logo
Clair Obscur: Expedition 33 among many new games released this week

Clair Obscur: Expedition 33 among many new games released this week

Yahoo27-04-2025

We have a whole lot of major games out this week, along with updates from the Asian gaming scene. Here's this week's gaming round-up.
The big picture
Sandfall Interactive, a new studio in France, is taking a huge gamble with its debut release — Clair Obscur: Expedition 33. The studio comprises 30 developers, most of whom are former Ubisoft staff.
After experiencing the title, it's safe to say it steers clear of the usual Ubisoft tropes — bloated padding, checklist open-world gameplay, and lack of focus. Free from corporate publishing shackles, Sandfall is producing something highly creative while honouring its inspirations — the Japanese role-playing game.
Even with rising triple-A game prices and console exclusivity from franchises like Mario Kart, it's encouraging to see a high-budget-looking single-player game priced around RM139. Let's hope the trend continues and players support these endeavours with their wallets.
Short beats
PlayStation and Sucker Punch Productions have announced the release date for their upcoming action-adventure title Ghost of Yotei — Oct 2, exclusively on PlayStation 5. This is the sequel to 2020's acclaimed Ghost of Tsushima.
Diablo IV and Diablo Immortal are collaborating with dark fantasy manga Berserk, featuring exclusive equipment and fights.
Bethesda has responded to the makers of Skyblivion — the Elder Scrolls V: Skyrim-meets-Oblivion mod — by giving them free copies of The Elder Scrolls IV: Oblivion Remastered.
Indonesian studio Anantarupa, makers of the MOBA title Lokapala, has allegedly not paid its employees since November 2024.
Malaysia's indie game exhibition, Indie Jam, is currently underway (April 26–27).
SNK will host a major Fatal Fury: City of the Wolves tournament as part of the SNK World Championship 2025. The prize pool stands at US$2,500,000, with the winner taking home US$1,500,000.
Op-Eds
Following the Ghost of Yotei announcement, we take a retrospective look at its prequel Ghost of Tsushima and how it explores moral compromise during wartime.
Games out this week
Clair Obscur: Expedition 33 – A new Japanese role-playing game from French studio Sandfall Interactive. Lead the members of Expedition 33 on their mission to destroy the Paintress, preventing her from painting death again. Inspired by Belle Époque France, the game blends turn-based combat with real-time mechanics.
Fatal Fury: City of the Wolves – The long-awaited 2D fighting sequel to 1999's Garou: Mark of the Wolves. This 1v1 title features striking visuals, a deep fighting system that balances offence and defence, and a robust single-player mode that expands on the Fatal Fury saga.
The Elder Scrolls IV: Oblivion Remastered – A revamped version of the 2006 RPG, where you escape prison and help an emperor battle invading hell armies. The remaster is by Virtuos.
Detective Dotson – An adventure game by Masala Games about a detective with Bollywood dreams. Set on the colourful streets of India, it features charming 2D characters in a 3D world. Solve cases and piece together a larger mystery.
Recommended viewing
Playism will be showcasing a large number of indie titles this weekend. Watch the video here. We also talk about the indie gem Detective Dotson and why it's a massive love letter to India. And here's why Clair Obscur: Expedition 33 is already a Game of the Year 2025 contender.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

‘Lost in Starlight' Director Han Ji-won on Blending Romance and Sci-Fi for Netflix's Breakthrough Korean Animated Feature
‘Lost in Starlight' Director Han Ji-won on Blending Romance and Sci-Fi for Netflix's Breakthrough Korean Animated Feature

Yahoo

timean hour ago

  • Yahoo

‘Lost in Starlight' Director Han Ji-won on Blending Romance and Sci-Fi for Netflix's Breakthrough Korean Animated Feature

Lost in Starlight marks a defining moment for 36-year-old filmmaker Han Ji-won — and a rare breakthrough for Korean animation on the world stage. A vividly realized sci-fi romance set in Seoul in the year 2050, the film is Netflix's first original animation produced in South Korea, and it has won praise from none less than the country's most decorated director. In statements accompanying the film's global release on May 30, multi-Oscar winner Bong Joon Ho hailed the feature as 'a visual masterpiece that takes you around the universe,' highlighting Han as a new talent to watch while signaling a long-awaited coming-of-age moment for the country's animation sector. More from The Hollywood Reporter Netflix Hires Ollie Madden, Director of Film4 and Channel 4 Drama, to Oversee U.K. Film Ben McKenzie on His Crypto Doc 'Everyone Is Lying to You for Money': A "Human Story About Trust" "NATO for News": Is a Joint Effort by Media Companies the Way to Go in the Age of AI? South Korea has long been known as an animation powerhouse, but mostly for behind-the-scenes work. For decades, local studios quietly toiled as production subcontractors on Japanese anime and Hollywood features — cranking out clean-up, in-betweening, and digital compositing for global franchises — while Korean-made animation rarely reached an international audience under its own banner. Lost in Starlight's success hints at the outlines of a coming animated chapter in the ever-breaking Korean cultural wave. A genre-fluid imagining of Seoul in the not-so-distant future, Lost in Starlight follows two young dreamers separated by 140 million miles. Nan-young (voiced in Korean by actress Kim Tae-ri), a space-bound astro-botanist, departs on a mission to terraform Mars, leaving her quiet, music-obsessed boyfriend Jay (voiced by Hong Kyung) behind on Earth. The film unfolds as a lyrical meditation on long-distance love, personal ambition, and the delicate emotional gravity that holds people together. Visually, it is suffused by luminous, hologram-filled cityscapes, soft water colors and interstellar dreamscapes — a highly accomplished style that blends some of the grounded warmth of Studio Ghibli's hand-drawn character design work with the cosmopolitan shimmer of a Makoto Shinkai sunset. Shortly after Lost in Starlight's debut, The Hollywood Reporter connected with Han to discuss her journey of bringing Lost in Starlight to screen, her animation influences, what Bong's praise has meant to her and the unbridled potential of Korean animation. How did begin? What was the original inspiration behind the project? Some years ago, I worked on a branded film — Beautiful Moments, for the Korean jewelry company StoneHenge — and for that project I was given a lot of creative freedom. I was able to explore ideas I'd had been interested in for a long time — things like the female dream, astronauts, family stories, childhood, space, and music. That film incorporated all of those elements, and it ended up getting a lot of attention. Based on that, Climax Studio contacted me, and I had the chance to expand on those themes. At the time, I was dating, so I was very interested in love, and I wanted to incorporate that into my storytelling. Luckily, the production company was interested in letting me explore all of these things, and that's how the story began to take shape. is set in a futuristic version of Seoul, and there are so many imaginative visual details throughout the film's world. How did you approach depicting Seoul in 2050? It felt to me like a clean, fresh version of That's actually a quite accurate way to describe it — a clean version of Blade Runner. I set it against a realistic backdrop as well. In Korea, there's an area of Seoul called Eulji-ro, which is popular right now with both tourists and artists. It has this very cyberpunk, retro-industrial vibe. It used to be full of manufacturing workshops, metal shops, garages — very gritty — but now a lot of indie artists do performances and collaborative projects there. Jay, in the animation, works around there. And there's also Sewoon Arcade, where his record shop is based — that's a real location in Seoul too. So I started with those realistic backdrops and added imagination to create this future landscape. You mentioned the 'cleanliness'— that really resonates with what I wanted to express. I didn't want to depict a dark or apocalyptic future. I imagined a future where we've done our best to protect the environment and things turned out okay. I wanted the setting to feel like a place that's good to live in. So blending that retro charm with futuristic optimism, rooted in real locations, was very intentional. I also appreciated the way female empowerment is expressed in the film. The two lead characters each go on parallel journeys of self-overcoming, but there's such a striking contrast: Nan-young goes all the way to Mars to uncover the mystery of her mother's disappearance, braving storms and mortal danger. Jay, meanwhile, is mostly just shy, trying to work up the courage to sing in public. That's a fair point, but I don't necessarily think Nan-young's achievement is bigger than Jay's. Visually, of course, Nan-young's journey seems more dramatic—going to Mars and confronting her inner trauma—but I believe that revealing your voice in front of a large audience is also an act that requires great bravery. As a female creator, I did want to show how women overcome barriers and achieve things, but I think the contrast you noticed might just have more to do with their professions — astronaut versus musician — rather than a hierarchy of bravery. What I really wanted to show is that growth can come from epic journeys, but also from the small, intimate challenges. Korea has a long history of doing skilled contract work for international studios, but relatively few original Korean animated features have broken through globally. Could you describe the Korean animation scene right now? Should viewers expect more exciting original work to come? As you said, Korean studios have long taken on outsourced work from the U.S. and Japan, mostly in the production stage, rather than pre-production. But in recent years, more companies are building dedicated teams to work on design and story development. There's a real push now to create original IP. Some companies are even forming in-house story and webtoon teams. Globally, most animated works are based on existing webtoons, comics, or games, rather than original IP. So a film like ours — based on an original story — is still relatively rare. But there are some recent examples, like The Exorcism Chronicles (2024) and King of Kings (2025). These are good signs for both studios and creators. My own background is in independent animation, and I believe Korea is quite strong in that area. So the potential for synergy in this moment between indie animators and Korean studios is really exciting. But animation takes time, and long-term support is essential — so that's something we still need more of before the scene can really take off. Do you think Korean animation has any specific qualities — visual or thematic — that noticeably set it apart from Japanese anime and the U.S. studio animation that viewers around the world know so well? It's hard to generalize, because it's been a long time since Korean feature animation was active in a big way, and even the works that exist are quite diverse in style. My film is 2D, whereas most commercial work recently has leaned toward 3D. So even within Korea, there's a visual gap depending on the technique. But I didn't want Lost in Starlight to look like Japanese anime. I wanted it to reflect how young Korean people today look, dress, and do makeup. That Korean-ness was important to me. At the same time, I incorporated some Western-style drawing elements. It's a blend. Rather than speaking for all of Korean animation, I just hope this work can offer a new kind of reference point for global audiences to understand what Korean animation can be. During the long, five-year process of making this film, what were some of the biggest moments of doubt for you? This film is quite unique. It blends sci-fi with grounded emotion, and it's not confined to a single genre. That meant we had to maintain a very delicate balance — across story, music, visuals, production, everything. We worked with both in-house and external teams, and the outside partner had their own production pipeline, which we had to adjust to fit our vision. That required extensive communication. Sometimes we'd ask ourselves, 'Do we really have to go this far?' But in the end, we're proud we did, because that attention to detail is what made the final product satisfying. Acheiving that delicate genre balance was the hardest part — but also what made it special. There was something subtly fresh in the character design for me — perhaps that came from seeing Korean fashion and contemporary culture in this medium for the first time, as you mentioned. The color palette and the handling of light and landscapes also reminded me a lot of Makoto Shinkai. Where do you identify your influences? Like most animators, I've been influenced by the works I loved growing up—and Makoto Shinkai is definitely in there. But when it comes to character expression and storytelling, I've also drawn from others — like Hayao Miyazaki, who really inspired me to pursue animation in the first place. I was also deeply influenced by Isao Takahata's Only Yesterday, which focuses on very realistic, fully dimensional characters. Satoshi Kon also had a strong impact on me, especially with his realistic visual style. For Lost in Starlight, I worked with a character designer. I shared my artistic preferences and early drafts, and his style aligned closely with mine. That collaboration really helped create the unique, realistic look we achieved. Netflix has shared a quote from Bong Joon Ho calling your film 'a visual masterpiece that takes you around the universe.' How did that come about? Our production company showed him the film and asked for his thoughts. Of course, director Bong is someone I respect enormously, so it was a huge honor to receive that praise from him. I heard that he also remarked on how well the film captured the feeling of contemporary life in a futuristic setting, and he appreciated the drawing style. I was very humbled and honored to hear that. It's been that Bong is actually at work on a feature animation himself — an adult animation titled , which will be his next film. Given how the Korean Wave has impacted so many areas of global culture — pop music, fashion, cinema, TV drama — do you think animation could be the next frontier? Someone of Bong's statures jumping into the arena could give the Korean animation industry a big boost, no? Absolutely. It's been a long-standing dream for many of us in animation for Korean works to go global. For years we said the industry was struggling and that our breakthrough would probably be a long ways off — but then webtoons became globally successful, proving our creative capacity. If someone like Bong Joon Ho gets involved in animation, of course that would give us a huge boost. That said, 2D and 3D animations operate under different business models — the investment and marketing strategies totally differ — so we can't treat them exactly the same. But I believe we're ready to show the world that Korean animation has a rich tradition, high standards, and strong creative voices. If we're given time and support, I truly believe we can build another K-wave — this time in animation. Best of The Hollywood Reporter 13 of Tom Cruise's Most Jaw-Dropping Stunts Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now

Kneecap to Perform at 2025 Glastonbury Festival Despite Calls to Drop Band
Kneecap to Perform at 2025 Glastonbury Festival Despite Calls to Drop Band

Yahoo

timean hour ago

  • Yahoo

Kneecap to Perform at 2025 Glastonbury Festival Despite Calls to Drop Band

The controversial Belfast rap band Kneecap will still appear at the 2025 Glastonbury music festival in the U.K., organizers announced Tuesday. Kneecap keeping its Glastonbury billing by performing on the West Holts Stage on June 28 follows political pressure to drop the band after one of its members, Liam Óg Ó Hannaidh, was charged with a terror offense in the U.K. after an incident on Nov. 21 at a venue in north London. More from The Hollywood Reporter Faster Pussycat Singer Taime Downe Opens Up About Late Fiancée's "Heartbreaking" Death After She Went Overboard on 80s Cruise Animated Werewolf Movie 'Dog of God' Debuts Wild Trailer With Hitler Look-Alike Getting Tortured (Exclusive) GKids Acquires Japanese Anime 'ChaO' for North America (Exclusive) The group, whose members include Naoise Ó Cairealláin and J.J. Ó Dochartaigh, has drawn widespread criticism and the attention of the Metropolitan Police after online videos showed the band allegedly calling for the death of British parliament ministers, as well as chanting 'up Hamas, up Hezbollah.' It is illegal in the U.K. to express support for Hezbollah as it is considered a terrorist organization in Britain. And in April, Kneecap displayed political messages about the ongoing war in Gaza during the group's Coachella set, after which a number of Kneecap concerts in Germany were canceled. Kneecap, responding to the criticism, apologized to the families of murdered members of Parliament and claimed they have faced 'deliberate distortions and falsehoods.' The band also denied they have ever supported Hamas or Hezbollah. While Glastonbury has retained Kneecap on their billing, the band was dropped from Scotland's TRNSMT festival for a July 11 concert over police concerns for safety. 'Due to concerns expressed by the Police about safety at the event, Kneecap can no longer perform at TRNSMT,' the rap group said on X. Kneecap also announced a replacement concert at the O2 Academy in Glasgow for July 8, which has already sold out. Glastonbury, set to run June 25 to 29 at Worthy Farm, Somerset, gets extensive play on the BBC's radio and TV services. Best of The Hollywood Reporter Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Hollywood's Most Notable Deaths of 2025 Hollywood's Highest-Profile Harris Endorsements: Taylor Swift, George Clooney, Bruce Springsteen and More

Nicole Clemens Hired to Head Amazon MGM's International Originals
Nicole Clemens Hired to Head Amazon MGM's International Originals

Yahoo

timean hour ago

  • Yahoo

Nicole Clemens Hired to Head Amazon MGM's International Originals

Nicole Clemens is joining Prime Video and Amazon MGM Studios as vice president and head of international originals. Beginning July 7, she'll report to Kelly Day, vice president of Prime Video International. Clemens, the former president of Paramount Television Studios, will oversee the international originals regional and production leaders; she'll work out of Amazon MGM Studios' Culver City headquarters for a bit before relocating to her new home in Prime Video's London office. Clemens previously was president of original scripted series for Paramount+. More from The Hollywood Reporter Animated Werewolf Movie 'Dog of God' Debuts Wild Trailer With Hitler Look-Alike Getting Tortured (Exclusive) GKids Acquires Japanese Anime 'ChaO' for North America (Exclusive) Kneecap to Perform at 2025 Glastonbury Festival Despite Calls to Drop Band Prior to Paramount, Clemens was a producer at Anonymous Content. Her résumé also includes top roles at FX Networks (executive vice president and head of series development) and at ICM Partners (partner, head of the Motion Picture Literary Department). Paramount TV Studios shut down last year amid greater corporate restructuring; Paramount Global is in the process of merging with Skydance. Amazon MGM has been undergoing its own TV shakeup: head honcho Jen Salke was exited her post just a few months ago. Read Day's email announcement to her staff here: Team,I'm delighted to share with you that Nicole Clemens will be joining us as Vice President and Head of International Originals, effective July 7. Nicole is a highly respected and experienced media executive who most recently served as President of Paramount Television Studios, where she led the development and production of a wide range of global hit shows, including our very own Tom Clancy's Jack Ryan, Reacher, and Cross. Previously, Nicole also held a dual role as President of Original Scripted series for Paramount+, leading the streamer's programming strategy at launch. In her new role, Nicole will report to me and lead our International Original teams, which will continue building on the incredible success we've seen with global audiences. Last year was our biggest year ever, with more than 140 International Original series & movies produced across more than 20 territories, and our slate for the remainder of 2025 is incredibly strong. Just a few upcoming highlights include the third movie installment in Mercedes Ron's Culpables trilogy (Culpa Nuestra – Spain), along with the first movie from her Dímelo book trilogy in development; returning seasons of hit series including Maxton Hall (Germany), Red Queen (Spain), and Betty La Fea (Colombia); and new projects like Newtopia (Korea), Superboys of Malegaon (India), Graduation Trip: Mallorca (Spain), Costiera (Italy). Nicole will guide our future International Originals slate as we invest for the long term in international series and movies. I'm so proud of the work we've done, and I know Nicole's leadership will take us to even greater heights. Nicole will onboard and spend a period of time at our Amazon MGM Studios' Culver City HQ, before relocating to London. Our International Originals leaders – including Javiera Balmaceda (Head of International Originals, Latin America, Canada & Australia), Tara Erer (Head of International Originals, Northern Europe), Nicole Morganti (Head of International Originals, Southern Europe) and John Holmes (Director of International Originals Production & Post) – will report directly to Nicole. Nikhil Madhok (Head of International Originals, India) will continue to report into Gaurav Gandhi (VP, Prime Video APAC & MENA) while remaining part of Nicole's leadership team. Marc Hausmaninger (Head of Content Strategy, International Originals) and Sam Semon (Head of International Business Affairs) will also support Nicole and the International Originals team. I look forward to Nicole joining the Prime Video & Amazon MGM Studios family next month and I'm sure you'll provide a warm welcome! Kelly Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store