Two of indie gaming’s best-known titles have quietly disappeared from Microsoft’s storefront, and their creator says it was deliberate: Maddy Makes Games delisted Celeste and TowerFall from Xbox in support of the BDS boycott. Players noticed the games were missing earlier this week, and on October 29 developer Maddy Thorson confirmed the move on Bluesky. “For those who’re asking, yes we delisted Celeste and TowerFall on Xbox,” she wrote. “We did this to support the BDS boycott.”

Thorson’s post did not elaborate, and the sources reviewed here include no further statement from the studio. Both games remain on sale on PlayStation, PC and Switch. On Xbox, they can no longer be bought. Celeste launched in 2018 and TowerFall in 2013. IGN said it had asked Microsoft for comment, and none had been reported at the time of writing.

What the BDS boycott is asking for

BDS stands for Boycott, Divestment, Sanctions. It describes itself as a Palestinian-led movement for freedom, justice and equality, and it is modelled on campaigns against apartheid-era South Africa. Its stated aim is to pressure Israel to end its occupation of Arab lands, recognise equal rights for Palestinian citizens of Israel and respect refugees’ right of return. Xbox is a priority target because of Microsoft’s relationship with the Israeli government. According to BDS, Microsoft supplies Azure cloud and AI services to the Israeli military. The movement has urged people to cancel Game Pass subscriptions and stop buying Microsoft gaming products.

Microsoft disputes the most serious allegations. It acknowledges providing Israel’s Ministry of Defence with software, professional services, Azure cloud and AI services. But after an internal review it says it has “no evidence to date” that its technology has been used to target or harm people in Gaza. Several outlets note that investigative reporting contradicts that position. Polygon points to 2025 Guardian reporting that Azure was used for mass surveillance of Palestinians’ phone calls. Microsoft later cut off Israel’s access to some of the technology involved, but BDS still lists the company as a target because it continues to supply other services.

A growing list of developers

Maddy Makes Games is not the first studio to act, though it may be the highest-profile so far. Australian studio House House said a few weeks ago that its co-op game Big Walk would skip Xbox. It admitted this runs against the game’s purpose of being played with friends. The studio said it would bring the game to Xbox only once Microsoft and/or Xbox are no longer BDS targets. Developers behind Tenderfoot Tactics, All Will Rise and Luck be a Landlord have also backed the boycott. Penguin Colony’s developer, meanwhile, added a pointed statement to the game’s credits and blocked sales in Israel.

There is a difference between the earlier cases and this one. Big Walk never launched on Xbox, so the boycott cost nothing already earned. Celeste and TowerFall were established products with years of sales behind them. Pulling them means giving up ongoing revenue on a major platform and leaving Xbox players without access. That makes the decision a sterner test of commitment than declining to launch.

For Microsoft, the commercial impact of a few indie delistings is probably small. The reputational signal may matter more. As House House put it, the participating developers believe “coordinated collective action can confront even the most powerful interests.” Whether the BDS boycott spreads from small studios to larger publishers is the question to watch, and so far the sources show only a handful of independent teams taking part.

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The Duskbloods delay is official: FromSoftware’s Nintendo Switch 2 exclusive will no longer arrive in 2026 and is now slated for an unspecified date in 2027. The studio announced the change on October 29 through the game’s account on X, saying it needs more time for “final adjustments to game rules and balancing.”

What FromSoftware said about the delay

The studio framed the move as a response to the August network test. According to its statement, players showed “active interest in the core concepts of the game,” including combat, strategic depth and player expression. FromSoftware wants to strengthen those areas before launch. The statement also included an apology to fans who had been waiting for the game and thanked them for their patience.

The wording differed slightly between versions. A Japanese-language post described the goal as a game that is enjoyable “not only through direct combat but also through various maneuvers and diverse strategies.” Across every version, the message is that the core design is staying put and the tuning is what needs work. Engadget reports the game is in the final stages of development, and the studio itself uses the phrase “final adjustment stage.”

Why the network test matters

The August test was a major moment for the game, and it was not entirely smooth. Eurogamer reports that the first session ended early because of serious connectivity problems, though later sessions ran better. Demand was strong, however. More people applied to join the closed test than applied for the one for Elden Ring Nightreign, which is notable for a game that can only be played on one console.

The game itself is an unusual FromSoftware project. Polygon describes it as a PvPvE title in which eight players take on the roles of characters called Bloodsworn. They fight monsters and each other in match-based sessions, racing to earn victory points called Virtue, and there are several routes to winning. That is a long way from the repeated-death structure of Dark Souls or Elden Ring. Game director Hidetaka Miyazaki has said he hopes the design produces “unexpected drama.” A system built on competing strategies is the kind of thing that can fall apart if one tactic or character proves too strong, so more balancing time is plausible.

A crowded calendar and a familiar pattern

Timing probably helped make the decision easier. Engadget and Polygon both note that Grand Theft Auto 6 is arriving in November, and Engadget adds that a remake of The Legend of Zelda: Ocarina of Time is also set to dominate attention for the rest of the year. A new multiplayer game with no marketing push in recent weeks would have faced a difficult launch window.

Signs of slippage had been building. Eurogamer notes that a rumored September date came and went, and Nintendo said the game was not releasing on September 24. Fans had also heard nothing from Nintendo or FromSoftware since the August playtests, which left many doubting the 2026 window.

This is also not the first time FromSoftware has held back a Switch 2 release. The Switch 2 port of Elden Ring was originally expected in 2025 but did not land until this August, after reports of performance problems suggested it needed more optimization work. Taken together, the two delays suggest a studio willing to move dates rather than ship Switch 2 games it considers unfinished.

What the Duskbloods delay means for players

The Duskbloods was revealed in April 2025 during a Switch 2 showcase, so the game has already been a long wait. The Duskbloods delay adds more months, with no firm date given. It also means FromSoftware’s next release after last year’s Elden Ring Nightreign will arrive later than planned. Eurogamer notes that Miyazaki has suggested the studio is keen to return to single-player games after these two multiplayer projects.

For fans, the practical takeaway is modest but clear. The game is not canceled, its design is not being overhauled, and the studio says it is fine-tuning rather than rebuilding. Whether the extra time pays off will depend on how the final rules and balance hold up once the game is in players’ hands. Until FromSoftware names a date, 2027 is all anyone has to go on.

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Nintendo has scheduled a new Indie World showcase for Wednesday, October 28, giving Switch and Switch 2 owners a quick look at smaller games headed to the company’s consoles. The presentation begins at 10 a.m. ET (7 a.m. PT) and is expected to last roughly 15 minutes.

The announcement came on short notice, one day ahead of the stream. According to Kotaku, Nintendo shared the details through its Nintendo Today app. Kotaku also pointed to a post from the game-deals account Wario64 that listed the time and the approximate runtime. One note on dates: Kotaku’s article text at one point says the stream is “tomorrow, October 27,” but the embedded announcement and Engadget both give October 28, which is the date to trust.

What to expect from the Indie World showcase

Nintendo says the stream will focus on games coming to Switch and Switch 2. It has not said which titles will appear, and none of the coverage includes a confirmed lineup. Nintendo’s format typically leaves that as a surprise, with a mix of announcements, release dates and possible shadow drops. Nothing in the available reporting confirms any of those, so treat them as the usual pattern, not a promise.

The short runtime is the clearest detail so far. At about a quarter of an hour, this will be a tightly packed rundown instead of a long show. Engadget noted that the previous edition in March was also around 15 minutes, so the length matches Nintendo’s recent habits.

A look back at the March lineup

The last Indie World showcase set a fairly high bar despite its brevity. Engadget’s Kris Holt singled out Denshattack!, Minishoot’ Adventures, the widely acclaimed Blue Prince and Mixtape as games that appeared. Reactions varied. Holt praised some of them and said Mixtape did not work for him, though he noted other players clearly enjoy it. Kotaku also highlighted Denshattack! and Mixtape as standouts, which suggests those two made a real impression.

That history is probably why a 15-minute slot doesn’t read as a disappointment. A compact showcase can still produce games people talk about for months, especially when the audience is already in the Switch ecosystem looking for something new.

The timing around other Nintendo news

Engadget framed the event as coming ahead of Nintendo’s remake of The Legend of Zelda: Ocarina of Time, which it says arrives next week. That puts the spotlight on smaller developers just before a major first-party release is expected to dominate attention. Whether that was deliberate is unclear, but the indie showcase gets a clear run before the Zelda launch.

For anyone planning to tune in, the stream will be available on YouTube, and Kotaku says it will publish coverage for those who can’t watch live. With so little time on the clock, it will be easy to catch up afterward, so missing the broadcast costs little.

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The latest Black Flag Resynced update is a big one, and Ubisoft says it is the last of its kind. Patch 1.0.8 went live on October 27 at 10 a.m. ET on PC, PS5 and Xbox Series X/S. It adds the long-requested New Game Plus and a new difficulty called Nightmare Mode, and it closes out major content for the remake.

What New Game Plus keeps, and what it takes away

New Game Plus is the headline feature, and by Eurogamer’s account Ubisoft began work on it in July, right after launch. Most of your progress carries over. Edward’s tools, weapons and trinkets stay, as do the Jackdaw’s upgrades, officer abilities and pets. Money, materials, trade goods, outfits, hideout progression, Kenway fleet ships and codex items such as treasure maps also come along, along with store purchases.

The catch is that the world is reset. Officers must be recruited again, quest items are removed, and forts must be retaken because the map’s fog of war returns. The mode also has its own currency, Escudos, earned by completing challenges and looting chests you have already opened. Reales can be exchanged for Escudos at the General Store, and Escudos buy outfits and items exclusive to NG+.

Players can enter New Game Plus up to five times. Each run raises the difficulty, with Elite Soldiers and max-rank ships showing up more often.

Nightmare Mode removes the safety net

The other major addition is Nightmare Mode, which Ubisoft describes as “no second chances, no mercy.” Enemies react faster and hit harder, parry windows are tighter, and ranged enemies target you more often. Ships take extra damage, stealth is harder and wild animals are deadlier. Like the existing difficulty options, it can be applied separately to combat, stealth, naval combat and activities.

Eurogamer points to the most striking change: the one-shot kill safeguard is gone. Heavy burst damage from bullets or explosives can kill you outright even when you still have health left. That fits Ubisoft’s stated goal of a mode “where every duel can be your last.”

Extras, download sizes and what comes next

The patch also adds community chests meant to be found through online collaboration, new takedown animations, more cosmetics and a long list of bug fixes. The full changelog is on the official Assassin’s Creed website. Downloads are modest on most platforms, between 2GB and 4.5GB, but Xbox players face a 15.5GB file.

Development is not stopping entirely. Polygon reports that the team will turn to quality-of-life adjustments in the coming months, and Eurogamer notes the game appears to be headed to Switch 2, where it should include earlier additions.

A strong launch, then a rough aftermath

The timing of this Black Flag Resynced update is notable. The remake, built by Ubisoft Singapore, launched July 9 to positive reviews. Critics praised its visuals and faithful approach, though some questioned the need for a remake of a game only 13 years old. It sold more than 3 million copies in its first week.

The studio’s fortunes have since cooled. Polygon reports Ubisoft laid off 70 employees at its Singapore branch “to align the studio with upcoming production needs,” and Eurogamer’s related coverage mentions the Singapore team being downsized. The sources do not link those cuts directly to the end of major content, but the sequence is hard to ignore.

For players, the practical takeaway is simple. If you finished the story and wanted a reason to sail back, New Game Plus and Nightmare Mode now provide one, and this is the last major content the game is expected to receive.

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The Warhorse cyberattack, confirmed on October 27, 2026, has put one of the games industry’s most closely watched RPG studios in damage-control mode. The Czech developer behind Kingdom Come: Deliverance 2 says intruders gained unauthorized access to its systems and to company data. It has not yet said how much was taken, or by whom.

What Warhorse has confirmed so far

According to the studio’s statement, Warhorse is working with outside cybersecurity experts to lock down its systems, investigate the incident and assess its full impact. It says it is also coordinating with the relevant authorities. Eurogamer reported that the message went out at 11am GMT and that the studio had issued no update since. The shorter version of the notice, addressed to “players and friends,” apologized for the news and thanked the community for its support.

CEO Martin Frývaldský was blunter. “This is a serious incident for Warhorse Studios and everyone affected,” he said, adding that the immediate priorities are securing systems, establishing the full extent of the breach and protecting “our employees, partners, and our community.” Eurogamer noted that his remarks also appeared in a Czech-language report.

Warhorse has said it will not give interviews or further comment until it has verified information to share. That leaves a lot unanswered. Polygon pointed out that the studio hasn’t said whether any user data was involved. The statement refers only to “company data,” which could mean many things, from internal documents to unreleased game material to staff information. None of the sources say which.

Why a studio like Warhorse is a target

Warhorse is not a small outfit working in obscurity. Kingdom Come: Deliverance 2 launched in February 2025 to strong reviews and, per Polygon, sold more than four million copies by the end of that year. The studio is now developing an open-world Lord of the Rings RPG set in Middle-earth, a new Kingdom Come game and a collaboration on a live-action Kingdom Come film. Unreleased projects of that profile are exactly what attackers tend to go after.

The wider record shows how disruptive such breaches can be. Rock Paper Shotgun pointed to CD Projekt Red, Insomniac and Rockstar as studios that have suffered attacks in recent years, with the fallout landing hard on the developers working on the games. Polygon noted that Rockstar has taken a particularly heavy share. Early GTA 6 gameplay footage leaked after one attack, an earlier breach exposed a development build, and the studio was hit again in September by the group ShinyHunters. Capcom, meanwhile, dealt with a Capcom ID data breach only weeks ago.

What we don’t know about the Warhorse cyberattack

Nothing in the available reporting identifies the attackers, their motives or the method they used. Warhorse itself says it is still working out how the breach happened. Rock Paper Shotgun also said it’s unclear whether the incident is connected to a recent rise in AI-enabled hacking, and nothing from the studio suggests it is.

Notably, the studio went public while its investigation was still at an early stage. That candor may help affected people protect themselves sooner, but it also means the company is facing questions it can’t yet answer. Players, partners and staff will be waiting for the follow-up Warhorse has promised “as soon as we responsibly can.” Until then, the main takeaway is that a major studio has confirmed a real intrusion, and the scope of the damage is still being measured.

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GameMaker commercial use is about to get a lot cheaper. From 1 January 2027, developers will be able to publish and sell games made with the latest GameMaker tools on PC, web and mobile without paying for a license, according to a report from Rock Paper Shotgun published on 26 October 2026.

What is actually changing for GameMaker commercial use

Until now, anyone who wanted to sell or otherwise monetise a GameMaker project needed a Professional license. That requirement is being dropped for the latest version of the toolset, which has been rebranded around a new engine called GameMaker Runtime. Console releases are the exception. Developers targeting consoles will still need an Enterprise license and approval as a developer.

Ross Manthorpe, a community developer at the company, laid out the details in a post on the official GameMaker site. He said there will be “no changes to existing tier pricing,” so the paid tiers stay as they are while the free option widens.

What existing Professional license holders get

People who already pay for a Professional license are not left out. Manthorpe wrote that they can keep distributing games commercially on the existing GMS2 runtime. They will also gain access to the GMS2 runtime source code, a perk that gives paying customers a closer look at how the older engine works.

A long road to free

GameMaker is roughly 26 years old, and the step follows an earlier one. Its current developer, YoYo Games, which is now owned by the browser company Opera, made the tools free for non-commercial use on PC in November 2023. The new change removes the remaining barrier for solo creators and small teams: the cost of selling what they make.

The engine’s track record gives the move some weight. It has been used by studios and developers behind some of the best-known indie games around, including Heart Machine (Hyper Light Drifter), Toby Fox (Undertale), Derek Yu (Spelunky), Vlambeer (Nuclear Throne) and Dennaton Games (Hotline Miami).

Why it matters for newcomers

GameMaker has historically leaned toward novice programmers and 2D visuals. The newer GameMaker Runtime is meant to strengthen its 3D capabilities, which could broaden the kind of projects people attempt with it. Pairing that with free GameMaker commercial use on PC, web and mobile lowers the stakes for first-time developers, who can test a commercial release without an upfront license fee.

The console carve-out is the notable limit. Anyone hoping to reach those platforms still faces the Enterprise license and approval process. The source report did not say how many developers that affects or whether the console terms might change later, so for now the dividing line is clear: PC, web and mobile are open, and consoles remain gated.

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TITLE: 12 Years in the Making: Mike Tomlin’s Minecraft City Reveals Gaming’s Quiet Grip on the NFL
KEYWORD: minecraft city
DESCRIPTION: Steelers coach Mike Tomlin spent 12 years secretly building a sprawling Minecraft city, a reminder of how deeply video games now run through sports.

Mike Tomlin’s Minecraft city has finally seen daylight, and it turns out the Pittsburgh Steelers’ head coach has been quietly running a second franchise for more than a decade — one built not from draft picks and film sessions, but from blocks, lighting plans and a very particular obsession with public restrooms.

Tomlin revealed this week that he spent 12 years constructing an elaborate virtual metropolis in Minecraft, the block-building game that has become one of the most enduring phenomena in video games. The project began around 2014, during the Steelers’ AFC North title run, and continued through some of the most chaotic chapters of his coaching tenure — the Le’Veon Bell contract standoff, the Antonio Brown saga, years of playoff frustration. Through all of it, Tomlin says, he was quietly laying foundations, wiring lighting, and planning sightlines in a digital city that only his family knew existed.

Inside the Minecraft City That Took 12 Years to Build

What Tomlin unveiled is not a hobbyist’s sandbox but something closer to an urban planning thesis. The city is arranged around a central lake, an echo of the three rivers that meet in downtown Pittsburgh, and it fans outward into skyscrapers, a boutique hotel with a spa and therapy rooms, an aquarium-themed apartment tower, a CVS, an MLS stadium and a baseball field modeled loosely on PNC Park. Tomlin describes himself as “view-conscious,” making sure residents of his towers get a good look at the ballpark below, and “very lighting conscious,” repeatedly building glass ceilings and tall windows into his structures wherever the design allows.

His son Dino, a former college receiver who now helps produce the reveal video, says the lake alone was a years-long headache to get right. That kind of granular, almost architectural patience is exactly what has made Minecraft such a durable cultural force since its release: it rewards obsessive tinkering in a way few other games do, turning “mindless entertainment,” as Tomlin first called it, into something far more deliberate.

Why Video Games Have Become the NFL’s Favorite Escape

Tomlin’s confession fits a broader pattern among professional athletes and coaches who have turned to video games as a release valve from high-pressure jobs. Where football demands public accountability every single week, a Minecraft city offers total control — no referees, no media scrutiny, no front office second-guessing a glass roof. It is not hard to see why a coach who spent years fielding questions about playoff droughts might find comfort in a private world where every outcome is exactly what he designed.

That crossover between gaming culture and professional sports is only deepening. Madden NFL, Electronic Arts’ long-running football franchise, has effectively become the visual shorthand for NFL broadcasts and marketing, appearing in promotional art for major games including this season’s Super Bowl coverage. EA itself is now navigating a major ownership shift after being acquired by Saudi Arabia’s Public Investment Fund alongside private equity partners, a deal that underscores how much money and influence now flows through sports-adjacent video games. Meanwhile, streaming platforms are locking up NFL rights the way publishers once locked up console exclusives, with Disney Plus set to stream Super Bowl LXI in February 2027 across more than 55 international markets, joining Prime Video, Netflix and Peacock in a scramble that mirrors the competitive instincts of the gaming industry itself.

None of that diminishes what Tomlin built. If anything, it reinforces the point: video games have quietly become infrastructure for how athletes relax, how leagues market themselves, and how fans engage with sports outside the stadium. A Super Bowl broadcast now arrives dressed in the visual language of a football video game, streamed through apps battling for subscribers the same way studios battle for players. Tomlin’s Minecraft city, patient and strange and twelve years in the making, is simply the most human version of that story — a reminder that even the person calling plays on Sundays needed somewhere else to build.

Whatever Tomlin’s win-loss record says about his final years in Pittsburgh, his Minecraft city stands as proof of a different kind of legacy: one measured in lake water, glass ceilings, and a baseball field nobody but his family knew was coming.

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Hopes that players without a console might sneak into Grand Theft Auto VI through the cloud on day one have been dashed. Xbox chief strategy officer Matthew Ball has publicly shot down a report claiming Microsoft secured an exclusive streaming deal for GTA 6 that would have let PC users stream the game before an official GTA 6 PC port arrives.

The speculation began after The Verge reported that Xbox CEO Asha Sharma had teased, during an internal all-hands meeting, that Microsoft was “doing something no other platform holder is doing” with Rockstar’s blockbuster. Sources cited by the outlet suggested that tease referred to an exclusive cloud-streaming arrangement for GTA 6, one that could theoretically have let PC players access the game through Xbox’s streaming infrastructure ahead of a native PC release.

Ball moved quickly to quash that narrative. “While the excitement for GTA 6 and Xbox is great to see, it has also led to some misreporting,” he wrote, confirming that Xbox is “looking forward to launching GTAVI on XBOX November 19,” but clarifying unambiguously that the game “will not be streaming exclusively or to PC.”

Why the GTA 6 PC Question Matters So Much

Rockstar still hasn’t confirmed a release window for GTA 6’s eventual arrival on PC, a silence that has only fueled speculation and wishful thinking among the platform’s enormous player base. Given that previous entries in the series, including GTA 5, eventually made their way to PC after console-first launches, most observers expect history to repeat itself. But “eventually” has done little to satisfy fans hungry for any legitimate way to play sooner.

That’s precisely why the cloud-streaming rumor took off. There’s no obvious technical reason a streamed version of GTA 6 couldn’t function on a PC the same way it would on a tablet or a budget laptop — streaming simply routes the game’s processing to remote servers and beams video back to the device. If anything was blocking that path, the thinking went, it would be a business decision rather than an engineering one.

With Ball’s statement, that door appears closed, at least for now. Players hoping to experience the game on GTA 6 PC hardware, whether through native installation or streaming, will have to wait for Rockstar to make its next move, and the company has given no indication of timing.

Scarcity by Design?

The framing of Ball’s denial leaves plenty of room for scrutiny. By ruling out streaming “exclusively or to PC” while confirming the November 19 console launch, Microsoft has effectively confirmed that whatever advantage it negotiated with Rockstar doesn’t extend to the platform most clamored for. Critics have pointed out that this looks less like a technical limitation and more like a calculated move to preserve console sales momentum and make a future PC release, whenever it comes, feel like a genuine event rather than a redundant option.

For a series with the cultural weight of Grand Theft Auto, that kind of staggered rollout is nothing new, but it does mean PC players are once again left in limbo, uncertain whether their wait will be measured in months or years.

A Launch Overshadowed by Legal Battles

The streaming controversy arrives at an already turbulent moment for Rockstar. The studio is currently in the midst of an employment tribunal hearing concerning its dismissal of 34 developers last year. Rockstar has alleged the employees risked leaking sensitive information about GTA 6, while the union representing the workers has countered that the firings amounted to union-busting. The final hearing began with a rally organized by the union, whose members have described the fight as a matter of basic workplace justice.

None of that legal drama appears to be affecting the game’s scheduled console debut, but it adds another layer of tension to what is already one of the most scrutinized releases in gaming history.

For now, the message from Microsoft is clear: GTA 6 is coming to Xbox on November 19, and whatever innovation Asha Sharma was alluding to, it isn’t a shortcut to playing on a PC. Until Rockstar says otherwise, anyone waiting for the game to land on their desktop will simply have to keep waiting.

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A new Diablo 2 VR mod is giving players a reason to dust off their headsets and revisit one of gaming’s most beloved dungeon crawlers, transforming the classic isometric view into an immersive first-person experience that puts you directly inside the Sorceress’s boots.

The project, created by a modder going by Sergious on Reddit, reworks Blizzard’s 2000 classic so that instead of hovering above the action like a distant deity, players walk through Sanctuary at ground level, flinging fireballs at shambling zombies and watching the dingy starting fields unfold right in front of their eyes. Footage shared online shows the Sorceress’s health and mana orbs mapped onto the player’s forearm, with the inventory tucked onto a virtual belt and the map held in hand, like something out of a tactical RPG reimagined for virtual reality hardware.

How the Diablo 2 VR Mod Works

Built using the FlatVR and BodyWalk frameworks, the mod doesn’t actually require BodyWalk to function, making it more accessible to anyone curious enough to try it themselves. The files are publicly available on Github, meaning the broader modding community can now pick up where Sergious left off, tweak the experience, or adapt it further as development continues.

What makes the conversion so striking isn’t just the novelty of VR compatibility, but how differently Diablo 2 feels once the camera drops down to eye level. The series has always been defined by its top-down, almost god’s-eye perspective, letting players survey hordes of demons from a safe remove. Strip that away, and the claustrophobic, grimy atmosphere of the original game suddenly feels much more immediate and unsettling, with enemies closing in from angles that the isometric view never fully conveyed.

A Longstanding “What If” for the Franchise

The mod also reignites a question longtime fans have asked for years: what would Diablo look like with a closer, over-the-shoulder or fully first-person camera baked into the core design, rather than bolted on after the fact? Many had wondered whether Diablo 4.5, excuse the phrase: Diablo 5, recently revealed at BlizzCon, might finally experiment with that kind of perspective shift. So far, though, Blizzard appears to be sticking with the series’ traditional viewpoint rather than following the fan-made VR route.

That leaves projects like this Diablo 2 VR mod to fill the gap, offering a glimpse of an alternate version of the franchise that official development hasn’t pursued. It’s a reminder that some of the most interesting experiments in long-running game series continue to come from passionate individuals working outside the studio system, armed with nothing more than curiosity, free tools, and a love for the original game.

The Bigger VR Picture

The timing is notable given the broader momentum building in virtual reality gaming right now. Valve recently launched its long-awaited Steam Frame headset, which early reviews describe as a genuinely impressive and comfortable wireless experience, capable of running flat, non-VR games through a kind of hybrid mode. The catch is price: the base model starts at £889, a steep barrier for casual players even if the hardware itself delivers on performance.

Still, for those willing to invest, headsets like the Steam Frame raise an intriguing possibility: using modern VR hardware not just for games built from the ground up for the format, but for beloved classics reimagined by dedicated fans. The Diablo 2 VR mod fits neatly into that trend, suggesting that older titles still have untapped potential when viewed, quite literally, from a new angle.

For now, Sergious’s project remains a work in progress rather than a polished product, but it’s already proving that there’s an appetite for reexamining classic RPGs through immersive technology. Whether Blizzard ever takes official notice remains to be seen, but for curious players willing to tinker, the Diablo 2 VR mod offers a surprisingly atmospheric way to revisit familiar demon-slaying fields through entirely fresh eyes.

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Resident Evil games experienced one of their biggest engagement spikes in years following the September release of Zach Cregger’s Resident Evil movie, with daily active users climbing as much as 50% in a matter of weeks. Yet according to industry analysts, the real story isn’t the short-term sales bump — it’s what the surge reveals about the enduring power of cross-media brand building.

New data shared with GamesIndustry.biz paints a vivid picture of how a single film can ripple across an entire gaming portfolio. Sensor Tower tracked five titles in the franchise — Requiem, Resident Evil 2, Resident Evil 4, Village, and Biohazard — across Steam, PlayStation, and Xbox. Daily active users rose from 500,000 on August 30 to 750,000 by September 20, a 50% jump, while daily unit sales nearly doubled from 34,000 to almost 80,000 over the same stretch.

Ampere Analysis, looking at the franchise more broadly, found daily active users for Resident Evil games grew from 140,000 to 680,000 across two consecutive weekends bracketing the film’s September 18 premiere. The audience grew 11% in the week before the movie opened, then jumped a further 13% in the days immediately following its release. Newzoo’s figures, drawn from 37 markets excluding China, showed engagement across PC, PlayStation, and Xbox running 72% above late-summer baselines in the five days after launch, peaking at 282,526 daily users on September 20.

Why Resident Evil Games Engagement Spiked So Fast

Much of the surge can be traced to timing and price. Capcom slashed prices across the catalog starting September 8 on Steam and September 10 on consoles, a move Ampere’s Piers Harding-Rolls says lifted daily active users by 21% even before the film arrived in theaters. Requiem, the newest entry, also carried a 30% discount from September 7 timed to the movie’s release — though Harding-Rolls notes its effect on raw sales volume was “relatively lightweight,” partly because an earlier discount campaign in late May and June had already blunted demand.

Interestingly, it wasn’t the newest or most heavily promoted title that benefited most. Newzoo’s data shows Resident Evil 2 drove the sharpest spike in engagement, a pattern director of marketing intelligence Emmanuel Rosier attributes to the film’s setting. Cregger has described his movie as unfolding parallel to the outbreak in Raccoon City — the same setting as Resident Evil 2 — and viewers appear to have gravitated toward that entry point rather than the franchise’s latest release. At $7.99, a sixth of Requiem’s discounted price, Resident Evil 2 offered what Rosier calls “the cheapest way in.” Its daily active user count reportedly climbed to nearly five times its baseline after the film’s release, up from under twice baseline during the earlier price cut alone, with growth recorded simultaneously across PC, PlayStation, and Xbox.

Sensor Tower’s numbers tell a slightly different story, showing Resident Evil 4 and Requiem generating more engagement than Resident Evil 2 — a discrepancy that underscores how differently analytics firms can read the same cultural moment, even when tracking the same underlying trend.

A Big Percentage, a Small Slice of the Pie

Despite the headline-grabbing percentages, analysts are quick to caution against overstating the impact. Karl Kontus, SVP and general manager of Video Game Insights at Sensor Tower, points out that these gains start from a modest base. “If we take a longer time frame view — the last 12 months — these relative increases in DAU and unit sales from the movie’s launch are very, very small compared to the portfolio’s overall performance,” he said, adding that the movie’s release “barely affects” Requiem’s cumulative unit sales when viewed over a full year.

Harding-Rolls echoes that sentiment, noting that with an estimated 6 million-plus tickets sold for the film, the resulting uptick in game activity has been “relatively minor” by comparison. Kontus says the pattern mirrors what’s been observed with other franchises that straddle film, television, and gaming — including The Last of Us and Fallout — where transmedia tie-ins reliably produce only a “single-digit percentage uplift” in units and revenue.

So if the sales bump is modest, why do publishers keep chasing these moments? Both analysts point to a longer game. “The benefit of these transmedia initiatives isn’t the short-term increase in game sales,” Kontus said. “It’s IP and brand building. Staying relevant in the players’ and watchers’ minds. It guarantees that future game launches will remain successful.” Harding-Rolls agrees, calling the movie’s impact on game activity and sales “sizable” and “noteworthy,” even if the actual volumes remain small relative to the film’s box office reach.

Taken together, the figures suggest that the Resident Evil movie did exactly what franchise owners hope a successful adaptation will do: it pulled lapsed players back in, introduced new ones to an accessible entry point, and kept the brand culturally visible — even if the games’ bottom line barely moved. For Capcom and the analysts watching closely, that kind of quiet, long-term brand reinforcement may matter far more than any single week of inflated engagement numbers for Resident Evil games.

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