by Hutihut Games and published by Focus Entertainment, Void Crew is a co-op roguelite game set aboard a spaceship. Played solo or with up to six friends, participants adopt different roles on a customizable spaceship, complete missions, and fend off hostile aliens and space pirates that test your untrained crew’s limits. In addition to facing threats, players can invest time in upgrading their ship and personalizing their characters. Scheduled for release on Steam in November 2024, Focus Entertainment attended the GCC Studio Showcase to promote the game and host a Void Crew giveaway.

Devolver Digital

Crafted by Pigeons at Play and published by Devolver Digital, the publishing team presented a co-op first-person shooter, Mycopunk. Joining the game solo or with friends, players become part of the Atlas Hazard Crew, a team of robots tasked with eradicating fungal infections from the galaxy. During their mission, players can select and enhance various weapons, create distinctive builds, and relax in an orbital dropship brimming with toys and games. Mycopunk is on its way soon, with a demo currently available on Steam.

Bloober Team

From the creators of Silent Hill 2 (2024), Bloober Team has unveiled insights into their upcoming third-person sci-fi survival horror title, Cronos: A New Dawn. Set in a post-apocalyptic world, players embark on a mission to salvage the future by protecting the past, seeking and gathering the essence of those lost during the apocalypse. Although challenges abound, players must manage resources, explore the New Dawn area, battle creatures, and confront the hauntings of essences trapped within their suit. Cronos: A New Dawn is set to launch in fall 2025 on Steam, Xbox Series X|S, and PS5.

From June 12 – 16, 2025, Game Con Canada Powered by TELUS will feature a Steam page throughout the expo, highlighting games showcased at the GCC Studio Showcase. In addition to the titles mentioned, the store page has spotlighted RoadCraft, Warhammer 40,000: Space Marine, Teenage Mutant Ninja Turtles: Splintered Fate – Casey Jones & the Junkyard Jam DLC, and many others.

That sums up every game showcased at the GCC Studio Showcase from the studios that participated in the event. Gamers can check out the Game Con Canada website for more information about the expo and look forward to next year if they couldn’t make it this year.

In an unexpected strategic change, GameStop CEO Ryan Cohen revealed that the company will shift its focus towards trading cards instead of video games, following the announcement of their Q1 2025 financial results. This choice arises as trading card sales have skyrocketed, representing 29% of the company’s total sales, eclipsing video game sales. GameStop has been improving its trading card offerings, such as in-store card grading by PSA and online sales of graded cards.

Moreover, GameStop revealed a substantial investment in cryptocurrency, acquiring 4,710 Bitcoin from May 3 to June 10, 2025, amounting to nearly $500 million. This action occurs amidst Bitcoin’s fluctuating market, where prices varied between $102,000 and $112,000 in May 2025.

The financial report also pointed out a 23% decline in GameStop’s stock since June 9, partially due to issues during the launch of the Nintendo Switch 2, where customers reported damage caused by receipts being stapled to the console’s packaging.

GameStop’s quarterly earnings report can be found on their official website, although the company has not yet addressed the Nintendo Switch 2 concerns or their departure from video games.

Sony issued a statement today reaffirming its dedication to live service games, despite challenges like the setback of “Concord.” The company has announced a release date for “Marathon” by March 2026. Over the last four years, Sony had promised to deliver 12 new live service games by 2026, but numerous projects have encountered cancellations or delays. “Concord,” created by Firewalk Studios, was a significant flop, with a reported budget of $400 million and only 25,000 units sold before it was removed from the marketplace.

Fans are worried about the impending live service shooter “Marathon” by Bungie. PlayStation Studios CEO Hermen Hulst addressed these worries during a business call, asserting that live service continues to be a vital opportunity for Sony, despite mixed feedback regarding “Marathon.” Hulst recognized the competitive market difficulties encountered by “Concord” and highlighted that Sony has examined its processes to prevent repeating previous errors.

“Marathon” has also been embroiled in controversy over allegations of utilizing stolen art assets. Game Director Joe Ziegler and Art Director Joe Cross acknowledged the problem and offered apologies during a livestream, vowing to conduct a comprehensive review of their assets to guarantee originality.

Hulst concluded by sharing enthusiasm for “Marathon’s” upcoming release, confirming it will debut by the end of March 2026.

**Warhammer 40K: Space Marine – Master Crafted Edition Encounters Backlash Amidst Mixed Feedback**

The gaming community is buzzing with the recent launch of the revamped version of the original *Warhammer 40K: Space Marine*, dubbed *Master Crafted Edition*. While some enthusiasts were eager to revisit Captain Titus’ adventure on contemporary platforms, the release has faced considerable criticism and controversy.

**Community Reactions and Critiques**

Following its debut on June 10, *Master Crafted Edition* swiftly became a contentious subject among fans, especially on sites like Reddit and Steam. A Reddit discussion titled “*Warhammer 40,000: Space Marine Master Crafted Edition* is a disaster” underscores the discontent among gamers. Numerous fans have described the launch as a “cash grab,” linking it to the success of *Space Marine 2*. The remaster has encountered severe bugs that hinder gameplay, prompting some to claim that the 2021 *Anniversary Edition* delivers a superior experience.

On Steam, the game has a “mostly negative” rating, with many users recommending the *Anniversary Edition* instead. The difference in pricing has also sparked debate, with the *Anniversary Edition* available for $7 in the past, whereas the *Master Crafted Edition* is set at $39.99.

**Platform-Specific Opinions**

Interestingly, the feedback on Xbox has been more favorable. Certain players have praised the remaster, reminiscing about the nostalgic Xbox 360 gameplay. The availability of the *Master Crafted Edition* in the Xbox Game Pass has likely fostered this positive perception, as subscribers can enjoy the game at no extra expense. This is in contrast to other platforms, where players are required to pay the full retail price.

**Awaiting an Official Statement**

As discussions persist, SEGA and Relic Entertainment have yet to respond to the backlash. Fans are keen to learn if any updates or patches will be issued to tackle the issues highlighted by the community.

In summary, although the *Master Crafted Edition* has garnered some appreciation among Xbox users, the larger gaming community remains split. The ongoing conversations emphasize the difficulties of remastering cherished titles and the need to fulfill fan expectations.

During a hands-off showcase at Summer Games Fest, Onimusha: Way of the Sword quietly surfaced as one of the most thrilling prospects on the horizon. Capcom allowed the game to convey its message. What it expressed, resoundingly, is that they’re not merely resurrecting Onimusha to tap into nostalgia. They’re reconstructing it from the ground up.

It has been almost twenty years since Onimusha was regarded as a cornerstone of Capcom’s catalogue. However, with recent remasters and Way of the Sword approaching, the studio is treating this comeback as a special occasion. This isn’t just a minor spin-off; this is a comprehensive installment with significant impact, and a distinct creative vision driving it. It proudly showcases its influences, particularly from samurai cinema and modern action mechanics, yet it never comes across as derivative.

Set in a stylized rendition of feudal Kyoto, the game centers on Miyamoto Musashi, not the philosophical warrior of lore, but a younger fighter visually and vocally inspired by Toshiro Mifune, an iconic Japanese actor and producer celebrated for his contributions to the samurai film genre. That casting decision carries substantial weight. It roots the game in a very particular cinematic period, one characterized by black-and-white duels and striking silhouettes.

Musashi isn’t merely dispatching bandits, of course. The supernatural elements are integrated from the outset. He wears the Oni gauntlet on his arm, a cursed object that enables him to absorb the souls of his adversaries. While many contemporary action games might simplify this into an auto-collection system, Way of the Sword incorporates it as an active mechanic. Enemies release red, blue, and yellow orbs upon dying, representing experience, skills, and health, respectively, which Musashi must manually gather. If he fails to do so, they vanish or, worse, are seized by other foes who enhance their power. This twist introduces a genuine tension to every encounter. It’s refreshing to see that this mechanic remains intact amidst the series’ modernization.

Combat ascends to a new height with the return of the Issen. Series veterans are well-acquainted with the term. These are instant-death counters that activate with perfect timing and appear truly impressive. Capcom has evolved them from a subtle flourish to a focal point. Time slows, the camera zooms in, and Musashi links together one-hit kills that feel like they’re pulled straight from a Kurosawa dream sequence. And the most thrilling aspect is its expressiveness.

We caught only a glimpse, but another hinted boss, Byakue, resembled a full-blown nightmare—a colossal, skinless creature adorned with talismans and oozing corruption. The confrontation was abruptly halted, but the visuals alone conveyed enough. This game isn’t shy about embracing the bizarre, and it expertly cultivates dread without excessive exposition.

The supernatural aspects in Way of the Sword extend beyond the battlefield. Musashi can utilize Oni Visions to uncover hidden paths, phantoms, and clues. In one segment, he observed a funeral procession disintegrate into ash mid-step, unveiling his route. In another vision, he unveiled the moments of a warrior whose soul had been warped by remorse after slaying members of his village. These Dark Mass fragments enrich the narrative with layers of context and sadness, developing a world that already exudes haunting qualities.

From a presentation standpoint, Way of the Sword is breathtaking. The art direction is carrying most of the weight, but the animation quality enhances the overall experience. Musashi’s stance appears to adjust subtly based on the foe he confronts. Even his idle poses seem infused with purpose. Enemy design is equally striking.

What is perhaps the most thrilling is how assured everything feels. Capcom isn’t doubting what Onimusha should embody. They’ve rediscovered it. Not by recreating what once was, but by distilling what made it resonate and letting it resonate in a new key. It’s fierce, beautiful, and boldly allows silence to convey meaning when necessary.

There’s still a lot we haven’t witnessed. The complete narrative arc, the expansiveness of the map, how far the mechanics develop. But if the remainder of Way of the Sword maintains this momentum, Capcom isn’t merely resurrecting a franchise; they’re reminding everyone why it mattered in the first place.

It should likely go unsaid that when I first encountered *Mouse: P.I. For Hire*—originally just called *Mouse*—I was instantly captivated. It was yet another one of those titles that appeared on one of my social media feeds, and I was enamored with its concept. I’ve previously noted that I’ve genuinely enjoyed the fusion of 2D characters within 3D settings, as seen in games like *Demon Turf, Ruff and the Riverside* and *Forgive Me Father.* However, *Mouse: P.I. For Hire* truly elevated this idea.

With [Summer Game Fest](https://www.cgmagonline.com/news/summer-game-fest-2025-every-announcement/) being as hectic as it is, CGM couldn’t sit down with Fumi Games directly to delve deeper into *Mouse: P.I. For Hire,* but the team kindly shared with us some initial footage of the game in action, and I must admit—it’s quite a progression. What began as a relatively simple shooter with an amazing aesthetic has evolved into something remarkably creative and ingeniously original.

The gameplay video we were presented with showcased Jack Pepper—the main character, voiced by none other than [Troy Baker](https://www.cgmagonline.com/news/death-stranding-2-a-10-minute-trailer/)—tracking a lead to an old Opera House where it appears a mayoral candidate is about to become the target of an assassination. Jack must fight through a horde of thugs to prevent this and uncover his next clue to solve the case.

What was immediately compelling about the demo was how it appeared to display more than the typical combat—which has been the focus of several of the game’s pre-release trailers. While it may still embrace the rather conventional level structure found in many classic FPS titles, it almost hinted at gameplay that could suggest *Mouse: P.I. For Hire* might incorporate some Immersive Sim elements.

### “Though it’s still a bit away from launch, it’s incredible to see just how much *Mouse: P.I. For Hire* has progressed in its development.”

As players approached the Opera, they were presented with the option to bribe one of the waiters for discreet access inside without causing a scene, or they could potentially gain entry through the air ducts. Additionally, it featured a brief moment where Jack snapped a picture of some suspicious activity, implying there may be aspects of mystery-solving in this game. While it wasn’t extensive, it would fit perfectly with the game’s Noir theme, encouraging players to explore, gather clues, and tackle situations from diverse angles.

The combat itself appeared extremely tight and thrilling in a manner reminiscent of many classic shooters. Confined spaces and numerous adversaries will keep players alert, and they’ll need to take advantage of a wide array of traditional and unique weapons, as well as the environment itself—explosive barrels can provide a tactical edge.

But naturally, the centerpiece of the trailer was witnessing the game’s stunning aesthetic come to life. It’s a method that dates back to the Nintendo 64 era—utilizing a 2D object that consistently faces the camera. Nonetheless, Fumi Games has dedicated an incredible amount of effort to capture the essence and style of classic cartoons in an enjoyable and imaginative manner. From the way Jack acquires new weapons in a manner that’s both realistic and whimsical, to the manner in which those weapons bounce around as though made of rubber, to the amusingly exaggerated enemy demises—think more *Itchy and Scratchy* than *Steamboat Willie.*

And the ingenuity of *Mouse: P.I. For Hire* is evident in the weapons themselves. Although the demo showcased several that are quite typical for the Noir genre, the one that truly stood out to me was the Turpentine Gun. I couldn’t help but chuckle at a weapon that, in any other shooter, might simply have been a Plasma or Acid Gun, yet here it employs a chemical specifically meant to dissolve paint. It was this little nuance that truly had me eager to see what other playful interpretations *Mouse: P.I. For Hire* would explore with its premise.

While it’s still a bit away from launch, it’s amazing to see just how far *Mouse: P.I. For Hire* has progressed in its development. It serves as a solid reminder that even games that seem simple in genre can be transformed into something far more impactful through an imaginative concept. [Titles like this](https://store.steampowered.com/app/2416450/MOUSE_PI_For_Hire/) are why I’m always emphasizing the [Indie](https://www.cgmagonline.com/news/sg) scene.

Neowiz and the team behind “Lies of P: Overture” have recently responded to fan worries about the difficult aspects of their newest DLC. The unexpected launch during the SGF 2025 showcase was greeted with enthusiasm, but shortly thereafter, players began voicing their displeasure online, making comparisons to the initial reactions to “Elden Ring: Shadow of the Erdtree.”

On platforms such as Reddit, conversations regarding the difficulty of “Overture” have become so widespread that they have been gathered into a special megathread. Players have raised concerns about the abrupt increase in difficulty, with some claiming that the DLC poses challenges that seem unreasonable, pointing to excessively punishing mistakes and extended battles. The rise in difficulty is especially striking in NG+ mode, where enemies from the base game become considerably more intimidating.

In light of this feedback, director Jiwon Choi shared a video titled “Lies of P: Director’s Letter,” in which he recognized the devoted community and their worries. Choi reassured fans that the team is thoroughly reviewing the input and contemplating modifications, with particular emphasis on enhancing the combat experience. He highlighted the significance of combat in “Lies of P” and the necessity for any modifications to undergo rigorous testing.

As the development team considers possible adjustments, fans can find comfort in knowing that their feedback is being acknowledged, and enhancements are on the way.