NBA 2K22 Cover Athletes Include Luka Doncic, WNBA’s Candace Parker

NBA 2K22 will be getting three variations of cover athletes, paying homage to current greats in the NBA and WNBA as well as historical legends. The standard and cross-gen digital version will feature NBA All-Star Luka Dončić.

North American players can get a special alternate standard edition featuring WNBA champion Candace Parker, through GameStop and EB Games. This will mark the first female cover athlete in NBA 2K history. Japan is also getting a special version featuring Wizards player Rui Hachimura, the first Japanese player to reach the NBA playoffs.

Meanwhile, the NBA 75th Anniversary Edition features a trio of players who had a big impact on the sport: Kareem Abdul-Jabbar, Dirk Nowitzki, and Kevin Durant.

The standard edition will be $60 on PS4, Xbox One, Switch and PC, and $70 on PS5 and Xbox Series X|S. The cross-gen bundle will be $80 and give you access to both generations, within the same console family. The 75th Anniversary Edition will be $100 and include cross-gen access as well. Both the cross-gen bundle and 75th Anniversary Edition include artwork from Charly Palmer, known for his “Civil Rights” series of paintings.

No Caption Provided

Gallery

“Making the global cover of NBA 2K22 is special for me,” Dončić said in the announcement. “I’m proud to represent my country in a special cover that honors the colors of the Slovenian flag. Basketball has given me so much, and I’m excited to give back and work together with 2K Foundations this year to help the lives of young kids around the globe.”

NBA 2K22 is coming on September 10, 2021. 2K promises more details in the coming weeks, including announcements surrounding new features, the soundtrack, and live service updates.

GameSpot may get a commission from retail offers.

Phil Spencer Says PS5’s DualSense Could Inspire Xbox Controller Changes

Xbox boss Phil Spencer is a fan of Sony’s DualSense controller for the PS5, and in a recent interview he hinted that the company may be inspired to make a more feature-rich peripheral for the Xbox Series X|S.

“We’re definitely thinking about different kinds of devices that can bring more games to more places,” Spencer said on the Kinda Funny Gamescast as reported by VGC. “There’s probably some work that we’ll do on the controller. I think Sony’s done a nice job with their controller and we kind of look at some of that and think there are things that we should go do.”

It could work.
It could work.

This isn’t the first time that Spencer has commented on the innovation that Sony introduced to the controller space with the DualSense, as he mentioned last year during the Xbox Series X|S launch that Xbox was keeping an eye open for technology that could both inspire and become a common part of a “platform that developers and players are going to look for.”

If you’re unfamiliar with Sony’s DualSense controller, it’s a fascinating piece of technology that uses haptic feedback, adaptive triggers, and more nuanced rumble features to deliver a more immersive experience in games when implemented properly.

Astro’s Playroom and Demon’s Souls made good use of the technology when they launched last year, while newer games such as Returnal and Ratchet and Clank: Rift Apart continue to further refine the experience.

The Xbox Series X|S controller on the other hand is a more iterative upgrade in comparison, but one that makes it compatible with Microsoft’s last generation of consoles. Aside from more modern ergonomics, the controller features newer textures for grip, redesigned triggers, and a very handy capture button.

Here’s What The Bloodborne Gascoigne Fight Would Look Like On PS1

Bloodborne PSX takes the PS4-exclusive action-RPG and turns it into an original PlayStation game, complete with primitive 3D graphics, heavy scanlines, and the slightly fuzzy audio that defined Sony’s first console. The fan-made project isn’t complete yet, but its development team has released a new video showing off the iconic Father Gascoigne fight. If you thought it was hard in 1080p, you haven’t seen anything yet.

Beginning with the same cutscene–albeit as a “demake”–as the PS4 version, the footage clearly isn’t just run through some sort of PS1 filter. Instead, we see classic retro-style blood effects and completely redone characters and environments. Though the dialogue sounds like it’s still the original voice actors, the effect put over the recording resembles the low-fidelity audio of the original PlayStation.

The basic flow of combat is the same, with blood vials and bullets still visible alongside the health and stamina bars, and the Insight system is even represented on the retro UI. What could make the game even harder than trying to play it on an original PlayStation controller (is it even possible without a DualShock?) is the 4:3 aspect ratio, along with the CRT filter giving it such heavy scanlines that it’s harder to make sense of what is happening.

Lock-on is still present in the build, as is the Visceral Attack system after parrying an enemy. In this case, a rotating button icon pops up above Father Gascoigne’s head, much like you’d see collectibles do in classic 3D platformers.

To top things off, he still transforms into his beast form in this fight, too, destroying obstacles and rushing the player before killing him. Could a Bloodborne demo end any other way? For more of the demake, check out developer Lilith Walther’s YouTube channel.

Bloodborne studio From Software is currently developing Elden Ring, which will launch on January 21, 2022 for Xbox One, Xbox Series X|S, PS4, PS5, and PC.

GameSpot may get a commission from retail offers.

Bravely Default: Brilliant Lights Announced For Mobile In Japan

Square Enix has announced Bravely Default: Brilliant Lights for iOS and Android platforms in Japan, which was revealed as the franchise prepares to celebrate its tenth anniversary in 2022. Several of the original crew members from the Bravely Default games are involved, as Keiichi Ajiro is returning to write an original story, while Raita Kazama will once again be responsible for key art and character design.

While Brilliant Lights will feature the familiar Bravely and Default command-battle systems, the game will also be free-to-play with in-game item purchases. No solid release date was announced either.

In other positive news for the franchise, Square Enix announced that it has so far sold over 3 million units, including digital copies. Bravely Default was first released in 2012 for the Nintendo 3DS in Japan and was followed up with a sequel titled Bravely Second: End Layer in 2015. Bravely Default II was released on Nintendo Switch earlier this year. Mobile games happen to be a big focus for Square Enix currently, as the company has several Final Fantasy mobile spin-offs in development.

Ever Crisis remakes the original Final Fantasy 7 while also incorporating elements from Crisis Core, Before Crisis, Dirge of Cerberus, and Advent Children, and will be released in 2022. On the opposite side of the spectrum, there’s First Soldier, an upcoming multiplayer battle royale game that leans closer to the current third-person action-RPG style of recent games such as Final Fantasy VII Remake.

GameSpot may get a commission from retail offers.

Loki Season 2: Disney+ Show Finale Confirms Second Season Is Coming

Loki has become the first MCU Disney+ show to be confirmed for a second season. The time-traveling, reality-breaking trickster god’s solo series ended after six episodes with a brief post-credits teaser that simply stated Loki will return for Season 2.

Unfortunately, this split second confirmation included absolutely no other information. Details about the production schedule, cast, or potential release of the second season have not been made available. Next on the docket for the MCU on Disney+ is the animated show What If…? Which recently received a release date of August 11 as well as its first full-length trailer.

Other confirmed MCU release dates are Shang-Chi and the Legend of the Ten Rings, which hits theaters on September 3 and The Eternals, which will premiere on November 5. The Disney+ docket will likely include other shows, like Hawkeye, before the end of the year, but no dates have been set as of yet.

Though Loki is the first MCU TV show to have a confirmed second season, stars have teased the potential for future installments of WandaVision and The Falcon and the Winter Soldier–so don’t count them out just yet.

Meanwhile, if you’re trying to make sense of Loki Season 1’s finale, check out our spoiler-filled ending breakdown now.

All six episodes of Loki Season 1 are available to stream on Disney+.

Loki Season One Ending Explained: What Is Beyond The Void At The End Of Time?

After six mind-melting episodes Loki has reached its Season 1 finale–and what a finale it was. Not only did we see the introduction of the MCU’s newest big bad(s) and an answer to the lingering question of how Marvel plans to top a threat like Thanos and the Infinity Gauntlet, but we also got some absolutely incredible hints as to where the rest of Phase 4 might be headed. But, like much of the show, things got pretty dense–so we’re going to break things down step by step.

Needless to say, everything from here on out is a Loki Season 1 spoiler, so proceed with caution.

After Loki and Sylvie successfully snuck past Alioth in the Void, they found themselves face to face with an eccentric man who is actually never formally named in the episode. Miss Minutes refers to him as “He Who Remains” (also what he’s called in the credits of the episode), a nod to a semi-obscure character from Marvel Comics who actually did create the TVA. Fans keeping up with MCU casting news will know the truth right off the bat, however. This is Jonathan Majors, who was cast as Kang the Conqueror for the upcoming Ant-Man and the Wasp: Quantumania. But even if you weren’t totally sure who Majors is playing, he quickly gives both Loki and Sylvie a rundown of his life, stating that he’s been “called conqueror” among other things–and, well, you get the idea.

Kang’s story in the comics is a bit of a nightmare but thankfully, it seems that the MCU is streamlining and remixing things a bit. In his monologue, Kang explains that he was a scientist on Earth in the 31st century (in the comics he was Nathanial Richards, descendant of Reed Richards–Mr. Fantastic, though it’s not clear if this will be true in the MCU or not as of right now) when he began to understand the existence of the multiverse. Unfortunately, this understanding was also happening to different variants of himself simultaneously and eventually, all the different Kangs began making contact with each other and sharing ideas. This is another concept lifted from the comics, where various Kangs throughout reality and time met and formed a Council and a Collective at different times (this is also why you get versions of Kang who go by totally different names like Immortus at different points and in different stories–but don’t worry too much about that just yet).

Kang explains to Loki and Sylvie that he alone conquered all the variants of himself when fighting began to break out within the collective and, for eons, he’s used the TVA and the timeline he streamlined into one cohesive thread to keep the variants of himself from destroying reality. He’s scripted every moment of everything up to now, and Loki and Sylvie have a choice: They can either take this knowledge they now have and return to doing the righteous work of keeping the timeline pristine and preventing any of the Kang variants from swooping in, or they can decide Kang is a liar and kill him, unleashing the multiverse and an untold number of Kang variants into it.

Naturally, the latter is what ends up happening, much to Loki’s chagrin. Sylvie kills Kang and sends Loki back to the TVA–or so they both believe. Loki runs to find Mobius and B-15, trying to explain the situation to them, only to find that neither of them know who he is.

As the camera pans out, we see that the TVA’s statues of the Time-Keepers have been replaced and instead, there is a giant statue of Kang in the building, indicating that Loki has been sent into another reality’s version of the TVA, where Mobius and B-15 have never encountered him.

And if that wasn’t enough of a cliffhanger for you, we actually have no idea what happened to Sylvie back at the Citadel after she killed Kang, or what happened to Renslayer, who was given some specific reading by Miss Minutes and escaped the TVA to places unknown.

So what does any of this mean? Well, in theory it means that absolutely everything coming out in the MCU from this moment forward can be happening anywhere in the Multiverse. We knew this was obviously the case for the upcoming animated show What If…? Which explores the Watcher viewing different variations on reality, but it’s now also true for things like The Eternals, Shang-Chi, even the Hawkeye show.

We already knew Majors would be taking up the role of Kang in Quantumania, and we obviously understood the Multiverse would be a part of Doctor Strange in the Multiverse of Madness, but now there’s an equal possibility for Majors to show up as a Kang variant in literally any Phase 4 movie or show, on top of any other bonkers alternate reality changes we might see taking place.

Hey, maybe this is why we spotted Abomination fighting Wong cage-match style in that Shang-Chi trailer.

Needless to say, things in the MCU have the potential to get a lot more messy from here on out.

Thankfully, the very brief post-credits scene did confirm that Loki will be returning for a second season, so on the off chance that these consequences are somehow confined to this show and this show only, we will be getting more somewhere down the line either way.

Loki Season 2 Announced

Marvel’s Loki will return for Season 2, as revealed after the finale of Season 1.

This article does not contain plot spoilers for Loki Season 1, Episode 6.

In a mid-credits scene, we see a close-up of some of the show’s TVA paperwork, which is stamped with the words “Loki will return for season 2.” No more details have been released at time of writing.

[ignvideo url=”https://www.ign.com/videos/2021/07/09/loki-ep-5-do-these-clues-reveal-the-secret-villain-behind-the-tva-mcu-canon-fodder”]

As the finale aired, star Tom Hiddleston posted a message on Twitter which hinted at a second season. Hiddleston said that the finale would provide, “Many answers to your questions [and] Likely many more questions.”

It’s the first of Marvel’s Disney+ series to officially announce a second season, with the (now-Emmy nomnated) WandaVision unlikely to return, but The Falcon & the Winter Soldier billed as an ongoing series. While we don’t know when Loki Season 2 might be released, it may be that there’s a lot of other Marvel shows to come first – Disney+ already has What If…?, Ms. Marvel, Hawkeye, Moon Knight, She-Hulk, Secret Invasion and more on its slate.

It’s not the first time a Disney show has used a finale to announce a follow-up – last year The Mandalorian ended with a teaser for a bounty hunting spin-off, The Book of Boba Fett.

[poilib element=”accentDivider”]

LOTR Star Says D&D Marketing Could Have Spelled Disaster

As part of a mammoth Deadline feature tracing the making of the Lord of The Rings trilogy for its 20th anniversary, Sean Astin has reflected on a disastrous early marketing campaign that treated the movies with a “Dungeons & Dragons thematic approach.” According to Astin, it was only after a pseudo-premiere and massive party at the 2001 Cannes Film Festival that the film’s marketing shifted tone.

As described by many of the stakeholders who were interviewed for the feature, Peter Jackson’s Lord of the Rings trilogy was unique at the time, and consequently many of those working to market, finance, and produce the films had no idea how to handle it. At the time, fantasy movies were generally considered bad box office bets, though Astin relates that early marketing efforts still treated The Lord Of The Rings like a standard fantasy romp.

Now Playing: Lord Of The Rings: 30 Things You Didn’t Know About The Fellowship Of The Ring

“I remember the initial marketing campaign sort of missed the mark, treated it as kind of a Dungeons & Dragons thematic approach and missed the classical feel,” said Sean Astin, who played Samwise Gamgee in the trilogy. “I remember all of us, our hearts were sinking because we’re like, ‘Oh, no, maybe the studio or the marketing folks are expecting something different than what we think we’ve created.'”

After a legendary $2 million party at Cannes, which transported some of the film’s sets and props to turn a French castle into Middle Earth and impressed financiers with just 26 minutes of footage, the film’s marketing seemed to get on the right track.

“The Cannes Film Festival showed what we knew, that the film was spectacular and we had created something that would stand the test of time,” Astin explained. “After Cannes, they got it right. The posters of just Elijah with his hands and a huge ring in it, on bus stops and everything else. You didn’t know if this would translate to box office success, and I watched Bob Shaye and Michael Lynne sweating it.”

The Deadline feature also plumbs other tense moments during the creation of the epic trilogy, with Peter Jackson relating the one time he “snapped” on set.

CLG Removes Video Where League Players Have Their Jobs Threatened

Esports organisation CLG caused controversy this week after posting a behind-the-scenes video in which players were told their positions on the team were under threat. CLG took the video down just hours later, but it has continued to circulate after being re-posted to YouTube, as reported by Kotaku.

The video was posted as part of a sponsored series called Bud Light Gaming Cooldown, with the sponsor’s branding appearing at multiple points during the revealing video. It shows Daniel “Tafokints” Lee, the manager of CLG’s besieged League Of Legends team, warning that roster changes could be on the cards.

“I’m gonna be kinda upfront, I am looking at roster swaps,” Lee said in the video, which has since been re-uploaded to YouTube. “It’s been a little over two months; we’re not really progressing, so there’s very likely going to be changes this week. I’m exploring options, so this might be the last time that we have this roster of five playing.”

The video was so poorly received that it was quickly pulled, with CLG later tweeting an apology in a format that’s become all too familiar in the gaming industry. “Our goal was to share an authentic moment with our fans and be as transparent as possible leading up to potential changes that may occur this week,” the apology read.

While the video did include a level of transparency about the running of an esports team, people questioned how necessary it was to broadcast such a vulnerable moment for the players involved. CLG’s apology has also been poorly received, with commenters calling for CLG management to apologize directly to the players instead.

GameSpot may get a commission from retail offers.

Why Phantom Abyss is More About Cooperation Than Competition

Phantom Abyss is the new whip-slinging, ghost-racing first-person-platforming, asynchronously multiplayer roguelite capturing people’s attention right now, offering a compelling blend of Indiana Jones style temple running and Spider-Man-esque slingshot parkour.

With a whip more grappling hook than lion taming implement in hand, Phantom Abyss challenges you to navigate a dangerous temple filled with ever more challenging traps — boulders, saw-blades, spike pits and so on — as you search for and (possibly) acquire a golden idol.

Demolition Man

As you careen through each tile-based, procedurally generated temple, you learn the layouts, the secrets and the tricks you need to get further — it’s the sort of knowledge-based progression great roguelites have made their bread and butter. And when you die, you drop your whip and any keys you’ve acquired; a sacrifice to the ancient gods that may once have been worshipped at the temple.

But there’s a twist. A literal ghost in the machine. You’re accompanied on your journey by the ghosts of those who attempted to run this temple. As you start a level, the blue outlined phantoms of other players join you, running the labyrinth alongside you. And better still, their impact haunts the halls of the temple long after they are gone. They open the chests you see around the level. They set off the traps, triggering spikes and dissolving tricked floors.

With 20 phantoms in a level, there’s a degree of chaos at play that can be difficult to manage. And there’s another element in the mix there, too, a psychological factor that is at the core of what Phantom Abyss is all about.

[ignvideo url=”https://www.ign.com/videos/2021/06/12/phantom-abyss-temple-challenges-trailer”]

Originally, Phantom Abyss was called “Will it be you?”, a title that still lingers in the name of the developers behind this unbelievably compelling platformer – Team WIBY.

“That was the core premise from the start,” explains Ben Marrinan, the Creative Director on Phantom Abyss. “That’s what it was all about, you know, one person beating many. I think there are definitely Battle Royale influences in the game, although it’s definitely not a Battle Royale. But that whole premise of being the one person that did it while all these other people failed is super cool to me.”

That’s the other twist in this parkour game’s formula — when you succeed at acquiring the idol, that temple is banished from existence. Only one person can complete a run, and Phantom Abyss asks a simple question: will it be you?

While the superficial inspiration might be fairly apparent — the whip, the doomed temple, the golden idol all point to Indiana Jones and other pulp adventure stories like it — this one and done mechanic leads to the game’s deeper inspiration.

“The most important thing [for us] is focusing on how players feel, and what players are thinking [as they play],” Marrinan explains. “And that’s kind of always been our approach when designing this game. We haven’t tried to copy other games or even fit into a genre, all that was important to us was how players feel and how a player is going to react to something.

“A game that I used as inspiration for this was an old Flash game, I can’t remember the name of it, but it was a 2D platformer where you would jump from one rooftop to another, and you only got one shot. And if you didn’t make the jump, you died. And it was totally an easy jump, and you knew that you could do it, but that pressure of knowing you only have one chance to do it psyched you out.”

The old game in question — One Single Life, we confirmed later — dared you to back yourself, and it had a great impact as a result. But in Phantom Abyss, with ghost runners flinging themselves around the same temple as you, the pressure mounts even further.

[widget path=”global/article/imagegallery” parameters=”slug=phantom-abyss-screenshots&captions=true”]

Spirits in the Material World

Since the first ghost racer appeared in F-Zero, gamers have been conditioned to see the translucent form as a threat, a challenge, a gauntlet thrown down. With nobody sitting next to them, the hollow form of the ghost racer exists to show them what might have been — if only they were a little better at racing. The ghosts of Phantom Abyss add a sense of pressure in the exact same way.

“It’s really quite amazing how much the ghosts can influence your play,” Marrinan says. “Even if they’re not doing much they still impact the world. They’ll activate traps and things like that. But to a much greater extent, we’ve found players try to play exactly like the other phantoms around them.

“It was quite a funny experience during development. Whenever we would share the game with people… as the devs, we play the game all the time so we play quite fast. And so then other people would play and say, ‘no, this game’s too hard, way too hard, I just keep dying.’ Then we started giving [those same] people builds with no ghosts at all and they had a much easier time of it. It was fascinating to playtest. And I’ve seen the same stuff now that Phantom Abyss is out.”

But there’s a trick in Phantom Abyss, a mental leap every player needs to make to find success in it. A truth the game tells you constantly, but can still be hard to fully comprehend. The fact of the matter is, the phantoms in Phantom Abyss — they want you to win.

[poilib element=”quoteBox” parameters=”excerpt=The%20fact%20of%20the%20matter%20is%2C%20the%20phantoms%20in%20Phantom%20Abyss%20%E2%80%94%20they%20want%20you%20to%20win.”]

When you die in Phantom Abyss, you drop your special whip and any keys you’ve acquired. That’s the price of failure. Your ghost lingers in the temple, joining the others who tried and failed before you.

But when you succeed, every phantom in that temple is released. Their whip and any keys they acquired are returned to them. Your success is their success.

“Normally when you’re playing a game with other people, you’re competing against each other, and you’re trying to get [to the end] first and win,” Ben Marrinan tells me. “It’s trained into people, the idea that if there’s other people here, I have to beat them, when really you’re actually working with all these people.

“Or more, all these people are there to help you, not hinder you. They’ll go into hidden passages that you might easily miss, set off traps you might not see. Show you all the secrets they’ve found. It’s quite a mind shift. And I think everyone has a moment where it’s like, ‘oh, hang on a second, I don’t need to be racing these people.’ And I think that’s a pretty cool moment for people that I didn’t anticipate. But I think it’s a great feeling with the game kind of clicking for you as you start to play.”

When you first start successfully completing temples, it’s a good feeling — one similar to winning a Chicken Dinner or Victory Royale. There’s that knowledge that you’ve done what others couldn’t, that you’re better than those who came before you.

But when you experience that mind shift, that attitude adjustment, the victories get even sweeter. Your triumph is a little bit more heroic, because you know that your win had an impact far beyond simply acquiring the idol and maybe upgrading your whip.

[ignvideo url=”https://www.ign.com/videos/2021/06/22/phantom-abyss-the-first-11-minutes-of-gameplay”]

Secret Journey

That heroic feeling has translated into a community of players that seems happier to collaborate with others. 

“One thing about our community is that normally in games, communities can be quite hot, as people are competing against one another,” Marrinan says.  “But I’ve found the community we have with this game is just the nicest bunch of people. I think it’s because the game is very cooperative, and everyone’s trying to help each other all the time. It’s been incredible to see.”

Something the community has already come together around is the secret language buried within Phantom Abyss’ temples, an alphabet players are already deciphering

“There’s a secret language that we added in the game where different symbols mean different things,” Marrinan explains, telling us about the code. “And it’s all very subtle in the game right now. We kind of expected a fraction of a percent of people to notice it and investigate it all. But we’ve been blown away by the response of the community, our discord is extremely active about this secret language — people have already figured out the entire thing, which blows my mind. The community is awesome.”

[poilib element=”quoteBox” parameters=”excerpt=The%20game%20is%20very%20cooperative%2C%20and%20everyone%26%2339%3Bs%20trying%20to%20help%20each%20other%20all%20the%20time.%20It%26%2339%3Bs%20been%20incredible%20to%20see.%20-%20Ben%20Marrinan”]

Phantom Abyss is out now in Early Access but there’s still a lot more yet to come for the game. There are three zones at the moment — the ruins, caverns and inferno — but more are on the way. More ways for players to upgrade their whip’s reach and speed are coming, as are more specialty whips in general. The immediate focus, however, comes directly from player feedback.

“Right now our focus is on getting a lot more difficulty in the game for the players who want that and a lot more variety in the game for players who want that,” Marrinan says. “The data is all over the place there. Some people die a lot in the first area, finding that pretty challenging, and other people smash through those first three areas pretty easily. And there’s everything in between, right?

“We’re definitely focusing on making content for everyone, for the people that die a lot in early stages, we’re making that a much more enjoyable experience, while at the same time delivering the challenge the other people are really craving. I think some people are begging for punishment, and we’re going to give it to them.”

[poilib element=”accentDivider”]

Joab Gilroy is an Australian freelancer that specialises in competitive online games. You can tweet at him here.