The Forever Purge Promises Savagery Under the Texas Sun

Billed as the final Purge film, The Forever Purge, written by franchise creator James DeMonaco, follows the political horror saga into a post-Purge America, where a gang of masked marauders in Texas refuses to stop their violent carnage the day after the morning sirens sound closing out the last official Purge Night.

Talking place after the events of The Purge: Election Night, this brutal final bow is centered around a Mexican couple, on the run from a drug cartel, who get stranded on a Texas ranch. Starring Ana de la Reguera (Army of the Dead), Tenoch Huerta (Narcos: Mexico), Josh Lucas (Yellowstone, Glory Road), Cassidy Freeman (Smallville, Longmire), and Leven Rambin (Terminator: The Sarah Connor Chronicles), The Forever Purge will take us inside an even more chaotic Purge universe than usual, showcasing a violent cult that refuses to give up its annual night of sadism.

IGN spoke with Forever Purge director Everardo Gout (Marvel’s Luke Cage, Nat Geo’s Mars) about this final chapter’s new masks, new heroes, fresh setting, and…whether or not it’s truly the last Purge film.

Is it Really Farewell?

As far as Gout knows, and lining up with everything the public’s been told, this is the last hurrah for the Purge films. But never say never, right? “Definitely when they approached me they told me it was the final chapter,” Gout explained, “as far as what makes sense for the story. But, you know, James [DeMonaco] is super creative so I’m sure he could come up with new ideas. But yes, in intent, it is the last. And also in the scope and intensity. But I wouldn’t be surprised if after this one there’s another idea.”

“I was definitely not interested in doing another Purge movie,” Gout added, “I wanted to do the final act of a Purge universe. That’s what was appealing about The Forever Purge. It’s a different surrounding. It has a lot of different elements. A lot of it takes place using the daytime. The scope of it is completely different. That was all very enticing to me. And the characters too. The point of view of the people who we’re going to experience this through, that was very original I thought.”

From what we can see in the new trailer, a cruel cabal of cowpokes decide to keep purging after the closing sirens, terrorizing everyone they see in an attempt to keep the violence going after the annual allotment of hours. “The way we approached it with James, and this was before the pandemic hit so I feel a little ridiculous saying it, but I always felt the Purge was like a virus,” Gout shared. “That’s how we approached it. Like you have violence enacted on yourself, then you exercise revenge. And therefore you hurt someone else who will then want to hurt someone else. So it’s like a virus spreading and so once you establish that and understand that, even daylight can be scary. Because it’s not about hiding in the shadows, it’s about confronting the true terror of violence. Hopefully, it’s more frightening because it feels more real.”

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What The Purge Means Nowadays

The Purge series, which has been holding a dark mirror up to our own society since 2013, has sadly only gotten more relevant, now hitting closer to the bone than ever. And even though The Forever Purge was filmed long before the January 6 Capital Riot, the film holds an eerie predictive element in that it’s about violence from people who are angry over election results. So how does one balance the thrills and chills of a Purge film with the overall political satire? “I think that if you’re successful, the right balance is that you want to make a movie that’s thrilling and exciting and filled with horror elements and then you hide the vitamins inside the cake,” Gout said.

“I think this is a movie where when you see it, you’re thrilled, you’re entertained, you’re on the edge of your seat, and it feels refreshing and new while still honoring the code of the Purge so Purge fans won’t feel alienated, like ‘what the f*** happened to the Purge?’ So it’s still the Purge but it’s definitely elevated. Ideally, you go through this fresh, exciting ride, and then when you leave the theater you don’t dump the movie like you dump the remainder of your popcorn in the trashcan. You take it with you. And then you think about it. There are images that will come back. There are topics that will come back. And that’s the successful part of it, I think.”

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Mask Up

The Purge series is known for its bone-chilling masks and attire worn by those exercising their right to commit heinous acts of violence. From the “God” mask in The Purge: Anarchy (which would make a big return on the Purge TV series) to the Statue of Liberty mask in The Purge: Election Year, the evil outfits donned by the devilish deviants in these movies have become iconic imagery for the entire franchise. In The Forever Purge, it’s important that “they’re a representation of the topics you want to talk about in the movie and they have to be endemic to the place where you’re setting your movie,” Gout noted.

“For this film,” Gout continued, “James wanted to explore the connectivity between animals and human beings and how there’s a real echo in both worlds. There’s a lot of animals in this movie, like horses and roosters and ranch animals. It’s all purposefully done. So that was a point of reference. Like, who becomes the food of who while the Purge is unleashed?”

Our Forever Purge Heroes

Gout, who is Mexican, was not only interested in making the final movie of the Purge franchise, but also a film that was authentic to the Latino experience. “I didn’t want a white-washed version of the Latinos who are the protagonists in the movie,” he said. “And for us, for Latinos, when we go to the movies, when we see a Mexican with an American accent it’s very upsetting. So I wanted to steer this away from all of that and I pitched Tenoch Huerta who I had done a movie with, which gave him his Mexican Oscar, and I said ‘this is my man.'”

“He was the actor I wanted and I told Universal that until they proved to me he wasn’t the right guy I wouldn’t watch any more casting tapes,” Gout laughed. “And it panned out because he’s amazing and he’s going to do the Avengers next (Huerta will be part of Black Panther: Wakanda Forever). This being my first Hollywood movie I needed to bring my guy with me, and this was his first Hollywood movie too.”

“And Ana [de la Reguera] is a dear friend and amazing actress. I love what we did with that character. She’s a true protagonist and she’s not the usual very young Latino who you’d see in a Hollywood movie. She’s a heartfelt, intelligent, late-30s woman. A full-grown woman who can kick some ass. And I think there’s a lack of that type of character in movies. They’re either super young or grandmothers. There’s nothing in between. I wanted to bring that more forward because it’s closer to reality. And Josh Lucas is amazing too. And it’s a nice balance between the Texans and the Latinos and how they have to come together to survive this dystopian world. That’s what’s interesting. At the end of the day, we have to come together to survive.”

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Those Who Wish Me Dead Review

Those Who Wish Me Dead opens in theaters and on HBO Max on May 14.

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Back when Angelina Jolie swung across movie screens as Lara Croft, few could have predicted her later-career turn as a family-friendly brand. The ill-fated 2015 romance film By the Sea, co-starring her then-husband Brad Pitt, stands as the actress’s lone adult-driven role in the last decade. In Tony Sheridan’s survivalist thriller Those Who Wish Me Dead, if you squint hard enough, you might just catch glimpses of Jolie in her former Tomb Raider glory.

Jack (Aidan Gillen) and Patrick (Nicholas Hoult) — two contract killers posing as utility men investigating a gas leak — open Sheridan’s third directed film. They’re carrying out a hit in Fort Lauderdale, Florida of a District Attorney. The pair approach their grisly profession with gallows humor. They complain of budget cuts — this should be a two-team job — and a minor bloodstain on Patrick’s shirt that halts their progress to their next victims: Forensic accountant Owen (Jake Weber) and his young son Connor (Finn Little). Suspicious of his colleague’s sudden death, the father and son escape toward shelter in Montana with Owen’s brother-in-law Ethan (Jon Bernthal) and his six-month pregnant wife Allison (Medina Senghore).

Sheridan isn’t totally satisfied with this already sturdy set-up. Rather he pitches an additional wrinkle. You’ve probably heard the familiar phrase: When everyone is running out, firefighters are running in. Well, smokejumpers take that maxim to the next level. When everyone evacuates, this band of specialized wildland firefighters parachutes in. Hannah Faber (Angelina Jolie) once stood among the best of the smokejumpers until a blaze went awry. She misjudged the wind, leading to the death of a comrade and three young boys in an uncontrollable forest fire. The mistakes of that day still haunt her today: She drinks heavily, recklessly endangers herself in daredevil acts, and dreams of her regrets to the point of tears.

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Unlike Sheridan’s previous written and/or directed efforts — Sicario, Hell or High Water, Wind River, and Without Remorse — Those Who Wish Me Dead doesn’t center on any socio-political themes like drug cartels, nefarious bankers, the dangers faced by Indigenous women, or rogue military states. In this underdeveloped neo-Western, Sheridan and co-writers Charles Leavitt and Michael Koryta (the author of the same-titled novel this narrative is developed from) try to pack blockbuster thrills into an intimate scope. None of which is wholly believable.

For one, Gillen and Hoult play father and son (allow your brain time to work that out). Tyler Perry portrays the low-key contact to their shadowy clients. Sheridan holds enough self-awareness to know how ridiculous this all sounds, and to a point, he leverages these unworkable components for laughs. Both Gillen and Hoult riff heavily on the two-team job quip. But Jolie seems totally miscast as a hotshot smokejumper. An odd turn of events for someone with her action background, but Jolie just doesn’t exude the rough and tumble personality she’s aiming toward. It also doesn’t help that we don’t see her fight a fire.

Those Who Wish Me Dead doesn’t find a footing until Connor arrives sans his murdered father. Fleeing from the two assassins, the boy stumbles upon Hannah’s woodland lookout tower. Jolie and Little share an easy rapport buoyed by outlandish dialogue. Hannah teaches Connor how to pick up girls, they exchange sad stories — apparently having a dead dad is a trump card in any conversation — and trading harsh barbs. Their pointed give-and-goes mixed with blue language by both parties nearly suffices for us to ignore the glaring flaws blinding Sheridan’s action flick.

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Though Hannah and Connor have two hired guns, a lightning storm, and a fast-approaching forest fire on their tails, we never feel the total suspense wrought by these elements. That’s because the trio of hazards makes one too many components for the 100-minute survivalist film to accommodate. Especially when Sheridan wants to lay the groundwork for Hannah’s PTSD. Viewers might be left more enthralled by the robust action — Jolie works some great stunts as she’s struck by lighting and rappels from great heights — rather than the big thrills derived from the hard-charging fire. Likewise, Medina Senghore provides major crowd-pleasing swings in her tussles with the two blundering hitmen. And the deaths that do occur under the barrage of bullets are gruesome and rollickingly cartoonish in their violence.

Sheridan absolutely wastes the intriguing smokejumpers premise. Outside of the film’s beginning, wherein fractured images of firefighters diving through the air blink across the screen, the only other parachute scene happens towards the end. And it’s not incredibly consequential. There was room for Sheridan to further explore the monumental undertaking shouldered by these first responders, but we learn nothing about them or their methods. Joseph Kosinski’s Only the Brave — a true story starring Josh Brolin about the hotshot crew in Prescott, Arizona — showed this profession could be more than a canvas for large action set-pieces. But the scribes for Those Who Wish Me Dead don’t demonstrate the requisite interest to develop that component. Rather this landscape merely serves as a limited canvas.

The task to make this tonally quirky neo-Western watchable falls to Jolie: But even her star power and a climactic ending whereupon Hannah is first locked in a deadly duel with Patrick (an equally miscast Hoult), then must literally outrace a forest fire with Connor to safety aren’t enough to stoke the flames. By the time the smoke clears, it’s a reminder of how little of Those Who Wish Me Dead is memorable.

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Review Roundup For Spiral: From The Book of Saw

Spiral: From the Book of Saw is the ninth movie in the long-running Saw franchise, and it hits theaters on May 14. The horror thriller stars Chris Rock and is directed by Darren Lynn Bousman, who helmed three of the previous films.

Rock plays detective Ezekiel Banks, who is investigating a series of gruesome murders that are reminiscent of the work of infamous and long-dead killer Jigsaw. His partner is played by Max Minghella, while Samuel L. Jackson appears as Banks’s father, a former cop whose reputation casts a long shadow across his son’s career.

Spiral was originally set for release in May last year, but like most big movies in 2020, was pushed forward to this year. It finally arrives this week, and reviews are now online. Despite its huge commercial success, the Saw series has never been very popular with critics, and Spiral is proving to be no expectation. The movie currently holds 53% on Rotten Tomatoes–but Lionsgate and the filmmakers won’t care if the film hits the commercial heights of some of the earlier films. So here’s what the critics have said about this latest slice of gore-soaked horror…

Spiral: From the Book of Saw

  • Directed By: Darren Lynn Bousman
  • Written By: Josh Stolberg, Peter Goldfinger
  • Starring: Chris Rock, Max Minghella, Marisol Nichols, Samuel L. Jackson
  • Release Date: May 14

The AV Club

“It’s not a waste of a concept, exactly. But it’s not the reinvention that the franchise needs, either. Rock’s involvement brings some new blood to Spiral, but after a promising start, the film just becomes a pretty okay Saw movie with some bigger names than usual–one whose jaundiced lighting and procedural storytelling recall David Fincher’s Se7en more than anything. If the game was to see if a fresh take on a long-running franchise could survive being sliced and diced by the sequel machine, consider it lost.”–Katie Rife [Full review]

Bloody Disgusting

“The smaller scale means a smaller body count and also makes essential plot points easier to decipher ahead of reveals. Still, Rock provides compelling rooting interest in a caustic character with righteous anger, and the film has a distinct sense of humor that offsets some of its crime thriller grit. The traps bring the pain, but they take a backseat to Zeke’s journey. Spiral brings style and substance, with a few chuckles to balance the gore. For this standalone entry, Bousman subverts familiarity and reinvigorates the franchise by substantially expanding and evolving the Saw universe.”–Meagan Navarro [Full review]

The Hollywood Reporter

“Spiral delivers when it comes to gore, if that’s your thing, and appropriately dour aesthetics–but not much else. That’s a shame, because the story’s themes, from the unreformable nature of the police department to the cost of integrity in a space that values power above all else, could not be more relevant. If the mission was, as Bousman has suggested, to create a Saw film driven by a strong narrative instead of gruesome torture, it hasn’t been fully accomplished.”–Lovia Gyarkye [Full review]

Slashfilm

“Spiral blunders through its central mystery without grace or style, or even much thought. Even the death traps are weirdly uninspired. One of them pulls a guy’s fingers off; another drips hot wax onto someone’s face. C’mon, Spiral–is that all you’ve got? It’s as if no one’s heart is really in this, and everyone is just going through the motions – save for the make-up effects team, who go all-out with as much blood and gore as they possibly can.”–Chris Evangelista [Full review]

Total Film

“That a formula as well-trodden as Saw’s can still surprise, delight, and make you feel like you need a quick shower after is impressive. But Spiral is also that rarest of reboots – one that will satisfy series die-hards and a whole new generation of horror nuts. Well played.”–Jordan Farley [Full review]

IndieWire

“If the basic feel of the franchise hasn’t changed — it’s still ugly and cheap and thoroughly uninterested in getting branded as “elevated horror” — the idea to extrapolate Jigsaw’s schtick toward societal problems is a smart one. If nothing else, Spiral is the first “Saw” movie in a very long time that might leave people open to the idea of seeing another one.”–David Ehrlich [Full review]

The Wrap

“If Spiral: From the Book of Saw works–and I am not convinced that it does–it’s because Rock, Bousman and cinematographer Oram are committed to taking this shallow material seriously. The screenplay captures the grizzled-cop-movie tone and draws some memorable characters, but the storyline is rote, the mystery is frustratingly predictable, and the imaginative deaths are less imaginative than ever. Spiral sacrifices entertainment value for respectability and in the process doesn’t quite achieve either.”–William Bibbiani [Full review]

ComicBook

“Spiral: From the Book of Saw almost immediately shows off just how much more entertaining and impressive a sequel in the series can be when it focuses on story and character as opposed to unsettling the audience, but it fails to come out from under its own legacy, still culminating in an “unexpected” finale. Longtime fans will surely appreciate the new approach to the concept, yet it offers little to win over those doubtful about how much potential the concept ever had in the first place.”–Patrick Cavanaugh [Full review]

Collider

“As a breezy crime-thriller mixed with Saw stuff, I found Spiral better than the original if only because it never pretends to have an emotional core. Spiral knows we’re in it for the thrills, and so it rarely tries to be anything more than gory entertainment. With Rock throwing in jokes and the crime-thriller framework, there’s no overwrought melodrama here, and while the social commentary is so thin as to be non-existent, at least it never overshadows the cheap thrills that Spiral delivers.”–Matt Goldberg [Full review]

How You Can Get the Golden Lara Croft Skin in Fortnite

Fortnite Chapter 2, Season 6’s Battle Pass brought fans multiple Lara Croft skins. No one expected her to show up in all gold though. No worries. Our guide below details how to get this special skin.

Don the Lara Croft Skin

In order to unlock the golden anniversary skin, you’ll first have to equip the basic Lara Croft skin. We assume it’s to keep with the theme of her exploring forgotten tombs. Whatever the case, don her “threads” before jumping into a match.

Visit Isla Nublada to Find Orelia

The v16.40 update introduced a new island called Isla Nublada to Fortnite. Located just south of Flush Factory, this small area comes complete with its own NPC and set of ruins. The new NPC, named Orelia, isn’t all that important to this particular mission. The golden SCAR assault rifle that Orelia guards is important, though, as you need it to unlock Lara’s golden anniversary skin.fortnite-isla-nublada-location-poi-gold-lara-croft-skin-anniversary-how-to-get

Pick Up The Golden SCAR

Dive down to Isla Nublada as Lara and retrieve the golden SCAR. This is easier said than done. The first hurdle being rival players. Only one person can pick up the SCAR per match. Killing the person who picks it up and taking it for yourself afterward, doesn’t work.

We recommend getting as close to Isla Nublada as possible before diving out of the bus. If it happens to spawn on the same side of the map, immediately dive and head straight down, only adjusting your descent once you’ve opened your parachute. Head to the south-western side of the island – we found that the entrance to the ruins on that side allows for quicker access to the SCAR.fortnite-orelia-location-isla-nublada-golden-scar

Equip the Gold Lara Croft Skin

Once you’ve beaten the horde and collected the golden SCAR, you’ll be able to equip the gold Lara Croft skin. All you need to do is go to the locker, pick Lara, and then select the golden alternate style.

Fortnite Chapter 2, Season 6 comes to a close next month. It’s possible we’ll see more special skins and challenges before then. Let us know in the comments which skins you want us to make guides for.

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Kenneth Seward Jr. is a freelance writer, editor, and illustrator who covers games, movies, and more. Follow him @kennyufg and on Twitch.

Control Developer Confirms It’s Started Work on Another New Game

Control developer Remedy Entertainment has confirmed that it’s started working on yet another new game, meaning the studio has six publicly announced games yet to arrive.

In Remedy’s latest business review, CEO Tero Virtala explained that, as of last quarter, “Almost all of our internal Control developers have now moved on to work on other Remedy projects, including a new, exciting early-phase project.”

Asked for comment on whether that game was separate to Remedy’s previously announced projects, Virtala replied: “Yes, we have a new project, but it is in very, very early stages. Nothing more to expand on that.” Remedy didn’t comment on if that new project had a publisher at this time.

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This means that, publicly, Remedy is now working on six as-yet-unreleased games: it’s creating single player modes for first-person shooters CrossfireX and Crossfire HD, two projects for Epic Games set in the Control/Alan Wake universe (one billed as a AAA game, and the other as a smaller project), unrevealed free-to-play co-op game Vanguard, and the new, early-stage project.

It’s worth bearing in mind that since being founded in 1996, Remedy has released just 9 games, meaning this is a huge increase in scope from just a few years ago.

It’s a major increase in project size for Remedy, and Virtala adds in his quarterly review that the company has expanded to 281 employees – and it doesn’t seem to be stopping growth anytime soon. “We have now started to implement the next phase of our strategy to reach ambitious long-term growth objectives,” wrote Virtala. That growth can only have been helped by the fact that Remedy recently had its biggest ever financial year, without releasing a single game.

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Joe Skrebels is IGN’s Executive Editor of News. Follow him on Twitter. Have a tip for us? Want to discuss a possible story? Please send an email to [email protected].

Sega Is Considering Worldwide Launches For Future Atlus Games

Thanks to the success of games such as Yakuza: Like A Dragon–the most successful entry in the franchise–on multiple platforms, Sega has begun reevaluating how it wants to release games in the future. Part of this new strategy includes releasing Atlus games simultaneously worldwide and on multiple platforms, which would be a massive departure for how the developer usually handles such releases.

“A simultaneous release on multiple platforms would be favorable for our titles. Of course, we’ll make adjustments on a per-title basis, but we want to be conscious of the global expansion of Atlus titles as well,” Sega’s Chief Strategy Officer Shuji Utsumi said to Famitsu (via Persona Central) of the company’s new plans.

Atlus fans outside of Japan are no strangers to waiting years for games from the studio to be localized, as the challenging task of creating English dubs and subtitles for these titles would usually only be done after an Atlus game launched in Japan. Persona 5 Strikers took a year to head west after it was first released in Japan, as an example.

Shin Megami Tensei 5‘s upcoming release will be a global one, and recent Atlus games such as Catherine Classic have also recently arrived on Steam with less of a delay. Shin Megami Tensei 3: Nocturne HD Remaster will also arrive on Steam this month as part of Sega’s global expansion efforts.

Now Playing: Yakuza: Like A Dragon Video Review

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Chris Rock Talks About The Last Time He Saw Chris Farley Alive

Actor Chris Rock has shared a sad story about the last couple of times he saw his friend Chris Farley alive. Speaking to Esquire, Rock spoke about the famous photo of himself, Farley, Adam Sandler, and David Spade, which was one of the final times he got to spend with Farley before his untimely passing. Later, Rock would spend time with Farley and have a premonition about Farley’s demise.

The photo was taken as part of Rock’s comedy tour, at the now-shuttered Universal Amphitheater in Los Angeles. “This looks like one of the last times I saw Chris alive,” Rock recalled. “I would see him one more time when I did a gig in Chicago. We tried to hang out afterwards, but… I don’t know if you’ve ever really hung out with an addict. Towards the end, anything that isn’t the drug is a chore.”

Rock and Farley joined the cast of Saturday Night Live in 1990 and quickly became friends, along with other new cast members Sandler and Spade. Farley suffered from years of addiction to drugs and alcohol, and he eventually died in December 1997 from an overdose.

The very last conversation Rock had with Farley was at Farley’s apartment. Rock said he remembers having a bad feeling as he was leaving.

“He was showing me his apartment. I leave, I see him out the window, and I was like, ‘That’s probably the last time I’m going to see him.’ I knew.”

Rock said he’s still close friends with Spade and Sandler; the four were known as The Bad Boys of SNL back in the day.

Hood: Outlaws & Legends Review – Petty Theft

On paper, Hood: Outlaws and Legends has a lot going for it. It’s a competitive riff on the co-op multiplayer heist game where two teams of four merry men and women simultaneously attempt to unlock a vault and extract a giant chest of gold. Its stealthy race to elude computer-controlled knights and rival players rarely plays out with the grace implied by the concept. More often, the competition for keys, chests, and respawn points devolve into protracted brawls that showcase Hood’s clumsy combat, rather than dynamic stealth. Throw in some confusing UI, easily exploitable stealth-kill mechanics, and myriad small design flaws, and Hood’s execution fails to deliver the goods it’s promised.

Each match in Hood has four phases. First, someone needs to steal the vault key from the invincible (but generally unaware) Sheriff. Second, you find and open the vault. Third, someone carries the chest to one of a few extraction points on the map. Once the chest is locked in, one or two players use a winch to lift the chest while the others defend them. The “other team,” meanwhile, has opportunities to disrupt the mission to try and acquire the key or chest for themselves. With both teams naturally meeting at a few key locations, you have plenty of opportunities to surprise and overtake the objective.

In this idealized version of the game, the match is a coordinated stealth run, where each character uses their unique skills to advance the mission or help their teammates. Each of the four characters theoretically has a role to play: Marianne, the stealthiest fighter, moves quickly and has abilities that let her steal the key or assassinate enemies discreetly. Robin’s bow allows him to take out enemies from afar. Little John can lift gates and move the chest quickly. Tooke is a solid backup fighter with a wide-reaching melee attack and a healing ability. Though some of these skills make certain characters well-suited to different tasks, there’s no moment where you need a specific character and their skills. This opens the door for players to choose characters based on their playstyles, but also minimizes the importance of class-based play around the heist itself.

Ultimately, the character combat abilities matter more than their other affinities. Though Hood is primarily pitched as a game about heists, things get more chaotic and aggressive when you add another team of players. Rather than picking each other off or a coordinated ambush, most matches devolve into a series of team battles for control of the key, the chest, or the winch. Once the fighting starts, any pretense of a stealth mission falls away. The AI-controlled knights, while powerful enough to overwhelm any one player if they are in large numbers, are still easy enough to avoid that most players will engage each other even if it means getting spotted by them. Even the sheriff, who instantly kills you when he gets in range and can only be temporarily stunned, is slow enough that you can fight around him.

Hood’s unwieldy combat mechanics make large battles painful whether you win or lose. Though every character has some capacity for hand-to-hand fighting, Hood’s melee attacks feel loose–they’re difficult to aim or time well. On the receiving end, most attacks stun slightly, leading to a situation in large battles where a single hit will leave you stun-locked. In theory, you have either a parry or dodge to keep an enemy from hitting you, but it’s nearly impossible to keep track of the action in a scrum. These large clumsy battles can turn into minutes-long wars of attrition where players fight, die, respawn, and run right back into the fray until one side wipes the other out, giving themselves enough time to make progress. This is especially true in the winching phase of the match, where one team needs to defend a fixed point.

Hood’s unwieldy combat mechanics make large battles painful whether you win or lose

Then there’s the assassination issue. Any player can stealth kill an opponent by crouching behind them and hitting a prompt. It doesn’t matter if the assassin’s already been seen or even if the two have been fighting previously. This frequently leads to situations where one player will engage another openly, only to get assassinated by another opponent waiting in the wings. Getting assassinated mid-fight feels abrupt and inappropriate in the situation and, at times, it feels unavoidable and is therefore extremely aggravating. Similarly, Robin Hood can kill other players with a fully charged headshot. While it isn’t always possible to land one, especially while getting attacked, it also leads to frustrating sudden deaths in and out of combat. While this kind of combat seems appropriate for a stealthy combat experience, its unregulated use feels more disruptive than additive; more like an exploit than a well-considered mechanic.

Since a team can get wiped out quickly, matches can turn on a dime. Just because your team got the key and moved it to an extraction point doesn’t have any bearing on whether or not you’ll beat the other team. All you need to do to win is winch the last of seven progress pips. I’ve had matches where my team did all of the work, only to have the match stolen at the last moment, and I’ve also stolen matches at the last second in the same fashion. Still, the only reward for match progress nine times out of 10 is experience. Sometimes a steal feels earned, but sometimes it doesn’t. Either way, it doesn’t feel like the better team always wins.

Whether you play the objective or you go after the other team, Hood requires a lot of coordination. The best teams attack as a group and find ways to cater to their best players’ strengths. Hood features a ping system that allows for some nonverbal communication, but when you’re predicting enemy movements or noting something not in direct line of sight, you need to be able to say more. It also helps to relay intel when you get it: For example, when you steal the key, you learn the location of the vault, which isn’t on the map. Without chat, it would be impossible to share that information. Hood’s in-game party chat is on by default, which seems to prompt matchmaking-assembled groups to chat more than other multiplayer games, but there’s no substitute for playing this game with friends.

You can experience the pure heist version of the game without a second set of players, but sadly that PvE experience is relegated to a “practice” mode, which doesn’t give you any experience or gold to unlock and earn cosmetics or character perks. Without any opportunity to experience a narrative or make meta-progress, the practice feels slightly wasteful of time, especially since it’s also not great practice for the main PvPvE experience.

That said, I don’t think it’s a problem that Hood sidesteps the lore that so many multiplayer games feel compelled to build. In fact, Hood deftly uses the Robin Hood myth to get around it. There’s almost no story in Hood–you can earn text-based snippets of character information, but there’s no plot, per se. While that leaves open the question of why there are two rival bands of thieves, the story doesn’t really feel missing. All you really need to know is that Robin Hood and his band of thieves–Little John, Father Tuck, and Maid Marian–steal from the rich and give to the poor. Chances are, if you were drawn to this game there’s a good chance you’ve got the gist already.

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It is not without its own sense of style, though. Hood does try to put its own slightly darker, edgier spin on the Robin Hood universe. The character designs are more intimidating than the simple green garb. Tooke, Hood’s take on Friar Tuck, looks more like a shaman than a monk. (Also, in the lore, he’s a reformed church Inquisitor who tortured enemies of the state before going rogue). The more brutal aesthetic touches feel in line with all the killing you do on any given heist, but without any real story to spotlight those characterization changes, they don’t really register. It’s been a while since I’ve seen any of the Robin Hood movies so I can’t say for sure, but I think the biggest difference between Hood and other Robin Hood adaptations may be that this is the first time I’ve ever heard Robin Hood say “F**k.”

But without interesting characters or a story the focus falls solely on the gameplay, and Hood’s gameplay feels sloppy. It’s a heist game that usually devolves into a wild, frustrating melee combat arena. In its best moments, it’s a tense, highly cooperative experience, but those moments never last long. I want to believe in the competitive heist Hood tries to pull off and, in theory, a living multiplayer game could evolve into something better over time. (There are already plans to introduce a new game mode, map, and character for all players within the next 12 months). Still, there are too many points of frustration built into the experience to expect that Hood’s evolution will be transformative.

Now Playing: 8 Minutes Of Hood: Outlaws & Legends Gameplay

New Loki Poster Shows Off the Series’ Characters (Including a Mysterious Cartoon Clock)

Disney has released a new poster for Loki, the Marvel Studios original series that is set to premiere on Disney+ on June 9, 2021.

The official Loki account shared the latest piece of artwork for the upcoming series, which features the God of Mischief front and center. He is surrounded by several of the series characters including a mysterious cartoon clock. “Marvel Studios’ Loki arrives in four weeks with new episodes every Wednesday starting June 9 on Disney+,” read the caption that accompanied the poster.

LOKI

The animated anthropomorphic clock appears at the side of the image, overlaying a larger clock-like face that hints at the multiple realities expected to be present in the show. It’s unclear what role the clock will have to play in the series, though it’s plausible that it could be a mascot for the Time Variance Authority, supporting Owen Wilson’s Mobius M. Mobius (also pictured).

The TVA is a largely faceless bureaucracy, as most of its agents are artificial clones called chronomonitors, which could also be what we’re seeing here. A new chronomonitor springs to life every time an alteration to the timeline creates a divergent reality, and anyone who attempts to use time travel to alter either the past or future has to answer to the organization.

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Loki follows the God of Mischief as he steps out of his brother’s shadow and into a new series that takes place after the events of 2019’s Avengers: Endgame. Tom Hiddleston is returning as the title character, joined by Owen Wilson, Gugu Mbatha-Raw, Sophia Di Martino, Wunmi Mosaku, and Richard E. Grant. Kate Herron is the series’ director, and Michael Waldron is the head writer.

Herron previously revealed that Loki would be going to “an entirely new part of the MCU,” as the mischievous character is expected to pop up at various points throughout human history, influencing historical events. The series is said to tie into the events of Doctor Strange and the Multiverse of Madness, which is currently penciled in for a release on March 25, 2022.

Very few details are known about Loki’s connection to the MCU movie, but we do know that the Doctor Strange sequel is also going to tie into the events of Spider-Man 3 and WandaVision. Elizabeth Olsen’s Wanda Maximoff will appear alongside Benedict Cumberbatch’s Steven Strange, and Kevin Feige has teased that the Multiverse will be a running theme throughout Phase Four and beyond.

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Loki will premiere on Wednesday, June 9 on Disney+. After that, one new installment will arrive on the streaming platform each Wednesday throughout the rest of its six-episode run. While the first season is yet to air yet, Marvel Studios VP of Production & Development Nate Moore previously indicated that Loki could see multiples seasons, with reports suggesting Loki Season 2 is already in development.

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Adele Ankers is a Freelance Entertainment Journalist. You can reach her on Twitter.

Nier Reincarnation Pre-Registration Available Now On iPhone And Android

Nier fans will soon learn what “all prayers lead to the cage” means as Nier Reincarnation, the first mobile game in Yoko Taro’s popular RPG franchise, has opened pre-registration on both the iOS App Store and Google Play Store. The game’s official Twitter account announced the beginning of preorders while also unveiling the game’s official website and an intro trailer. Listings for Reincarnation on each digital storefront also confirm the game’s release date as November 6.

Nier Reincarnation is a “command-action RPG” following The Girl of Light, a young girl who awakens on the floor of a place called The Cage. Together with a small and mysterious creature who calls herself “Mama,” the girl must travel through the labyrinthine Cage in search of answers on how she arrived there.

Nier Reincarnation pre-registration bonus

While there are no bonuses just for preordering, Square Enix has confirmed that extra Gems will be given to all pre-registered players. The amount of Gems awarded to pre-registers, however, depends on how many players preorder the game. The milestones per the game’s official Twitter are as follows:

  • 100,000 users = 100 Gems
  • 150,000 users = 400 Gems
  • 200,000 users = 900 Gems
  • 250,000 users = 1800 Gems
  • 300,000 users = 3000 Gems

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