Clunk. Kachunk. Thunk. That’s the sound of Factorio‘s last major update being smushed into shape, before the factory sim is left ticking away in the background while devs Wube Software turn their attention to new projects. Yep, following ages in early access and some chunky DLC following its full release in 2020, Factorio’ll only recieve minor tweaks once this last big update arrives.
The UK government has recently enacted a prohibition against prominent Twitch streamer Hasan Piker and Cenk Uygur, the founder of the progressive news outlet The Young Turks, barring them from entering the nation. This restriction impacts their scheduled engagements at SXSW London and Oxford University in June 2026. UK Home Secretary Shabana Mahmood confirmed the decision, asserting that their presence “may not be conducive to the public good.”
As reported by The Times, the Home Office’s decision was swayed by several factors, including Uygur’s comments regarding Israel, particularly related to antisemitic stereotypes following the events of October 7, 2023. Furthermore, remarks made during an interview with Piers Morgan that involved the topic of Islamic “grooming gangs” in the UK were mentioned.
The UK maintains a visa-less entry protocol known as the Electronic Travel Authorization (ETA), enabling visitors to remain for up to six months. Piker and Uygur were reportedly notified of their rejected ETA applications coinciding with their intended flight dates. Uygur voiced his dissatisfaction on social media, claiming that the ban was a result of his criticism of Israel and presenting the decision as an instance of governmental oppression influenced by foreign interests. Piker reflected similar thoughts, suggesting that the UK’s measures betray liberal principles in favor of external agendas.
This decision arises amidst increasing antisemitic incidents in the UK and ongoing claims of antisemitism within the Labour party. The ban seems to be a component of a wider effort by Mahmood to tackle perceived dangers to public order and societal unity, which has also included targeting extreme far-right and Islamist groups this year.
While Piker and Uygur argue that their bans exemplify an overextension regarding free speech, the Home Office asserts that these choices stem from evaluations of potential threats to UK society. This situation has ignited considerable discourse surrounding freedom of expression and the consequences of government influence on public dialogue.
Tekken 8 game director Kohei Ikeda has left Bandai Namco, kicking his way through an exit door that had long-time series producer and general advocate for the virtual graps Katsuhiro Harada pass through it late last year. Harada’s since set up a new studio, dubbed VS Studio, under Fatal Fury publishers SNK. All Ikeda’s said about his future plans so far is that he’ll “continue taking on new challenges as a game developer”.
The best weapons in An Average Campaign.
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Last week, I blithely commented that the Maw was “taking a break”, because we had too much else to do besides feeding our resident cosmic newsbeast. We have now paid a grievous price for my negligence. Friends, I am horrified to report that the Maw has broken containment and eaten Geoff Keighley, the face of Summer Games Fest. In the process, it may also have devoured the very concept of the future.
Time has lost its gradient, and the harvest may never come. Without Geoff, there will be no barrage of hundred-thousand-dollar game trailers and announcements on June 5th, to spin us through the shambles of another year. There can be no Highguard 2. There will be no surprise celebrity cameos, for surprise requires change. In vain shall the children of Gamers ask, “what precise ratio of smart-casual is Mads Mikkelsen favouring right now?” I offer the below list of new PC game releases largely in memoriam for a “this week” that may never truly unfold.
Ah, the Fable reboot isn’t coming out in 2026 after all, then. Rumours had suggested the wind was blowing in that direction and Xbox exec Matt Booty chose to interrupt last Friday’s chill vibes to confirm that a delay to February 2027’s now been set in stone, ripping the plaster off ahead of the impending Summer Geoff Fest. While almost certainly a shrewd move on Playground Games’ part, Fable’s slip from the autumn slate still sucks if you’re, say, on the platform this November’s flashiest arrival isn’t hitting yet.
You’ve never played anything like this before…
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### Normal Golf Game: A Fresh Take on a Timeless Classic
Luke Muscat, the creator famed for cherished games such as *Fruit Ninja* and *Jetpack Joyride*, is taking a new path with his forthcoming title *Normal Golf Game*. While his earlier successes feature user-friendly interfaces and simple gameplay, *Normal Golf Game* presents an outrageous twist on the classic golfing adventure.
In this distinctive game, players are thrust into an unusual situation from the outset—arriving at a local golf club only to face an outrageous six-figure tee fee, along with the disheartening revelation that their vehicle has been towed. As players navigate this bizarre scenario, they are tasked with activities like removing outdated parking signs, signaling the unexpected journey that lies ahead.
### A Unique Perspective on Golf
*Normal Golf Game* sets itself apart from traditional golf simulators by discarding standard components like swing power meters and expansive overhead maps. Instead, the mechanics require players to swing by swinging their mouse or utilizing a joystick. The control scheme is intricate, with the club’s angle dictated by four unique inputs, resulting in a swinging motion that feels tenuous and uncertain.
This game is founded on the notion that player interactions should be both stimulating and lively. The lack of control over the in-game weather, coupled with no overhead map, heightens the sense of unpredictability, increasing the stakes of every shot.
### Embracing the Golfing Experience
The allure of *Normal Golf Game* is rooted in its eccentric, balanced gameplay, reminiscent of the creations of game designer Bennett Foddy. Each swing turns into a balancing exercise, mirroring real-life golfing difficulties where accuracy and stance are vital. Players must constantly monitor their posture, resembling a self-guided pep talk, producing a comical yet exasperating experience.
Players will encounter whimsical targets like gongs, bowling pins, and enormous toilets as they maneuver through the course. This design choice encapsulates a wider golfing experience, arguably reflecting the essence of golf more authentically than typical simulation models, where the emphasis is often limited to realistic mechanics.
### Nostalgic Aesthetics and Gameplay
With a low-poly design complemented by a fully realized avatar, *Normal Golf Game* pays homage to classic golfing games like Microsoft’s original *Links* series. Those titles innovated a new way to appreciate golf, bringing the sport into office cubicles throughout America. The relative simplicity and delightful absurdity of *Normal Golf Game* echo the experiences of earlier games, including the famously peculiar *Links Extreme*, which faced backlash for its unconventional design but now possesses a dedicated following for its distinctiveness.
By moving away from overly complex golfing simulations, *Normal Golf Game* posits that the genuine essence of golf can be captured in a brutally straightforward and whimsical format. It underscores that while golf may be an elegant sport, the experiences and challenges can be absurdly humorous—and at times frustratingly tangible.
In summary, Luke Muscat is poised to transform the golfing genre with *Normal Golf Game*, offering players not merely a game, but an experience that celebrates the unpredictable nature of both golf and life itself. Whether players can perfect their swing amidst the turmoil remains to be seen, but one certainty exists: this new venture is destined to spark both dialogue and laughter in equal parts.
### A Synopsis of Michael Brough’s 868 Series: From 868-HACK to 868-BACK
In 2013, indie developer Michael Brough from New Zealand made a notable impact on the gaming industry with the launch of *868-HACK*, a turn-based game for iPhone that skillfully intertwined themes of cyber warfare and intricate circuits. Drawing from earlier roguelikes like *Hack*, *FTL*, and *Spelunky*, *868-HACK* laid the groundwork for what has become a signature of the indie gaming scene. The arrival of *868-BACK* signifies a return to this fierce realm of digital conflict, giving both loyal fans and newcomers the opportunity to engage with a classic reinterpreted for greater accessibility.
#### Theme and Gameplay Dynamics
In *868-BACK*, players find themselves plunged into a bleak digital environment where data is dominated by a formidable corporation. The goal is to undermine their supposed imperviousness and reclaim control of cyberspace for its rightful owners. Players navigate a quirky one-eyed smiley icon, charged with gathering siphons to harvest resources straight from the circuitry. The gameplay dynamics incorporate a turn-based strategy structure where players must deftly maneuver past anti-virus programs, performing a tactical ballet that requires meticulous planning and timing.
The challenge present in both *868-HACK* and *868-BACK* is a hallmark feature. Opponents exhibit predictable movement patterns, evoking classic arcade titles like *Pac-Man*, heightening the tension as players move through vast maps that offer plentiful data collection opportunities but scant safety when threats arise. This design choice compels players to strategize wisely and determine optimal moments for risk-taking, considerably influencing the game’s flow.
#### New Elements in 868-BACK
While *BACK* preserves the essential elements of its ancestor, it rolls out additional features that enhance the gaming experience. New progs, or distinctive power-ups, introduce layers of strategy in pursuing and vanquishing foes. For returning players, the game exudes familiarity, reminiscent of revisiting a cherished memory. Conversely, new players gain significant advantages from an improved tutorial system and a detailed index that visually directs them through the various progs and unique abilities.
A significant structural alteration in *868-BACK* is the addition of server surfing across various environments, each presenting distinctive conditions. Players must critically assess not just how to interact with these servers, but also how to dodge threats when necessary, adding complexity and depth to the gameplay that surpasses the simplicity of the original.
#### Visual and Audio Presentation
Visually, *868-BACK* embraces a more intense aesthetic in contrast to its precursor. The visuals showcase a grittier cyberpunk influence, imparting a sense of decay and peril that amplifies the immersive experience. Unlike the tidy pixel art of *868-HACK*, *BACK* features sprites that seem to originate from a darker, more chaotic realm. The audio design remains captivating, with recognizable vocal sound effects that resonate with the spirit and ambiance of the original game.
#### Heritage and Influence
*868-HACK* transcended being a mere game; it became an entryway into Michael Brough’s broader body of work, endearingly referred to as ‘Broughlikes.’ This genre encompasses other difficult titles such as *Cinco Paus* and *Corrypt*, which share the distinct simplicity and challenge characterizing Brough’s creations. With the advent of *868-BACK*, a fresh chapter in this series emerges, effectively acting as a bridge for players to delve into Brough’s unique methodology in game design—a rewarding excursion through a network of strategically challenging and exhilarating experiences.
In conclusion, *868-BACK* not only builds on the robust foundation of *868-HACK*, but it also transforms it for a new demographic. By merging classic gameplay with inventive components and a visually captivating aesthetic, Michael Brough continues to affirm his status as a prominent figure in the indie gaming realm.
**California’s “Protect Our Games Act”: A Significant Advancement for the Stop Killing Games Initiative**
This week, the California State Assembly reached a key landmark by approving the “Protect Our Games Act,” which has begun to gain traction for the “Stop Killing Games” initiative throughout North America. This legislative progression coincides with rising international awareness propelled by YouTuber Scott Ross and his advocacy efforts.
**Overview of Bill AB 1921**
Bill AB 1921 suggests new guidelines for commercial games, particularly targeting the circumstances under which games can be discontinued. A primary stipulation requires that publishers inform players with a 60-day notice before ceasing a game’s service. This measure is intended to avert situations similar to the sudden service terminations experienced in cases like the game *Concord*. Additionally, the bill requires that games must maintain some level of access indefinitely, whether via single-player modes or basic functionalities that enable fan server support. However, this bill only pertains to purchased games, thus exempting free-to-play titles from these stipulations.
If the California Senate approves it, these regulations would be enacted for games launched or resold post-January 1, 2027. The Assembly passed the bill with a tally of 43 to 16, marking a crucial legislative achievement.
**Global Influence of the Stop Killing Games Initiative**
The enactment of this bill showcases an increasing global consciousness regarding issues related to video game sustainability. The Stop Killing Games initiative has received backing in the European Parliament, where debates have primarily focused on exploitative market practices in gaming, despite occasional diversions, such as remarks about “wokeness” from certain parliamentarians. A discernible movement within the Euro Zone aims to tackle contemporary gaming challenges, including tighter regulations imposed by ratings boards on gambling-like features and safeguards for younger gamers.
**The Movement’s Origins**
Scott Ross, recognized for his YouTube channel Accursed Farms, founded the Stop Killing Games initiative after Ubisoft’s decision to discontinue the open-world driving game *The Crew* in 2024. Ross contends that the current model, where players perceive themselves as leasing rather than owning the games they buy, diminishes the bond between gamers and their experiences. This argument is particularly poignant given the rising dominance of digital game distribution, where physical copies may only offer temporary download permissions.
The atmosphere of distrust has been intensified by a wave of service-based games experiencing cancellations and doubt directed towards live-service frameworks. Although Ross temporarily withdrew as the main figure of the initiative in 2025, he still advocates for its interests during legislative hearings and public dialogues.
**California’s Pivotal Role**
California’s importance within the gaming sector is undeniable. As the base for leading publishers and the nucleus of Silicon Valley, the state serves as an essential arena for gaming legislation. The Entertainment Software Association (ESA), which formerly organized the Electronic Entertainment Expo (E3), has positioned itself as a significant adversary to the initiative. The influence exerted by business entities in California could determine the fate of this legislation and its ramifications for the gaming community.
**Conclusion**
The approval of the “Protect Our Games Act” signifies a substantial triumph for the Stop Killing Games initiative and underscores the mounting examination of game publishers’ practices. As the bill progresses to the California Senate, its implications could profoundly affect how video games are governed and engaged with in an increasingly digital environment. The global conversation surrounding gaming sustainability is set to further evolve as analogous movements gain momentum worldwide.
