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I apologize, but I’m unable to help with that request.

Since I’m apparently now RPS’ Radioactive Eastern Europe correspondent, I recently spent a couple of hours in Metro 2039, the gloom ‘n’ grit FPS sequel that Ukrainian developers 4A Games have explicitly styled as a return to the series’ roots. From what I’ve played, it is in fact as much of a hybrid as the mutated shrimp-insects that lurk in its Moscow sewers, reviving the claustrophobic tunnel dwelling of Metros 2033 and Last Light while keeping a few favoured twists from the more freely-roamable Metro Exodus.

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Heroes of Might & Magic is having a moment. Not only are publishers Hooded Horse and Ubisoft backing the development of Unfrozen’s Heroes of Might & Magic: Olden Era, the first new game in the series in more than a decade, but Ubisoft have revealed they’re completely remaking the series’ best-regarded entry: Heroes of Might & Magic 3.

While there are many quality of life improvements in the remake, Ubisoft aims to keep its spirit as close to the original as possible. There is a new three-mission prelude to get you into the story and teach you the game’s systems but, after that, you’re into the thick of the original campaign and its two expansions – Armageddon’s Blade and The Shadow of Death. This also means you’ll have all nine factions to play with.

I’ve played the remake for a few hours already and I’ll get into my thoughts on that in a moment. But, the most telling thing about the remake is that it supports all the custom maps and campaigns players have made for the past 25 years. Ubisoft showed how you can import any original map file into Might & Magic 3 Remake’s map creator and it will build a modern-looking level from the old data. It’s a wonderful way to support the Heroes of Might & Magic 3 players who are still playing decades on from its release.

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### Phil Tippett: A Maestro of Stop Motion Animation

Phil Tippett, an esteemed visual effects creator, has etched an unforgettable presence in Hollywood’s filmmaking timeline, especially through his mastery of stop motion animation. His path began with landmark contributions to franchises like *Star Wars*, *RoboCop*, and *Jurassic Park*, where he animated a multitude of creatures, machines, and beasts that have enthralled viewers around the globe.

In 1984, Tippett co-founded Tippett Studio with his spouse, Jules Roman. This visual effects firm quickly garnered acclaim, aiding in various blockbuster productions and expanding the horizons of practical effects in a sector increasingly shifting towards digital animation. Despite achieving critical praise, Tippett Studio encountered financial challenges and eventually shut down, leading Tippett to auction a collection of film memorabilia and props gathered over nearly forty years.

Reflecting upon his extensive career, Tippett remarked, “I will die with my sword in my hand.” He reflected on the satisfying journey his studio embarked upon, which he characterizes as a “good run.” His passion for his craft was sparked by the groundbreaking work of Ray Harryhausen, culminating in his position at Industrial Light & Magic (ILM), where he famously crafted the cherished holographic chess scene in the original *Star Wars*.

When production for *The Empire Strikes Back* began, Tippett had ascended to lead ILM’s animation division. He compares the process of designing creatures for George Lucas to auditioning, where Lucas would evaluate various designs before assigning them roles in the film. Tippett’s cinematic timeline was highlighted by his initial Academy Award victory for his efforts on *Return of the Jedi*, setting the stage for the founding of Tippett Studio.

The studio went on to thrive, generating impressive visual effects for numerous films such as *RoboCop*, *Willow*, and *Starship Troopers*. Tippett earned his second Academy Award for his position as “dinosaur supervisor” on *Jurassic Park*, a project that was initially expected to include stop-motion dinosaurs. However, with the rise of computer animation, the direction altered, marking a critical juncture in Tippett’s career as he evolved with new technologies while still demonstrating his expertise in traditional effects.

In 2021, Tippett unveiled *Mad God*, a labor of love that took over thirty years to complete. The film, noted for its surreal and grim storyline, gained critical recognition but also imposed pressures on Tippett, resulting in difficulties that included multiple rounds of crowdfunding and a period in a psychiatric facility. Following the release of this ambitious film, Tippett Studio confronted bankruptcy in 2024.

The liquidation included a public sale where fans, collectors, and even previous employees gathered outside the Berkeley studio to secure memorabilia linked to films like *Jurassic Park*. Although the closure of Tippett Studio represents a notable challenge in the world of practical effects, Tippett remains resolute. At the age of 74, he reaffirms his dedication to continue creating, declaring that he is not prepared to retire.

Phil Tippett’s legacy as an innovative artist and his impactful contributions to the film industry, especially in stop motion animation, persist. As he contemplates his vast career, it is evident that his enthusiasm for storytelling through visual effects is as lively as ever.

This week, RPS took the downright heroic step of declining to live report on the latest Geoff Keighley trailer bonanza at Gamescom 2026‘s Opening Night Live. Under the wise guidance of editor-in-chief Julian “Walks Away From Omelas” Benson – and with the honourable exception of Oisin “Looking At Omelas Through A Telescope” Kuhnke, who was on regular evening freelance newswriting duty – we experimented with viewing the showcase as you ordinary humans do, partly because we’ve recently found that the returns aren’t worth the effort of staying at our desks. Some of us may have even streamed the showcase in bed! Like wild beasts!

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Rockstar Games have put out a statement publicly acknowledging the ongoing GTA 6 leaks for the first time. Though they and parent company Take-Two have already gotten the ball rolling on hunting down the leaker, the studio had stayed silent in terms of public-facing comms up until now.

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Since the persistent rumours of a cheeky extra DLC for The Witcher 3 turned into confirmation from CD Projekt Red that such a thing is on the way prior to The Witcher 4, there’s been a nagging voice in the back of my mind. On one hand, Songs of the Past is more of an RPG I love, the kind of unexpected gift it seems foolish to have reservations about getting a decade and change on from release. On the other, The Witcher 3 in its current form has long felt like as close to the ideal complete package as you can get.

Going into last night’s opening salvo of Gamescom, I was expecting that the DLC’s full reveal might dispel my concerns, getting me fully on board with the idea that, yes, Geralt does need one last ride before Ciri takes over going forwards. Instead, I’m still in two minds.

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For a series about light and dark, it’s appropriate that Resonance: A Plague Tale Legacy is a spinoff that’s trying to escape the main entries’ shadow. Developer Asobo Studio have dropped much that is familiar to explore exactly what a Plague Tale story can be.

Resonance doesn’t feature series protagonists Amicia and Hugo. It is set 16 years before the events of the last game, long before the siblings flee across wartorn medieval France, hunted by the soldiers of the Inquisition. In Resonance, you play Sophia and see how she became the woman who saves Amicia in A Plague Tale: Requiem. You learn how, as a child, she was kidnapped by the Inquisition and injected with a poison that gave her visions of a strange island. How her father, the leader of a group of smugglers, found the island and died there searching for treasure and a cure to Sophia’s dreams. And how Faro, her father’s successor, continues visiting the island, seeking to unearth its secrets.

Resonance’s early chapters see a now teenage Sophia growing frustrated with Faro. The smuggler leader never takes her with him to the island, despite – and because of – the mounting casualties in the expeditions. Guiltridden, Sophia stops sharing her visions. Those chapters also teach you Resonance’s focus: combat.

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This week we got our first proper look at Warlock: Dungeons & Dragons, Wizard of the Coast’s new RPG-tinted action game. In theory, it’s the story of a grizzled weapon master who is searching a lawless pocket dimension for somebody precious to her, but I disapprove massively of this objective, because it sounds like it’s going to get in the way of unearthing weird spells and making a glorious mess.

Created by a team of former Far Cry, Watch Dogs and Splinter Cell devs, Warlock gives you an open world full of charms, cantrips and conjurations to gather and fool around with. I’m really hoping it’s as open-ended as they’re making it sound. Here’s a video, followed by some commentary from creators Invoke.

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If you think the protagonists of Grand Theft Auto 6 look dull as piping hot ditchwater then rejoice, friend, for the game will let you transform these gung-ho sex magnets into weary and despairing zombies, tottering along the shore of Leonida with eyes like sandy latrines and skin like forgotten cheese.

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