Latest news with #Bloodborne
The Star
7 hours ago
- Entertainment
- The Star
The vexing art of Duchamp, Picasso and FromSoftware
Most big-budget video games work hard to appeal to a broad player base. Boot up The Last Of Us: Part II and Red Dead Redemption 2 and you will be treated to cinematic introductions that neatly outline mechanics and plot, spelling out details with lengthy tutorials and exposition-laden dialogue. Bloodborne, which is celebrating its 10th anniversary this year, took a drastically different approach: It dropped gamers into the deep end and ignored their cries for help. Fans of other challenging games by FromSoftware loved it. Others despised it. Dan Stapleton, convinced by enthralled co-workers at IGN to give Bloodborne a shot, called the experience 'tediously repetitive and very rarely fun', and 'more chore than challenge'. He was not alone. Based on public PlayStation data, less than half of those who begin Bloodborne defeat its first boss, a hulking antlered monster that players encounter in the game's labyrinthine starting area. Only one in four players ever defeat Mergo's Wet Nurse, the many-limbed eldritch horror who must be vanquished to reach the game's most basic ending. A century ago, influential artists such as Pablo Picasso, Edvard Munch and Marcel Duchamp also confused and outraged audiences with difficult work that pushed the boundaries of the medium. Critic Julian Street, reviewing Duchamp's painting 'Nude Descending a Staircase', wrote that it was like 'an explosion in a shingle factory.' Critics and audiences were similarly sceptical of modernist literature that demanded more from people than many were prepared to give. Bloodborne, a mass-market game featuring beast hunters hacking up werewolves and aliens with giant saws in the fictional city of Yharnam, may appear to have little in common with these famous works. But Nathan Wainstein, an assistant professor of English at the University of Utah, sees the modernist stamp all over Bloodborne. In his book Grant Us Eyes: The Art Of Paradox In Bloodborne, he compares Duchamp's 'Nude' not to a shingle factory explosion but to a video game glitch. Mustering thinkers like Theodor W. Adorno, Roland Barthes and Michael Fried to support his arguments, Wainstein describes Bloodborne as a continuation of the modernist impulse to push art forward by challenging the expectations, and sometimes the patience, of its audience. Bloodborne is as comparable to a mass-market action game, he argues, as James Joyce's Ulysses is to a Dan Brown novel. Conversations about difficulty, the game's most obvious feature, can overshadow Bloodborne's artistic achievements. But for Wainstein and other scholars, it's a central element of the game's ambition. 'People often think of play as easy,' said Patrick Jagoda, a game designer and an English professor at the University of Chicago who helped develop the university's game studies curriculum. 'But difficulty can also open up reflections, frustration or anxiety, interruption, disruption or subversion, right? Difficulty can challenge us to be uncomfortable and see where those precarious feelings will take us.' Bloodborne embraces discomfort from its opening moments, when beginners are greeted by a werewolf devouring a corpse in the middle of a hospital clinic. This enemy will almost immediately kill most players, who have no weapon or any real idea of how to approach combat, resulting in a frustrating reset barely a minute into gameplay. That kind of disorientation is a hallmark of the FromSoftware experience. 'It's not Breath Of The Wild, where everything's explained to you,' said Paul Galloway, a curator at the Museum of Modern Art who has been central to the New York institution's efforts to include video games in its permanent collection. 'And don't get me wrong, I absolutely love Breath Of The Wild,' he continued, referring to the highly praised Legend Of Zelda game from 2017. 'But I think that kind of ambiguity and lack of definition allows for a richer experience, because like a modernist novel, you are allowed to interpret and bring your own kind of perspective.' 'You just wish you could hit pause,' he admitted. FromSoftware games offer no such reprieve. Even within game menus, enemies can and will attack. For Galloway, the experience is like a return to the frustrations and joys of the coin-operated arcade cabinet. Beyond gameplay difficulty, Jagoda notes that games like Bloodborne also offer challenges through their opaque storytelling, encouraging 'a kind of close reading' that rewards players for mining the game's environment and items much in the same way that scholars in the humanities scour primary sources. These games also ask players to grapple with their emotions, which Jagoda calls affective difficulty: the frustration of losing to the same enemy 10 times in a row, the anxiety of getting lost or running low on healing items. 'When people call a game artistic, they usually judge it by criteria used by other art forms,' Jagoda said. 'They might mean that a game is visually stunning or that it's well written. But a game can also be artful because of its mechanics or its rules or its objectives.' While the basic elements of the Soulsborne genre that FromSoftware pioneered have remained intact since Demon's Souls (2009), Wainstein said in an interview that he believed that Bloodborne was 'the most undiluted version of the formula'. The game, he said, has a uniquely modernist bent: fragmented, ambiguous and absorptive. 'It draws you in by basically ignoring you, but ignoring you in a respectful way.' Dark Souls (2011) and Elden Ring (2022) are rooted in a hodgepodge of fantasy tropes and feature a wide variety of environments and hundreds of weapons. That is part of their broader appeal. In Bloodborne, on the other hand, Wainstein sees a spare 'Aristotelian unity'. It takes place over one night in one city and has a rich, coherent aesthetic that extends from its level design to its limited but highly inventive arsenal of weapons. If Bloodborne is a pure expression of those ideas, the open-world Elden Ring, which has sold more than 30 million copies, can be viewed as a concession to more popular tastes. When the franchise's first multiplayer game, Nightreign, comes out this week, it promises to further push that distinctive formula toward systems familiar to even more players, with preset characters and a fast-paced gameplay loop. Now more than ever, Bloodborne seems to have done something extraordinary for a mass-market entertainment product, hiding the best parts of itself behind challenges that most people cannot or will not overcome. After that inevitable first death, players awaken again to find a mischievous mentor figure to all the hunters in Yharnam. 'You're sure to be in a fine haze about now,' he says, slyly acknowledging the disorientation of those early hours. 'But don't think too hard about all this. Just go out and kill a few beasts. It's for your own good.' – ©2025 The New York Times Company This article originally appeared in The New York Times.
CNET
20 hours ago
- Entertainment
- CNET
I Played Elden Ring Nightreign as a Third-Person Shooter. Here's Why You Should Pick Up a Bow
Usually when I pick up a new FromSoftware game, I opt to build my character into the biggest, strongest guy alive. In Bloodborne, I swung around the Hunter's Axe from beginning to end, and in Elden Ring, I beelined to the first colossal swords I could find, which include some of the game's best weapons. I'm happiest when I have enough poise to stand my ground against any attack and just keep swinging a blade at the bad guy. I was planning on playing a big, strong character in Elden Ring Nightreign, too. Perhaps I would tank the hits for my team as the Guardian or power through them as the Raider. And then my DualSense controller's USB cable busted right as the review period started. Have you ever tried to play Elden Ring with a keyboard and mouse? It's not the most intuitive control scheme. Off the rip, I was having trouble with simple tasks like flicking between enemies and swiftly changing my equipment in the heat of battle. I quickly gave up on trying to make a melee character work, and decided to try out Ironeye, the roguish assassin carrying a bow and dagger. What I found was a character that made me feel surprisingly useful as part of a three-person squad, especially as a gamer more well-versed in shooters than in roleplaying games -- and I could play the archer just like third-person shooters I'm familiar with. That's right: While most Ironeye players are using lock-on, I'm firing with free-aim crosshairs. And it's incredible. Free aiming with a two-handed bow feels smooth and responsive in Nightreign. Bandai Namco/Screenshot by CNET Archery has never felt more intuitive in a FromSoftware game My previous forays into picking up a bow in Elden Ring were stymied by the fact that I needed to manage my inventory of arrows on the fly. While it's cool to craft trick arrows (it makes me feel like Hawkeye or Green Arrow) to inflict elemental damage or status afflictions, it's not cool to run out of arrows in the middle of combat. I never felt that I could pick a fight with only my bow and come out on top. In Elden Ring Nightreign, you have infinite arrows -- your attacks are only limited by your stamina and focus points (aka mana) if using special abilities. In a three-person squad, I was able to constantly pressure enemies from afar, pincushioning bosses in their weak points as my allies hacked at their legs. The arrows don't do the highest damage per second in the game, but I was able to land consistent hits on our opponents and chip away at the health bar even during more dangerous phases of the battle. And since I was farther away from the boss, I was safer from danger -- a genuine concern when the effectiveness of the team largely depends on everyone staying up. Perhaps most usefully, I could shoot my fallen squadmates from a distance to revive them without drawing the boss's attention. The best part of Nightreign's archery is the generous free aim camera. I wasn't joking when I said that I played the game as if it were a third-person shooter. While the camera lock reliably let me hit center mass on most enemies, wielding a bow with two hands let me aim with my mouse and loose arrows across any of my sightlines on the battlefield. Many foes would stumble when I shot them in the head, and I used this to stun-lock smaller enemies and clear the fodder during hectic boss fights. As it turns out, all of the time I've been putting into Marvel Rivals has resulted in me picking up some transferable accuracy skills that aid my survival in The Lands Between. If and when a boss focused on me instead of my allies, I would revert to using the camera lock and kite the monster around the outside of the arena. Ironeye is dexterous, and can dodge through many attacks. If I'd created a large enough gap between myself and the beast, I weaved in a volley or two from my quiver before continuing my retreat. Eventually, my allies would peel the boss away from me, and I'd get back to work doing what I'm best at -- needling the giant bad guy in the face until it stopped moving. Ironeye's dagger dash keeps him safe while letting him do extra damage to any foes he cuts through. Bandai Namco/Screenshot by CNET A Nightfarer with utility and survivability While Ironeye's damage-per-second isn't as high as other Nightfarers, I never felt like a mere nuisance on the battlefield. My ranged capabilities let me target weak points that my teammates couldn't hit, even on certain Nightlord aspects (the final boss of an expedition). I was able to do remarkable damage to flying enemies, and certain bosses -- like dragons -- would quickly fall to a flurry of well-aimed arrows. When enemies didn't have an obvious weakness, I'd create one myself with Ironeye's class ability. He can dash forward with his dagger, exposing an enemy's weak spot and granting a damage multiplier to any arrows landed there. When I'm able to destroy the mark, the team is able to take advantage of a unique enemy stagger, opening a crucial window of opportunity for free damage. I felt rewarded for approaching the battle and passing quickly through an enemy, before returning to the outskirts of the arena to double my DPS. The dagger dash is also a great survival tool, because Ironeye gets invincibility frames during the full animation and repositions himself on the other side of an approaching foe. The ability recharges within seconds, so I never felt like I was left high and dry with no way to defend myself against a particularly aggressive brawler. If one of those enemies happened to down my squadmates, all I had to do was fire a handful of arrows at an ally to get them back into the fight. There's no doubt in my mind that Ironeye is the best Nightfarer for reviving teammates -- the Recluse needs to expend FP to do similarly, and even the Revenant needs to use her ultimate to match the value the archer brings to the table in this regard. While any class can equip a bow, they likely won't have the Dexterity stat advantage that Ironeye has to do more revival "damage" to pick up teammates. Ironeye's ultimate ability cleaves through the battlefield to hit its intended target. Bandai Namco/Screenshot by CNET Most importantly, Ironeye provides great utility to the melee-focused members of his squad. His ultimate ability, Single Shot, pulls out a massive great bow that takes a couple seconds to set up, but fires through any enemies and terrain to spear its intended target. This ability absolutely clears fodder that might be crowding your allies, but I also found that it does great poise damage against bosses -- opening them up for devastating critical hits from your team. If you want to find success in Elden Ring Nightreign, half the battle is putting together an effective team composition. While archery might be a load of bunk in Elden Ring, Ironeye more than holds his own in this game. Grab your bow and arrows and play Nightreign like a third-person shooter -- you'll be able to DPS and support the squad without breaking a sweat.
Digital Trends
3 days ago
- Entertainment
- Digital Trends
The Duskbloods needs to fix Elden Ring: Nightreign's biggest problem
The era of multiplayer FromSoftware games has officially begun. Elden Ring: Nightreign is out now, turning 2022's award-winning open-world game into a co-op roguelike that's already resonating with fans. That's just the beginning for the famed developer too. Next year, it will follow up that momentum with The Duskbloods, a Nintendo Switch 2 exclusive multiplayer game that's about as close to a Bloodborne sequel as we're likely going to get. If it's as enjoyable as Nightreign, FromSoftware could have a successful reinvention in its future. Nightreign is just one success story, though; the key to victory is how you capitalize on that momentum. That puts The Duskbloods in an important position, as it will have to prove that the idea of a multiplayer Soulslike is more than a one-time novelty. If it's going to do that, it will need to improve on Nightreign's weaknesses rather than repeating its successes. And there's one major Achilles' heel that needs more healing than any other: Nightreign's archaic approach to online play. Recommended Videos Elden Ring: Nightreign is a three player co-op game in which squads band together to defeat enemies on an island, level up, and take down eight fierce Night Lords — all as a storm closes in on them. When it's operating at its best, it's a strong multiplayer game that incentivizes strong communication between well-coordinated teammates. What initially seems impossible becomes very achievable with a team that knows exactly what it's doing. The only problem is that actually getting to that point is an unbelievable hassle. That's largely thanks to an outdated approach to multiplayer that hangs over even the most beloved FromSoftware games. For one, Nightreign doesn't feature cross-play between any platforms. If you own it on PC, you can't play with someone on PS5. That's a restriction that most multiplayer games have done away with in the modern era, bringing disparate player bases together. Nightreign isn't the only recent game to ditch cross-play, but it uniquely shoots itself in the foot by doing so. Something like an online shooter can usually be enjoyed solo without squading up (in fact, I usually prefer to play games like that on my own). That's not the case with Nightreign. It hinges on communication between teammates and is significantly less enjoyable when diving in with total strangers. Forcing friends to all be on the same platform creates an unnecessary roadblock that begins the moment they buy a copy. If that was the only problem here, I could shrug it off as a quirk. Instead it's just one pain point in a mountain of them. During my testing, I had trouble getting Nightreign's in-game matchmaking tools to work consistently. Sometimes I'd try to set a room code to let players I wasn't friends with in. All they had to do, in theory, was set the same code and then start matchmaking. That process proved unreliable, as I'd often have to cancel matchmaking and try again to get it to work. Elsewhere, I ran into issues when trying to team up with players in different countries. Even when I selected an option to pair with cross-region players, I was sometimes unable to join their party or vice versa. That issue popped up even after we had friended one another on PS5 and tried to connect via direct party invites. Those issues are only made worse by Nightreign's additional restrictions. Only have one friend you want to party up with? Sorry, there is no duos playlist at launch despite the fact that there's a solo option. Hoping to take a chance with strangers? There's no in-game voice chat, so good luck coordinating effectively using only a rudimentary ping system. Want to play with a friend who is further along than you? You won't be able to tackle any boss together until you've vanquished the first. Has your world state been impacted by a Shifting Earth event? That will limit who you can match with too. On top of all that, there are eight separate boss playlists to choose from which further split the player base. You can queue up for multiple at once, but good luck trying to pair up for a specific boss. All of these decisions compound to make Nightreign one of the most complicated online multiplayer games I've played in recent years. It's a blast once I'm in a game with friends, but it's not something I'd ever want to play casually by teaming up with strangers. There are just too many variables and I'm not yet convinced that it will have the kind of enormous tail that keeps players logging in consistently a year from now. After suffering through that, I'm now much more worried for The Duskbloods and am in need of reassurance. If it's going to take Nightreign's lead, we could be in for a perfect storm of bad multiplayer integration from two of the worst companies doing it today. Imagine dealing with FromSoftware matchmaking on a Nintendo platform, one that still uses long friend codes to pair pals together. It's a potential deal breaker in the making. There's hope for The Duskbloods even if it's not going to deviate much from Nightreign. The fact that it's confined to Nintendo Switch 2 will work in its favor, as players won't have to deal with cross-play headaches (and if it's another game that requires good communication, it'll also benefit from GameChat). Still, I'm not sure how much I'll be willing to swallow the same matchmaking inconsistencies I faced in Nightreign come 2026. I'm ready to join FromSoftware in its multiplayer future, but only if it's willing to meet me there. Elden Ring: Nightreign is available now on PC, PS4, PS5, and Xbox One, and Xbox Series X/S. The Duskbloods is scheduled to launch in 2026 for Nintendo Switch 2.
New York Times
5 days ago
- Entertainment
- New York Times
The Vexing Art of Duchamp, Picasso and FromSoftware
Most big-budget video games work hard to appeal to a broad player base. Boot up The Last of Us: Part II and Red Dead Redemption 2 and you will be treated to cinematic introductions that neatly outline mechanics and plot, spelling out details with lengthy tutorials and exposition-laden dialogue. Bloodborne, which is celebrating its 10th anniversary this year, took a drastically different approach: It dropped gamers into the deep end and ignored their cries for help. Fans of other challenging games by FromSoftware loved it. Others despised it. Dan Stapleton, convinced by enthralled co-workers at IGN to give Bloodborne a shot, called the experience 'tediously repetitive and very rarely fun,' and 'more chore than challenge.' He was not alone. Based on public PlayStation data, less than half of those who begin Bloodborne defeat its first boss, a hulking antlered monster that players encounter in the game's labyrinthine starting area. Only one in four players ever defeat Mergo's Wet Nurse, the many-limbed eldritch horror who must be vanquished to reach the game's most basic ending. A century ago, influential artists like Picasso, Munch and Duchamp also confused and outraged audiences with difficult work that pushed the boundaries of the medium. The critic Julian Street, reviewing Duchamp's painting 'Nude Descending a Staircase,' wrote that it was like 'an explosion in a shingle factory.' Critics and audiences were similarly skeptical of modernist literature that demanded more from people than many were prepared to give. Bloodborne, a mass-market game featuring beast hunters hacking up werewolves and aliens with giant saws in the fictional city of Yharnam, may appear to have little in common with these famous works. But Nathan Wainstein, an assistant professor of English at the University of Utah, sees the modernist stamp all over Bloodborne. In his book 'Grant Us Eyes: The Art of Paradox in Bloodborne,' he compares Duchamp's 'Nude' not to a shingle factory explosion but to a video game glitch. Mustering thinkers like Theodor W. Adorno, Roland Barthes and Michael Fried to support his arguments, Wainstein describes Bloodborne as a continuation of the modernist impulse to push art forward by challenging the expectations, and sometimes the patience, of its audience. Bloodborne is as comparable to a mass-market action game, he argues, as Joyce's 'Ulysses' is to a Dan Brown novel. Conversations about difficulty, the game's most obvious feature, can overshadow Bloodborne's artistic achievements. But for Wainstein and other scholars, it's a central element of the game's ambition. 'People often think of play as easy,' said Patrick Jagoda, a game designer and an English professor at the University of Chicago who helped develop the university's game studies curriculum. 'But difficulty can also open up reflections, frustration or anxiety, interruption, disruption or subversion, right? Difficulty can challenge us to be uncomfortable and see where those precarious feelings will take us.' Bloodborne embraces discomfort from its opening moments, when beginners are greeted by a werewolf devouring a corpse in the middle of a hospital clinic. This enemy will almost immediately kill most players, who have no weapon or any real idea of how to approach combat, resulting in a frustrating reset barely a minute into gameplay. That kind of disorientation is a hallmark of the FromSoftware experience. 'It's not Breath of the Wild, where everything's explained to you,' said Paul Galloway, a curator at the Museum of Modern Art who has been central to the New York institution's efforts to include video games in its permanent collection. 'And don't get me wrong, I absolutely love Breath of the Wild,' he continued, referring to the highly praised Legend of Zelda game from 2017. 'But I think that kind of ambiguity and lack of definition allows for a richer experience, because like a modernist novel, you are allowed to interpret and bring your own kind of perspective.' 'You just wish you could hit pause,' he admitted. FromSoftware games offer no such reprieve. Even within game menus, enemies can and will attack. For Galloway, the experience is like a return to the frustrations and joys of the coin-operated arcade cabinet. Beyond gameplay difficulty, Jagoda notes that games like Bloodborne also offer challenges through their opaque storytelling, encouraging 'a kind of close reading' that rewards players for mining the game's environment and items much in the same way that scholars in the humanities scour primary sources. These games also ask players to grapple with their emotions, which Jagoda calls affective difficulty: the frustration of losing to the same enemy 10 times in a row, the anxiety of getting lost or running low on healing items. 'When people call a game artistic, they usually judge it by criteria used by other art forms,' Jagoda said. 'They might mean that a game is visually stunning or that it's well written. But a game can also be artful because of its mechanics or its rules or its objectives.' While the basic elements of the Soulsborne genre that FromSoftware pioneered have remained intact since Demon's Souls (2009), Wainstein said in an interview that he believed that Bloodborne was 'the most undiluted version of the formula.' The game, he said, has a uniquely modernist bent: fragmented, ambiguous and absorptive. 'It draws you in by basically ignoring you, but ignoring you in a respectful way.' Dark Souls (2011) and Elden Ring (2022) are rooted in a hodgepodge of fantasy tropes and feature a wide variety of environments and hundreds of weapons. That is part of their broader appeal. In Bloodborne, on the other hand, Wainstein sees a spare 'Aristotelian unity.' It takes place over one night in one city and has a rich, coherent aesthetic that extends from its level design to its limited but highly inventive arsenal of weapons. If Bloodborne is a pure expression of those ideas, the open-world Elden Ring, which has sold more than 30 million copies, can be viewed as a concession to more popular tastes. When the franchise's first multiplayer game, Nightreign, comes out this week, it promises to further push that distinctive formula toward systems familiar to even more players, with preset characters and a fast-paced gameplay loop. Now more than ever, Bloodborne seems to have done something extraordinary for a mass-market entertainment product, hiding the best parts of itself behind challenges that most people cannot or will not overcome. After that inevitable first death, players awaken again to find a mischievous mentor figure to all the hunters in Yharnam. 'You're sure to be in a fine haze about now,' he says, slyly acknowledging the disorientation of those early hours. 'But don't think too hard about all this. Just go out and kill a few beasts. It's for your own good.'
Yahoo
08-05-2025
- Entertainment
- Yahoo
On the prospect of an $80-$90 GTA 6, former PlayStation boss says 'it's an impossible equation' for big-budget studios to keep their prices down
When you buy through links on our articles, Future and its syndication partners may earn a commission. There's every chance that GTA 6 will cost around $80—it's not been confirmed, but the wind is certainly shifting that way. That's as per the Xbox website, which told customers some bad news, writing "Some of our new, first-party games will launch at $79.99 beginning this holiday season." I should note that while Rockstar is owned by Take-Two Interactive, not Microsoft, this still marks a shift in the big-budget industry and, honestly, having seen the absurd graphical fidelity of GTA 6? If any game's gonna cost $80, it'll be that one. Former PlayStation boss and Sony vet, Shuhei Yoshida, who left the company in 2024 after a whopping 38 years, thinks it was pretty much only a matter of time. "It was going to happen sooner or later," he tells playstationinside. "Maybe not from Nintendo, but it was going to happen eventually." The problem, he puts it, is inflation. Which is an unerringly boring but also correct answer: "We live in contrasting times, where inflation is real and significant, but people expect games that are ever more ambitious and therefore expensive to develop to cost the same. It's an impossible equation." In fact, companies are "keen to diversify their revenues" to fund the ever-bloated scale of these projects. That includes all these remakes and remasters: "Basically, the proliferation of remasters and remakes doesn't really stem from any kind of nostalgia or a desire to bring games up to date, but is a kind of 'easy' solution to bring in profits that ultimately help finance new games." PC ports are part of that equation, but he says that's not as much of an issue because they're propped up by support studios—I'm inclined to agree with him, but mostly because I'd like to play these games on PC someday. Cough, Bloodborne, cough. A less savoury part, he also highlights, are "subscription platforms and games as a service". As for GTA 6, he doesn't know if "Rockstar will jump at the chance" to ramp up the price to $80—or even $90, all-told. But he maintains that "a balance must be found between production costs and game prices. "GTA 6 will obviously be a case in point, but if you take the example of Clair Obscur: Expedition 33, the game is just as phenomenal visually, despite the fact that the team only has around thirty people. This is one of the ways forward, I think, because you can make excellent games with tighter teams and budgets without compromising quality." It's admittedly a little funny to have the wide-spread meme 'I want shorter games with worse graphics made by people who are paid more to work less and I'm not kidding' basically parroted in more professional, executive terms by one of the industry's longest-standing figureheads. But he's not entirely wrong. He's also not exactly saying the 'paid more to work less' bit, given the mention of budgets. Clair Obscur: Expedition 33 is an interesting case because (aside from the fact it was made by a bit more than 30 people—it's just that was the size of the core dev team) I'd say the fact it looks good is more down to artstyle and aesthetic choice than the kind of raw, powerhouse technical fidelity that Rockstar flexes. I loved the visuals and the creativity of its world, but everyone's hair kept clipping through their necks, and I started to notice the constant reusing of scattered assets. That's not a complaint, mind. I love a game with a reasonable budget and ambitious scope. Even when it's coming from a bigger developer like, say, Atlus—I'll take the straightforward graphics of Metaphor: ReFantazio any day if the game is good. Rockstar's beer bottles may be shiny, but they're not mandatory for a good time. GTA 6: Everything we knowGTA 5 mods: Revved upGTA 5 cheats: Phone it inGTA 6 cars: The lineupSan Andreas cheats: All the codes
