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Reanimals första expansion vid namn "The Prisoner" är ute nu

Reanimals första expansion vid namn "The Prisoner" är ute nu

Om du gillade Tarsier Studios mysskräck Reanimal så är det nu dags att hoppa tillbaka in äventyret. Den första expansionen vid namn REANIMAL: The Prisoner är nämligen lite överraskande släppt.

Expansionen, som kräver basspelet för att upplevas, är den första av tre tilltänkta, och beskrivs såhär; "Tarsier Studios are back with a new chapter in the dread-filled co-op horror adventure game REANIMAL. This DLC features two brand new characters, The Soldier and the Prisoner, who must survive the war-ravaged streets of a once-familiar place, stumbling blindly down a rabbit hole that will change their lives forever. Explore previously unseen areas of the world of REANIMAL, on foot and otherwise, and discover that while war can be hell, some experiences are even worse.

The Prisoner is the first of three REANIMAL DLCs. Each continues the story of the new characters the Soldier and the Prisoner."


Man spelar alltså som två helt nya karaktärer som vi kommer att få följa vidare i de kommande två expansionerna. Expansion nummer två har release den 14:e oktober och den avslutande dyker upp den 10:e februari nästa år.

Spelet, och expansionerna, finns ute till PC, Playstation 5 samt Xbox Series S/X. Nedanför finns en liten trailer om det helt nya innehållet.

The Last House

Vad vore sommaren utan ännu en streamingskräckis? Jag läste om The Last House bara dagar innan den skulle släppas och tyckte på förhand att det lät som ett typiskt hit-and-miss-koncept. I rätt händer, och med rätt manus, kan det bli intressant och nervigt, men det kan lika gärna gå åt precis det motsatta hållet. Så, vad blir resultatet när en van actionregissör tar med sig ett par riktigt kompetenta skådespelare och låser in dem i ett hus? Mina högst personliga åsikter följer längre ned.

Men först, intrigen sammanfattad:
Dagarna innan julafton. En helt vanlig familj bestående av man, fru och två barn blir inlåsta i sitt hus. Något håller dem kvar. De måste samarbeta för att överleva både sinande resurser och det mystiska, hot som håller dem fångna.

Varför tackade jag ja till det här?

För regi står Louis Letterier. Ett lite oväntat val. Letterier har regisserat filmer som Fast X, Grimsby, The Transporter, Now You See Me och The Incredible Hulk. Och Netflix-serien Lupin med Omar Sy ska inte glömmas. Mycket action, mycket nerv. Att gå från det till en nästan två timmar lång film som i princip bara utspelar i en stängd miljö är en av de saker som gjorde jag blev intresserad av The Last House.

För manuset står Matthew Robinson som skrivit bland annat extremt underhållande Love and Monsters, halvjobbiga Good Luck, Have Fun, Don't Die och tydligen är han medförfattare till kommande Edge of Tomorrow 2 och Rogue Squadron.

I huvudrollerna ser vi Wagner Moura och Greta Lee. Moura har kommit att bli en personlig favorit. Första gången jag såg honom var i Tropa De Elite men han fick sitt riktiga genombrott som Pablo Escobar i Narcos. Vi har också sett honom i Elysium, Civil War och The Secret Agent för att nämna några. Oavsett genre och roll så bjuder Moura på närvaro, inlevelse och en on-screen-karisma som jag verkligen gillar.

Greta Lee är något av en veteran hon också. The Studio, A House of Dynamite och Tron: Ares för att nämna några. Hennes karriär har gått spikrakt uppåt senaste åren. Greta har, likt Moura, ett ton karisma och närvaro. Hon är helt fantastisk som kalla, coola Stella Bak i Apple-serien The Morning Show och jag inser i skrivande stund att jag inte sett den senaste säsongen.

Skådespeleriet får sägas tillhöra en av filmens starkare sidor, även om det inte glimmar lika mycket om de erfarna två som det brukar. Men det handlar om andra saker. De gör vad de kan med materialet de fått. Jag ska inte avslöja för mycket, för The Last House är en film man får ut som mest av ju mindre man på förhand vet. Intrigen byggs upp på ett helt okej sätt. Man vill naturligtvis veta vad som håller dem instängda och varför, men är det tillräckligt? Hela grejen med att inte kunna ta sig ur huset pendlar mellan intressant och fånigt. Mysteriet i sig blir inte tillräckligt engagerande och de få skräckelementen är svaga.

När man varit instängda i 1131 dagar och Jehovas ringer på

Filmen klockar in på nästan två timmar och det är på tok för lång speltid för det tunna manuset och de begränsade miljöerna. Vi får en liten blick ut mot det direkta närområdet som tillför något, men problemet är att filmen nästan helt saknar nerv. Man tappar intresset även om familjedynamiken tillför något men i spänningsväg händer det på tok för lite.
Och filmen blir inte starkare när man börjar försöka sig på någon slags förklaring och introducerar hotet på riktigt. Det är för vagt och intetsägande. Möjligen öppnas det upp för en fortsättning, men frågan är vem som är sugen på det?

Tyvärr. En van actionregissör och två vanligtvis suveräna skådespelare lyckas inte rädda en halvdålig idé, trasigt manus och en speltid som borde kapats med åtminstone en kvart. The Last House kommer att ligga på Netflix-toppen i en eller två veckor, sedan kommer den att glömmas bort. cat-cross.com

Tour de France Femmes: Vollering’s late escape for yellow leaves Niewiadoma fuming

Demi Vollering took the overall lead from Kasia Niewiadoma in the Tour de France Femmes with a vicious attack in the hills behind Nice to lead the race by eight seconds from the 2024 winner, with just one stage remaining.

“It’s very special to be back in yellow,” Vollering, leader of French team FDJ United-Suez said. “Tomorrow I start in yellow and I will do everything in my power to keep it. So much can happen – it’s still a big fight.”

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WoW developers reflect on Midnight's first season—a world without AddOns, task overload, and Prey

Terminally Online

The Terminally Online column badge.

(Image credit: Future)

This is Terminally Online: PC Gamer's very own MMO column. Every other week, I'll be sharing my thoughts on the genre, interviewing fellow MMO-heads like me, taking a deep-dive into mechanics we've all taken for granted, and, occasionally, bringing in guest writers to talk about their MMO of choice.

World of Warcraft: Midnight's first season has been… well, a bit of a mixed bag. While the launch-day offerings impressed me, patch content—the major thing that gets remembered in the expansion pack history books—has ranged from rather quite good to downright confusing (I still do not like the Folio).

And, to be fair, Midnight had a ton riding on it. It's the middle child of WoW's ambitious Worldsoul Saga and the first expansion where combat AddOns have been heavily hamstrung. As a consequence, every spec in the game was redesigned in some way. After 20 years of waiting, we even got player housing.

I have not envied Blizzard's position as much as I've raised my eyebrows at its choices, on occasion, and I think it's a marvel that things have pretty much gone fine. I like Prey, I've missed AddOns less than I expected, the remade Silvermoon is downright beautiful, and player housing has knocked it out of the park, bar some microtransaction nonsense.

I recently sat down with several developers from WoW, including lead encounter designers Taylor Sanders and Andrew De Sousa, as well as associate game director Paul Kubit and lead quest designer Rachel Vought, to ask them how they thought Midnight's first season had gone.

Broadly positive, is the answer—with the devs citing Mythic+, solo content such as delves, and Prey as bright spots. Kubit says: "I'm having a great time with season one. I am still this last week rounding out some of my own personal Mythic+ goals, trying to get my numbers as high as possible. But things that have been just a joy for me this first season have been—playing through Delves again, having another season of Delves to explore with a new follower Valeera … and also the addition of Prey alongside it.

"I think that the new feature of Prey, while not technically part of the traditional season, does have some seasonal elements to it, and it sort of played nicely hand-in-hand with how progress went through through delve."

That's something Vought echoes, too: "Having the Prey overlay, just doing outdoor activities, has been like such a delight—because we talk about optimizing the fun out of it, but it's like no, actually, I kind of do want the extra challenge while I'm doing my world quests, and it's a lot of fun."

Though she has been naturally psyched to revisit Silvermoon for the first time since the Burning Crusade, as well: "Going back to Silvermoon and getting to see [it updated], and getting to play through the story and all of that has just been incredible for me as a player. I've also surprisingly been enjoying delves and getting to play local stories, and obviously we're going to get more of those in Curse of Ula'tek as well. Continuing the story, the campaign, and also getting to explore the island."

While, to me, these all track as reasons to be satisfied with the current state of things—after all, I've written positively about them on this site—there's also the other side of the coin, the idea that Blizzard's breakneck pace has given players too much to do without a stern direction: Too many currencies, too many dailies, too many reputations and void assaults and delves. Kubit says:

"We always try to listen to as many players as we can in our game, and we find that—you all as players are not a monolith. You have vastly different play styles and vastly different preferences, and that means that—for as many people as who do feel that strange feeling, like 'there's too much for me, there's too much going on', there's just as many folks who are like 'I wish there was something new happening this week'.

"What we try to do on the reward side and incentive side is make sure that folks who are hungry for lots of new things to do," be it grinding or stacking cute furniture, transmogs and mounts in collections.

And, listen—while I empathise with Kubit here, with MMO audiences being particularly hard to please, I'm not all that sure this works as a simple case of taste. I've played other MMOs that simply give you a wide breadth of things to do, but WoW places a lot of these activities in a package of seasonal pressure. Daily and weekly checklists that will, at some point, become undesirable or even unattainable. The wider systems might be evergreen, but Midnight's also been laden with its fair share of FOMO.

An AddOn-less world

On the encounter design side of things, Sanders and Sousa are both enjoying getting to play in a space where a WeakAuras tech won't be able to code out a solution to everything—allowing them to rely more on memorisation, positioning, and communication-based mechanics.

A group of adventurers, including a stern human warrior, gather their forces to defend Azeroth in World of Warcraft: Midnight.

(Image credit: Blizzard)

Sanders tells me: "I think the encounter design team has been learning a lot as we try to design mechanics, in this new paradigm where players have, in many ways, less computational help in terms of the information they're getting in real time, and trying to understand what types of new mechanics players might enjoy in that world.

"You saw us experiment with this a little bit in the L'ura encounter, the final boss of Midnight, with the runes and the symbol mechanic," Sanders is referring to Death's Dirge, here, where L'ura marks players with an order of symbols that have to be struck by a laser in the correct configuration.

"It was fun for me as a designer (and as a player) to see different social groups that I played with, whether it was a pug or my standard raid group, develop different strategies to that. Each group had their own personalized way of handling it … I did hear about a group that had five different people remember the different symbols and repeat them in order. That blows my mind. I can't believe that that worked for a group. A friend of mine told me about that. I'm not sure I believe him."

That same design technique's going to be used for patch 12.1, as well: "We have a couple new places where we're experimenting with this in the Curse of Ula'tek update in the new raid, the Venomous Abyss, and as well in the new delves nemesis boss … You're going to continue to see us explore that a little bit as we try to find new ways to engage players in an AddOn-less world."

Sousa, meanwhile, says that the amount of players trying Mythic+, which has reached new records during Midnight, is also down to the lowered barrier to entry: "That's really affected even our core design for something like dungeons and Mythic+.

"You know, as you're aware, Mythic+ was very, very accessible in Midnight season one. Players are jumping in and really enjoying it. And in a world where we've pulled these things back, our design has allowed for us to emphasize some core skills, and not worry about the delta between folks that have complex add-ons and people that are playing with the base game, so we're seeing people engage a lot deeper as those (perceived or not) requirements have been lifted."

Sanders agrees, saying: "We've seen the package that players felt like they used to need to be able to, baseline, raid or do competitive PvE content shrink or or disappear entirely. So the base UI for the game is better than it's ever been, and we're very excited about continuing to develop that in the future."

Ultimately, the new state of affairs that WoW has laboriously constructed seems to be working for its development team—and while I'm not entirely convinced it's been all sunshine and roses, speaking as someone who has felt the exact opposite in my other MMO of choice, I can't say I prefer it when a developer plays it safe. On balance, I'm still glad WoW's been shaking things up, and I'm keen to see if Blizzard can keep refining its flagship MMO going into Curse of Ula'tek next week.

Best MMOs: Most massive
Best strategy games: Number crunching
Best open world games: Unlimited exploration
Best survival games: Live craft love
Best horror games: Fight or flight

In brief

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