Latest news with #Rare
Yahoo
5 days ago
- Entertainment
- Yahoo
After 11 years of development, 6 years of marketing, and a full reboot, Rare's Everwild has been canceled amid mass Xbox layoffs – 5 months after Phil Spencer's assurances it's making "progress"
When you buy through links on our articles, Future and its syndication partners may earn a commission. Everwild, the gorgeous but mysterious Rare title first announced back in 2019, has been canceled amid the mass layoffs happening today at Xbox. Rare has not yet confirmed the news, but three separate reports now suggest that the game is, indeed, dead. News of Everwild's cancellation was first reported by VGC, which mentioned that "employees are likely to lose their jobs as part of broader restructuring" at the studio. IGN's sources have also corroborated that the game is canceled, as has Bloomberg's Jason Schreier, who first reported on today's Xbox layoffs. We'd seen a handful of trailers for Everwild, which offered promises of a big adventure through a strange world filled with unusual animals. The exact details of the gameplay were never clear, but the almost Studio Ghibli-like vibes were enough to catch plenty of attention. Earlier this year, Xbox boss Phil Spencer said that the game was still making "progress." Reports circulated that Everwild's development had been rebooted in 2021, though Xbox representatives suggested those reports were "a little more extreme" than the truth. However, those same reports alleged that Everwild had been in some form of development since 2014, and a game rarely spends that long in development without some sort of trouble behind the scenes. What the cancellation and the looming layoffs mean for the future of Rare remains to be seen. The studio has a storied history going back to the British computer scene of the '80s, and was a prolific NES developer in its early days. It developed a close partnership with Nintendo throughout the '90s, during which it created the beloved Donkey Kong Country trilogy for the SNES, as well as titles such as GoldenEye 007, Banjo-Kazooie, and Perfect Dark for the N64. Microsoft's acquisition of Rare in the early '00s shocked the gaming world at the time, and while many of the studio's games under Xbox were quite good - I'll defend Viva Pinata and Banjo-Kazooie: Nuts and Bolts forever - they never made quite the same impact as the earlier Nintendo titles. After years supporting Xbox's ill-fated Kinect peripheral, Rare seemed to finally find its footing with Sea of Thieves, which, while it took some time to really find its footing, proved to be an excellent multiplayer sandbox. Everwild had the potential to be a strong follow-up, but I guess now we'll never know. I expect we'll lose a few more upcoming Xbox Series X games before the day is out. Solve the daily Crossword
Yahoo
5 days ago
- Entertainment
- Yahoo
Another Xbox studio reacts to the layoffs exploding around it: with Rare's Everwild dead, Sea of Thieves dev says "it's impossible for something like this not to ripple through the studio"
When you buy through links on our articles, Future and its syndication partners may earn a commission. Sea of Thieves studio Rare is the next Xbox studio to respond to the recent Microsoft layoffs and in this case, specifically the cancelation of the action-adventure game Everwild. Everwild, first announced in 2019 with a development story going all the way back to 2014, was one of the many casualties of Microsoft's recent downsizing, which resulted in the loss of around 9,000 jobs. We didn't see a whole lot of Everwild in the years since its reveal, but what little we did see of its colorful fantasy world was mighty promising, making its cancelation all the more disappointing for Rare diehards. In July's Sea of Thieves developer update, Rare production director Drew Stevens opened by addressing the elephant in the room, speaking out about the impact of Everwild's cancelation on the overall studio. "I think it would be strange to jump straight into our usual updates without acknowledging the news that we've ended development on Everwild here at Rare," Stevens said. "While this didn't directly impact Sea of Thieves, and we're continuing on as we'd planned, our focus as a team and a studio is on supporting our friends and colleagues whose roles are at risk." The layoffs at Xbox resulted in the cancelation of the Perfect Dark reboot and the shuttering of developer The Initiative, the downsizing of Forza studio Turn 10's workforce by about 50%, and the cancelation of an unannounced ZeniMax Online MMO. Longtime ZeniMax Online studio director Matt Firor of 18 years left the studio in the wake of the news, and later, the studio's union issued a statement on the cancelation, saying "a future has been stolen." "It's impossible for something like this not to ripple through the studio and affect us all in some way or another, so please bear with us," added Stevens. "And on that, I just wanted to say thank you to everyone who's reached out to check in on us and share their kind words of support. Genuinely, thank you, it really means a lot." As bummed as I am about Everwild, I really do appreciate that Rare took the time to acknowledge the situation instead of just pretending like nothing's happened. I can't fathom the pain and uncertainty at Xbox studios like Rare right now, and I can only hope that being able to continue work on Sea of Thieves gives the developers some sense of poetic escape similar to the whimsical distraction the open seas have provided players like me for years and years. "What happened with Microsoft was clear": Former Square Enix exec says Game Pass, "a service with barely any growth," didn't cause layoffs – competition with AI did Solve the daily Crossword
Yahoo
16-07-2025
- Entertainment
- Yahoo
'There has to be a better way than this': Game developers call Microsoft's latest layoffs 'a colossal waste of talent' from a publisher that seems like it's in 'a death spiral'
When you buy through links on our articles, Future and its syndication partners may earn a commission. Yesterday, despite posting $26 billion in profits and outperforming Wall Street forecasts in the last quarter, Microsoft began its latest round of restructuring with a targeted goal of laying off 9,000 employees. Many of those cuts have affected the Xbox gaming division, leading to cancellations of projects like Rare's Everwild and an unannounced Zenimax MMO, and studio closures for teams like The Initiative, which had been developing the now-cancelled Perfect Dark reboot. Microsoft has now laid off over 20,000 people since the start of 2023. On social media, game developers from solo indies to triple-A studio staff and everything in between have shared their dismay over the continued turmoil affecting their peers and colleagues. "It's heartbreaking to watch what's happening to this industry that I love," said Eric Neustadter, former operations manager at Xbox Live and current VP of technology at The Pokémon Company. "The incentives are misaligned so strongly that fun games and profitable teams aren't what matter." BioWare veteran and current Skate narrative director John Epler said that he's "reeling" over the news that's continuing to break about further Microsoft cuts. "18 years in the industry and I can confidently say this is the grimmest shit has been yet," Epler said. "There has to be a better way than this," said Vlambeer co-founder Rami Ismail. "There has to be a better games industry than this happening to so many people, over and over and over. This isn't good enough." "The games industry is going to turn me into the joker," said award-nominated Civilization 7 and Marvel's Midnight Suns writer Emma Kidwell. Many devs see Microsoft's layoffs as emblematic of an industry trapped in a doomed pursuit of perpetual growth. "Laying off thousands of people so that your numbers look better for the quarter while making many more billions is such a f'd up reality," said Chandana Ekanayake, co-founder and creative director at Outerloop Games. "Making numbers go up forever is not sustainable and never was. What a colossal waste of talent." "When mass layoffs are just a quarterly event, is this not just a death spiral?" asked Bruno Dias, former lead narrative and systems designer on Fallen London, who notes that Xbox seems to be carving up its own publishing portfolio while it's seemingly moving away from hardware. "Xbox behaves like a company that's been sold to private equity and is having the copper stripped out of the walls." Andrew Carl, systems designer at Respawn, said the newest Microsoft cuts are particularly hard to stomach given the company's heavy investment into the "dumpster fire" of generative AI development. "Reminder that all this carnage at Microsoft is coming at the same time as they are financially doubling down on the agentic & generative AI slop that nobody wants because it lies to you, has terrible security issues, & has untenable energy costs," Carl said. Microsoft said in January that it intends to spend $80 billion on AI this year. Even Seamus Blackley, creator and designer of the original Xbox who left Microsoft in 2002, said that Xbox's current strategy—assuming there is one—is self-defeating. "Think of the number of great games that had troubled development histories. All of them?" Blackley said. "Now consider how often executives cancel troubled games. Smooth development comes only when you take no risks. Greatness comes only when great risks are braved. Do the math." When one of his followers joked that "the math is being done by Copilot," Blackley said "Then it will be wrong, and it will insist it's right." Elsewhere, Firaxis narrative director Cat Manning said what felt like a summation of the entire industry's exhaustion: "I just want to make things that get players excited, man."
Stuff.tv
16-07-2025
- Entertainment
- Stuff.tv
How Donkey Kong went from arcade brawler to Banana royalty
Nintendo is home to some of the most iconic and beloved characters to have graced a games console, but its first ever mascot, Donkey Kong, is long overdue some proper respect. That may seem a tricky proposition when the gorilla was originally designed as oafish and dumb, but he's come a long way since debuting more than 40 years ago. He's gone from titular antagonist to beat at the arcade, to a playable platforming hero in his own right from the SNES onwards. And while he's had fewer headline outings than Mario, every time he's come back it's always with an inspired reinvention. With the release of Donkey Kong Bananza, the biggest exclusive for the Nintendo Switch 2 to date, it's a good time to look back at the key games that have defined and transformed this lovable ape over the years. Donkey Kong (1981) Looking back now, it's amazing to think 1891's Donkey Kong was originally meant to simply salvage thousands of unsold cabinets for failed Space Invaders clone Radar Scope. Nintendo then tried to license Popeye the sailor man to star in it. What we ended up with was a platformer all about climbing ladders and jumping over barrels, as you attempted to reach the top of a construction site to rescue Pauline from the great ape. The game was an enormous success, becoming the highest-grossing arcade game in the US that year, and was responsible for giving Nintendo its first major foothold in the West – long before the NES would make it a dominant force. Not bad for a game that marked the debut for a plucky young designer called Shigeru Miyamoto. It was of course also the game that introduced the world to Mario, although here the dungaree-wearing hero was simply known as Jumpman. Donkey Kong (1994) Besides home ports of the arcade original, the Donkey Kong franchise actually went dormant for a while after Donkey Kong 3 took things down the shooter route and replaced Mario with an 'exterminator' called Stanley. The Game Boy revival, better referred to as Donkey Kong '94, was more of a puzzle platformer, with over 100 levels for Mario to rescue Pauline from DK across. The gameplay would later inspire spiritual successor Mario vs Donkey Kong on the Game Boy Advance, which was eventually remastered for the original Nintendo Switch. It's also significant for being the game that gave Donkey Kong the signature red necktie sporting his initials, and redesigned Pauline as a long-haired brunette in a red dress. Donkey Kong Country (1994) A far more significant Donkey Kong revival arrived later that year, not from Nintendo but the British studio Rare. Donkey Kong Country reinvented the ape as a playable platforming protagonist who, with his nephew Diddy Kong, sets out to recover stolen bananas from the evil King and his Kremlings. A much trickier platformer than the contemporary Mario games, here you're relying on skill rather than power-ups. It's especially fiendish if you want to nab all the collectibles. What set it apart for many was its groundbreaking pre-rendered 3D models, keeping the ageing 16-bit SNES relevant as the real 3D gaming revolution was beginning elsewhere. David Wise's charming score is meanwhile as catchy and memorable as Koji Kondo's finest for Mario and Zelda. Donkey Kong 64 (1999) The Nintendo 64 was the de facto home of the 3D platformer, having gone stratospheric courtesy of the revolutionary Super Mario 64. It was only a matter of time as to when DK would make his proper 3D debut there. On paper, Donkey Kong 64 sounds like a winner: you get to play an ensemble of Kongs – DK, Diddy, Tiny, Lanky, and Chunky – with different abilities, and developer Rare had already proven its 3D chops with Banjo Kazooie. Unfortunately, while a hit at the time, DK64 is largely looked back on as a tedious slog of a collectathon. The whopping 3,831 total collectibles earned it an entry in the Guiness World Records. It's perhaps no surprise that subsequent DK games have opted to revert to side-scrolling platforming. But hey, at least it gave us the DK Rap. Donkey Kong Jungle Beat (2004) Jungle Beat is a niche GameCube release that sees you controlling DK with a pair of bongo drums, which were originally designed by Namco for its rhythm game spin-off Donkey Konga. But it's still an important part of DK's history. This was the first major game in the franchise to be developed by Nintendo in-house after Rare had been sold to Microsoft. It controversially ditched a lot of the elements from Donkey Kong Country (that series wouldn't be revived until 2010 by Retro Studios) including its characters and challenging platforming, though just getting your head around its quirky control system is already challenging enough. A curio for sure, but it's better remembered as the debut of the Nintendo division that would go onto make Super Mario Galaxy. Donkey Kong Bananza (2025) More than a quarter of a century later, DK has finally been given another 3D outing. And who better to right the wrongs of DK64 than the team behind Switch 1 masterpiece Super Mario Odyssey? Bananza is still a 3D platformer but it's less reliant on Country's twitch platforming and more on DK's brawn. You can literally smash up terrain to dig up secrets or carve your own path. There's still plenty to collect, in the form of Banandium Gems – think of them as edible crystal bananas that are much like Odyssey's Power Moons. What separates this from being a mere collectathon is the absolute delight of causing chaos as you explore each layer of this world in your journey towards the planet core. It's not just sheer monkey mayhem, either, as you can also transform into other animals with other powers, like a speedy zebra or a flying ostrich (I know, ostrich don't fly in real life, but let's not interrogate that too deeply). We've already seen the big guy's redesign both in the Super Mario Bros. movie and Mario Kart World, but it's in Bananza where you really appreciate just how expressive his silly face is. Bananza also pays tribute to the great ape's history, so there's not just cameos from the DKC family; it's also got a few secret side-scrolling sequences, Jungle Beat's ability collect to nearby items with a clap, and the DK Rap playing when you have a rest. The biggest reinvention though comes with Pauline, no longer a damsel but a pint-sized tween with a big singing voice that powers DK's transformations. The pair's relationship is surely a nod to Wreck-It Ralph and Vanellope, alongside a story with emotional and musical cues that wouldn't feel out of place in a Disney movie. This gorilla's never had a bigger outing and a bigger heart.
The Guardian
16-07-2025
- Entertainment
- The Guardian
Donkey Kong Bananza review - delirious destruction derby takes hammer to platforming conventions
A lot rests on Donkey Kong Bananza. As Nintendo's first major single-player Switch 2 game, it will set the quality bar for the console in the way Breath of the Wild did when the original Switch was released. But as the latest game from the team responsible for the exceptional 3D Mario series, it is already begrudged by some Nintendo fans as a distraction: what could possibly be so exciting about a tie-wearing gorilla to justify making Bananza ahead of another Super Mario Odyssey? Donkey Kong demolishes those concerns. He demolishes a lot in Bananza. It may resemble a Mario 64-style 3D platformer on the surface, with its themed worlds festooned with giant bananas to sniff out and collect, but DK's fists show total disregard for the playground as built. All terrain is destructible. Mash the buttons and his powerful arms thump tunnels through hills, pound pristine lawns into muddy craters and tear up wodges of stone to swing as sledgehammers for even speedier landscaping. He is less a platforming mascot than a potassium-powered level editor. On a primal level, that's almost enough to hold your attention. There's an easy, repeatable joy in throwing a punch this well programmed: the jolt of pause as knuckles collide with rock, the snarl of Joy-Con 2 rumble, the way surfaces splinter before another hit brings down the entire wall. I can see Bananza having a second life as an executive stress reliever; a virtual rage room where you heave exploding boulders at cliffs to reduce them to pockmarked swiss cheese. You can even invite a co-op pal along to shoot projectiles from DK's back and accelerate the chaos (or act as a devilish tag along to a player trying to avoid any carnage). There is motivation behind the mayhem. The existing Kong clan (getting some choice cameos that channel the comic spirit of Rare's Donkey Kong Country games) is expanded by villainous mining Kongs set on snagging a treasure at the planet's core. En route they kidnap Pauline, the young singer whom Donkey Kong originally snatched in his arcade debut. But Kong and Pauline are on better terms here: she coaxes animal superpowers by belting out powerful earworms straight into his skull. If my plot recollection seems hazy, it's only because it's been supplanted in my mind by her Latin pop ditty about the joy of being a zebra. This is a strange world but an even stranger platforming proposition. How do you design obstacles for a hero who can tunnel under laser fences or jackhammer doorways through barriers that would have stopped Mario in his tracks? Truthfully, it takes a beat to find the answers. There is an initial mushiness to worlds that can be excavated from any angle. Sometimes you blindly mine into rewards intended for challenges you have not yet uncovered or parsed, and the haphazardness of these unearned prizes has you wondering, for a second, if the game's freeform audacity rings as hollow as the caves you're punching into existence. But no. Later, rolling plains and jaunty lagoons make way for more dangerous landscapes, where solid ground protects you from poison swamps, icy lakes and lava. Down here, land is life, so your treatment of it becomes more deliberate, your strikes more surgical. When metal caterpillars gobble a wooden life raft or a pogoing menace punches through a platform you tenderised into a thin sliver, you suddenly appreciate the method in Nintendo's morphable madness. Boss fights make exceptional use of fragile terrain, keeping DK from walloping chunks from their giant bodies by rendering arenas more and more uneven as fights unfold. The only fumble in these later stages is the overpowered nature of the Bananzas themselves. These animal transformations imbue DK with speed, flight, strength and more, and when contained in the challenges or levels built for them they sing. You are reminded of Mario's Odyssey possessions and how perfectly realised each of those physical sensations was. But taken out of that context – when returning to earlier stages to mop up collectibles, for example – they become instant win buttons, dulling the ingenuity of Nintendo's platforming designs. I'm not sure Bananza has the same legs as Mario Odyssey. Where that game blossomed in a rich, post-credit endgame, DK lives more in the moment: moving ever forward, chewing through new ideas and never stopping to pulverise the roses. Come the game's epic climax, he has smashed through concrete, rubber, watermelon, ostrich eggs, entire Donkey Kong Country homages, glitter balls – even the NPCs he's trying to protect. If the weight of Switch 2 does lie on his shoulders, that's just one more tool to bash a hole in the universe. His appetite for destruction is infectious.
