
Football Manager 25 video game cancelled after series of delays
Sports Interactive (SI) announced that FM25 had been scrapped, with the game's makers turning their attention to FM26, which is due for release in November. SI, which is owned by the gaming company Sega, apologised to fans after making the 'difficult decision' to cancel the game after a number of technical hitches.
'We know this will come as a huge disappointment, especially given that the release date has already moved twice, and [fans] have been eagerly anticipating the first gameplay reveal,' a statement said.
The game's makers said they had planned to 'create the biggest technical and visual advancement in the series for a generation' but that had proven impossible.
They said: 'While many areas of the game have hit our targets, the overarching player experience and interface is not where we need it to be. We could have pressed on, released FM25 in its current state, and fixed things down the line – but that's not the right thing to do. We were also unwilling to go beyond a March release as it would be too late in the football season to expect players to then buy another game later in the year.'
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SI will not update the 2024 version of the game with 2025's squad and transfer information, but said it would provide full refunds to fans who ordered FM25.
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Daily Mirror
12 hours ago
- Daily Mirror
Developer Lizardcube talks reinventing SEGA's classic Shinobi series for a new age of players
Speaking to the lead game designer and lead background artist for Shinobi: Art of Vengeance to talk breathing new life into one of Sega's most treasured classic franchises. Having already worked wonders with Streets of Rage 4, we discuss with developer Lizardcube the tall task of trying to make lighting strike twice with a beloved Sega series. How do you follow up successfully reviving (and absolutely nailing) a beloved Sega arcade franchise for the modern era using punchy combat mechanics and a beautiful hand-drawn art style? By doing it again, of course. Such was the task developer Lizardcube faced when first starting out development on Shinobi: Art of Vengeance – the new, upcoming entry in the longstanding series of action-platformers set to launch this August 29, 2025. After playing roughly an hour of the game already and dubbing it a 'stunning and confident retooling' of the series in my preview, I have every reason to believe that the team is stepping up to the challenge and that Shinobi fans won't be disappointed. Sure, Lizardcube had already achieved great adoration for its work on Streets of Rage 4 previously, but sketching out various street-level environments to fight across is one thing, and creating a whole suite off attractive locations set within the Shinobi ninja universe another entirely. The key, says lead background artist Julian Nguyen-You, was to significantly increase the number of art assets created for each level. The hope being to provide players with much higher degrees of detail and variety, which should make living out their kunai-throwing ninja fantasies all the more enjoyable. 'Shinobi has more huge backgrounds,' says Nguyen-You. 'In Streets of Rage 4, it was only a straight area with some diagonals, but in Shinobi you can go everywhere in a stage'. This simple change from making a beat-em-up to a layered, vertically led 2D action-platformer was enough to almost triple the workload of the art department. 'All the assets we needed to create was maybe three times, four times bigger than [those] for Streets of Rage. For that game I was alone to do all the backgrounds, and for this one we were three people'. Purely in terms of scale, then, Shinobi: Art of Vengeance has turned out to be a far more ambitious project than Streets of Rage 4 ever was, even when considering the latter's follow-up DLC. However, for as iconic as Lizardcube's unique hand-drawn art style has quickly become, the goal wasn't simply to include more for more's sake. As Nguyen-You continues, 'We tried to put many memorable things in the background like a golden dragon, or something like this, and it was many, many hours of work drawing'. For as important as Shinobi: Art of Vengeance's art is to the overall game – it's right there in the title – such glorious visuals would mean nothing were it not backed up with tight, satisfying gameplay. A playable demo of the game's first level, Oboro Village, is available to download now for players curious to check out Lizardcube's combat bona fides, but it's been clear since playing through that first stage, plus the Lantern Festival level, months ago for preview, that this isn't your grandma's Shinobi game. No, instead, the team has been careful to sprinkle in all kinds of super abilities and special attacks to make Joe Musashi's moveset more fulfilling than ever. Master of the craft 'We really tried to pay homage to the first game,' explains Frederic Vincent, lead game designer on Shinobi: Art of Vengeance. 'And it's really not easy to find the right balance between what you're going to keep from the ancient games, and what you are going to leave and to keep'. Doing this meant gifting Muasashi with a new suite of moves while being respectful to the ninja idea. 'We wanted to recapture the feeling of playing a ninja using elegant moves, fast combat… that kind of stuff. It was more about what's the meaning of being a shinobi in the modern era'. My most recent time playing what Lizardcube has cooking up took me through two new levels, Fish Market and Neo City, both of which were a great display for Shinobi's combat. Fish Market is a stage just as slimy and grubby as it sounds, but still rendered beautifully using hand-drawn sketches. Using the Shinobi Execution to dart around the stage finishing off foes, unleashing the Fire Ninpo blast attack, and of course using Musashi's iconic kunai to attack enemies from a distance, it all felt great to do while hopping and dancing around the Fish Market's ever-moving containers and slippery streets. Neo City, meanwhile, is just as glamourous as it sounds, presenting totally different enemy types and enemies to tackle using super-responsive ninja attacks. Another way Art of Vengeance aims to set itself apart is by peppering in reasons to comb around levels, with plenty of hidden areas and collectibles to discover. Such inclusions help give this iteration of Shinobi a more, Metroidvania like flavour, as opposed to the simple linear arcade stages seen in previous games. 'For each stage you will have unique challenges you have to overcome,' Vincent continues. 'It's true that there is a lot of stuff happening in the first stage, but we really manage to keep this balance until the end of the game'. From specific combat challenges to ability-enhancing medallions to track down, Lizardcube has included plenty of excuses to let players fight and move through stages their own way. 'We implemented those features because they made a lot of sense for the feeling we wanted to get. The game feel of the combat, the way we ask you to move around the battlefield, manage some resources. Basically, we wanted the player to make some choices during combat, to really pitch what they want to do'. It's now less than a month until Shinobi: Art of Vengeance launches simultaneously on PC and consoles. And although the demo currently available offers players a small glimpse of what this incredibly stylised franchise return has to offer, Vincent and Nguyen-You both hint that there are plenty of surprises left in store. Shinobi does have the unfortunate challenge of releasing shortly after the unbelievably excellent Ninja Gaiden: Ragebound, but the truth is that both ninja games are pitching a slightly different twist on the 2D action-platforming template – and there's room for Art of Vengeance to carve out its own identity within that.


The Guardian
16 hours ago
- The Guardian
Punch bags, penny pushers and Hillbilly shootouts: the 10 best classic seaside arcade machines
The seaside day trip remains an almost essential component of the school summer holidays, and although the big beachfront arcades have changed a lot over the last decade, they are still a magnet for small kids with handfuls of change, as well as adults hoping to spy an old Space Invaders cabinet in the back. As a child of the 1980s, coin-op video games were an obsession, but what really fascinated me were the older machines, the electro-mechanical oddities that hung on into the digital age. Here are 10 of the best – please add your own in the comments. Long before the arrival of computer chips and CRT monitors, arcade driving games featured projected images of landscapes or even scrolling paintings to give the impression of hurtling along a road. The first examples arrived in the 1930s and a few later models, such as Chicago Coin's Speedway and Sega's Grand Prix stuck around in seaside arcades well into the 1980s. I remember playing a later example, Kasco's astonishing 1979 arcade game The Driver, on the pier at Blackpool. It used 16mm footage of a real race to put you right in the action. There was a time when the rapid-fire noise of plastic pucks rebounding around large snooker-like tables was a constant soundtrack in larger arcades. Air Hockey was invented by US company Brunswick Billiards in 1969 and it quickly caught on across the globe offering a fast-paced alternative to pool and table football. You can still find them in retro arcades, especially in traditional seaside towns such as Great Yarmouth, Blackpool and Southend. These large installations feature tin horses lining up on a race track – six to eight players each sit at a cabinet in front of the course and throw balls at a target in order to move their equine racer toward the finishing line: the most accurate player wins. It seems the original version of the game, Kentucky Derby, was brought to Blackpool Pleasure Beach in the 1920s by George Valentine Tonner, an Irish-American soldier, jockey and amusement park concessionaire who also patented an early version of dodgems. Later examples swap horses for donkeys or camels, while a smaller variant, The Derby by Whittaker Bros, invited multiple players to bet on the outcome of automated horse races for a modest payback. Toy vending machines followed gumball machines into American stores, cafes and station platforms in the 1930s, but it was in 1965 that the first gachapon machine was installed in a shop in Tokyo by entrepreneur Ryuzo Shigeta. These dispensed their wares in cute little plastic capsules, and the idea caught on. More commonly known as egg machines in the UK, most 1980s seaside arcades would have a couple outside the entrance, the most famous examples being Glendale's Oranges and Lemons and Lucky Eggs machines, the later of which would dispense your prize from a rotating, clucking hen – which made it that much more special. You'd get rows of these large machines, often at the back of the arcade, giving players a number of chances to lob a basketball through a hoop, usually within a caged play area so you didn't accidentally launch the ball across the room. Classics such as Hoop Shot, Triple Jam and Full Court Fever added features including moving hoops and connected play so you could compete against pals on nearby machines. This was always where the rowdy teens hung out. Originating in the late 19th century these arcade and boardwalk amusements usually feature animated automatons, often stereotypical representations of Gypsies, witches or ancient Middle Eastern royalty. Put in a coin and the mystic character gestures, breathes and speaks your fortune (or deposits a card with your fortune written on it), accompanied by special effects such as a glowing crystal ball. Notable examples include Madame Zita, the creepy 1977 innovation Morgana, whose face is a video projection on to a featureless foam head, and Zoltar, which inspired the 1988 movie Big. Other automaton machines feature dancing puppets and absolutely terrifying laughing clowns. Beloved of young men keen to prove their masculinity, these have been around since at least 190o when the Chicago-based Mills Novelty Co released its Punching Bag model, complete with ornate oak stand. Modern versions have digital displays featuring accurate strength read-outs, but you're still just hitting a ball as hard as you can. Other strength testing machines include the Mr Muscle machine from Italian manufacturer Zamperla, which challenged you to arm wrestle with an intimidating plastic man. Also known as claw machines, these remain a staple arcade experience. You slot in a coin and use the joystick to direct an ineffectual grabber towards your desired toy. Usually, it makes a pathetic attempt before dropping the item millimetres away from the delivery chute (mostly because the claws can be set to only grip at full strength for a minority of attempts). The first commercial example is thought to be the Erie Digger manufactured in the US through the 1920s but since then well-known arcade manufacturers such as Sega and Bally have created their own examples, the former revolutionising the market in the 1980s with its UFO Catcher machines offering larger prizes and a brighter kawaii look. They remain irresistible. Light gun shooting galleries were in every arcade in the 70s and 80s, but my favourite examples were the large installations featuring lifesize scenes to shoot at, often with a wild west, pirate or gangster theme. The one I most remember playing – I think in Blackpool's Coral Island arcade – was called Hillybilly Moonshine and it had several mannequins dressed in overalls as well as a big copper distiller and various barrels and critters. If you hit the hillbillies they fired water pistols at you. You can still find these dotted about in surviving coin-op houses and they're really worth a go. Invented by Ramsgate-based manufacturing firm Cromptons in 1966 (though there were earlier variants), coin push games are the kings of the seaside arcade, dominating the floor space and enticing players with their piles of sparkling treasure surely ready to fall at any second. The original was called Penny Falls, but there are hundreds of variations now, including virtual coin pushers, which move the action on to a screen with lots of special effects. Oh, the hours I spent during summer holidays wandering the arcades of Blackpool and Morecambe, a plastic cup of 2p coins in my hand, scrutinising these seductive machines. 'Penny pushers are absolutely pivotal to the success of the British amusement arcade,' says lecturer and historian Alan Meades, author of Arcade Britannia: A Social History of the British Amusement Arcade. 'Alongside the fruit machine they are where the arcades made their money – penny pushers could last for decades – retooled with currency changes – and recouped their costs time and again.'


The Guardian
20 hours ago
- The Guardian
Punch bags, penny pushers and Hillbilly shootouts: the 10 best classic seaside arcade machines
The seaside day trip remains an almost essential component of the school summer holidays, and although the big beachfront arcades have changed a lot over the last decade, they are still a magnet for small kids with handfuls of change, as well as adults hoping to spy an old Space Invaders cabinet in the back. As a child of the 1980s, coin-op video games were an obsession, but what really fascinated me were the older machines, the electro-mechanical oddities that hung on into the digital age. Here are 10 of the best – please add your own in the comments. Long before the arrival of computer chips and CRT monitors, arcade driving games featured projected images of landscapes or even scrolling paintings to give the impression of hurtling along a road. The first examples arrived in the 1930s and a few later models, such as Chicago Coin's Speedway and Sega's Grand Prix stuck around in seaside arcades well into the 1980s. I remember playing a later example, Kasco's astonishing 1979 arcade game The Driver, on the pier at Blackpool. It used 16mm footage of a real race to put you right in the action. There was a time when the rapid-fire noise of plastic pucks rebounding around large snooker-like tables was a constant soundtrack in larger arcades. Air Hockey was invented by US company Brunswick Billiards in 1969 and it quickly caught on across the globe offering a fast-paced alternative to pool and table football. You can still find them in retro arcades, especially in traditional seaside towns such as Great Yarmouth, Blackpool and Southend. These large installations feature tin horses lining up on a race track – six to eight players each sit at a cabinet in front of the course and throw balls at a target in order to move their equine racer toward the finishing line: the most accurate player wins. It seems the original version of the game, Kentucky Derby, was brought to Blackpool Pleasure Beach in the 1920s by George Valentine Tonner, an Irish-American soldier, jockey and amusement park concessionaire who also patented an early version of dodgems. Later examples swap horses for donkeys or camels, while a smaller variant, The Derby by Whittaker Bros, invited multiple players to bet on the outcome of automated horse races for a modest payback. Toy vending machines followed gumball machines into American stores, cafes and station platforms in the 1930s, but it was in 1965 that the first gachapon machine was installed in a shop in Tokyo by entrepreneur Ryuzo Shigeta. These dispensed their wares in cute little plastic capsules, and the idea caught on. More commonly known as egg machines in the UK, most 1980s seaside arcades would have a couple outside the entrance, the most famous examples being Glendale's Oranges and Lemons and Lucky Eggs machines, the later of which would dispense your prize from a rotating, clucking hen – which made it that much more special. You'd get rows of these large machines, often at the back of the arcade, giving players a number of chances to lob a basketball through a hoop, usually within a caged play area so you didn't accidentally launch the ball across the room. Classics such as Hoop Shot, Triple Jam and Full Court Fever added features including moving hoops and connected play so you could compete against pals on nearby machines. This was always where the rowdy teens hung out. Originating in the late 19th century these arcade and boardwalk amusements usually feature animated automatons, often stereotypical representations of Gypsies, witches or ancient Middle Eastern royalty. Put in a coin and the mystic character gestures, breathes and speaks your fortune (or deposits a card with your fortune written on it), accompanied by special effects such as a glowing crystal ball. Notable examples include Madame Zita, the creepy 1977 innovation Morgana, whose face is a video projection on to a featureless foam head, and Zoltar, which inspired the 1988 movie Big. Other automaton machines feature dancing puppets and absolutely terrifying laughing clowns. Beloved of young men keen to prove their masculinity, these have been around since at least 190o when the Chicago-based Mills Novelty Co released its Punching Bag model, complete with ornate oak stand. Modern versions have digital displays featuring accurate strength read-outs, but you're still just hitting a ball as hard as you can. Other strength testing machines include the Mr Muscle machine from Italian manufacturer Zamperla, which challenged you to arm wrestle with an intimidating plastic man. Also known as claw machines, these remain a staple arcade experience. You slot in a coin and use the joystick to direct an ineffectual grabber towards your desired toy. Usually, it makes a pathetic attempt before dropping the item millimetres away from the delivery chute (mostly because the claws can be set to only grip at full strength for a minority of attempts). The first commercial example is thought to be the Erie Digger manufactured in the US through the 1920s but since then well-known arcade manufacturers such as Sega and Bally have created their own examples, the latter revolutionising the market in the 1980s with its UFO Catcher machines offering larger prizes and a brighter kawaii look. They remain irresistible. Light gun shooting galleries were in every arcade in the 70s and 80s, but my favourite examples were the large installations featuring lifesize scenes to shoot at, often with a wild west, pirate or gangster theme. The one I most remember playing – I think in Blackpool's Coral Island arcade – was called Hillybilly Moonshine and it had several mannequins dressed in overalls as well as a big copper distiller and various barrels and critters. If you hit the hillbillies they fired water pistols at you. You can still find these dotted about in surviving coin-op houses and they're really worth a go. Invented by Ramsgate-based manufacturing firm Cromptons in 1964, coin push games are the kings of the seaside arcade, dominating the floor space and enticing players with their piles of sparkling treasure surely ready to fall at any second. The original was called Penny Falls, but there are hundreds of variations now, including virtual coin pushers, which move the action on to a screen with lots of special effects. Oh, the hours I spent during summer holidays wandering the arcades of Blackpool and Morecambe, a plastic cup of 2p coins in my hand, scrutinising these seductive machines. 'Penny pushers are absolutely pivotal to the success of the British amusement arcade,' says lecturer and historian Alan Meades, author of Arcade Britannia: A Social History of the British Amusement Arcade. 'Alongside the fruit machine they are where the arcades made their money – penny pushers could last for decades – retooled with currency changes – and recouped their costs time and again.'