I Am Fish, the next game from the developers of I Am Bread, will launch on September 16, and it’ll be available day one on Xbox Game Pass.
Developer Bossa Studios and publisher Curve Digital announced today that I Am Fish will be release on Steam, Xbox, and Xbox Game Pass on September 16. A release for Switch or PlayStation has not been announced.
I Am Fish takes place in the same shared universe as I Am Bread and Surgeon Simulator. The publisher says the game goes to some “dark places” and innovates on the “fish out of water” story with some of its own unique elements in the physics-based action-adventure platformer genre.
“Appearances can be deceiving, and the charming setting of I Am Fish can fool the unprepared with its numerous brutally fish-cious ways to turn our four piscine pals into dried-out husks of their former selves. Players will need to skillfully swim, fly, roll, and chomp their way through the many hazards within Barnardshire … and beyond!” reads a line from the wacky-sounding game’s description.
Bossa Studios lead game designer Luke Williams said I Am Fish began as an internal prototype that employees reacted positively to, so it was developed into a full game.
“For the full game, we knew we wanted to expand it beyond just a fish in a bowl, both mechanically and thematically. I think players will enjoy seeing the precarious situations these fish will get into!” Williams said.
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As different types of fish with their own unique abilities, players will cross roads, sneak through a nightclub, swim through sewers filled with hypodermic needles, and try to not get eaten by hungry animals.
I Am Fish offers “faster performance” on Xbox Series X|S, and it has “custom water rendering” across platforms. The game was built using the Unity engine. The game launches September 16 for $20 USD/ €20/ £16.
The first trailer for Spider-Man: No Way Home has been released — well, officially, this time — and it confirms the movie is drawing from one of the most controversial Spider-Man comics ever published to explain how Peter Parker’s secret identity could be restored following the events of Far From Home. The plan involves Doctor Strange and the multiverse and promises some familiar but not necessarily friendly faces that will appear to stir things up.
Full spoilers from the Marvel comics are incoming!
The trailer reveals Tom Holland’s Peter Parker seeks out the help of Benedict Cumberbatch’s Master of the Mystic Arts in order to make everyone forget he’s Spider-Man. The exposure of the wall-crawler’s secret identity by Mysterio at the end of Far From Home has put Peter’s loved ones MJ, Aunt May, and Ned in hot water, too. It will take some supreme sorcery to make the whole world forget he is Spider-Man. Luckily, Pete knows a guy.
Peter sees Strange as the perfect solution to all his woes – a wizard who can wave a hand and make the world forget Spider-Man’s secret. Strange apparently doesn’t necessarily feel the same way, cautioning Peter, “Be careful what you wish for, Parker.”
Let’s explore the evidence that Spider-Man: No Way Home is drawing its inspiration from Marvel Comics’ notorious “One More Day” storyline — and why Doctor Strange is the key to solving Spidey’s identity crisis.
Spider-Man: No Way Home Comics Inspirations – Civil War and One More Day
First, we have to go back to the comic book version of Civil War, where Peter willingly reveals his secret identity to the world as a sign of support for the Superhuman Registration Act. However, he’s forced to become an underground fugitive after rebelling against Iron Man and the SHRA. His situation quickly grows desperate after Aunt May is shot by an assassin hired by Kingpin. Ultimately, Peter and MJ are forced to make a literal deal with the devil, Mephisto, sacrificing their marriage in exchange for May’s life and turning to a combination of science and magic to collectively make the world forget Spider-Man’s identity.
But is that actually what’s going to happen in No Way Home? We have our doubts, especially since Peter’s situation in the MCU is quite a bit different. For starters, Peter isn’t married in the MCU. And it’s important to remember the MCU Peter is hardly the blue-collar nobody he is in the comics. As far as the movies have shown, he’s still a duly registered hero in compliance with the Sokovia Accords. He has the backing of the Avengers and other connected people like Happy Hogan and Nick Fury.
Yes, there’s the pesky issue of Mysterio framing Spider-Man for murder, but as the trailer shows it appears Peter didn’t end up alone and on the lam following Far From Home. Peter theoretically has the resources to protect his family and work to clear his name. This has even fueled speculation No Way Home will re-introduce Charlie Cox’s Matt Murdock to the MCU, with the law firm Nelson & Murdock defending Peter in court.
To be clear, we highly doubt Marvel Studios and Sony have made a direct adaptation of One More Day. The original story was highly controversial and still tends to inspire a fair amount of vitriol online all these years later. We don’t necessarily see Mephisto factoring into the plot of Spider-Man: No Way Home, especially after he was a no-show in WandaVision — and with so many other villains already poised to appear in the film. Speaking of the devil …
Spider-Man: No Way Home Villains – Doctor Octopus, Green Goblin, Electro and More?
“Hello, Peter.” The trailer ends with the return of Alfred Molina’s Doctor Octopus and also includes homages to Willem Dafoe’s Green Goblin and Jamie Foxx’s Electro, both of whom have long been rumored to appear in No Way Home along with Tobey Maguire and Andrew Garfield reprising their respective Spider-Man roles. With the trailer establishing these multiverse elements, might Peter become lost in the Marvel multiverse, struggling to find his way home and temporarily teaming up with his counterparts from other worlds? That’s certainly one way to highlight the comics’ all-important theme of power and responsibility and gives the title of “No Way Home” added meaning.
We could easily see No Way Home boiling down to one basic conflict. Will Peter choose to flee his world and recover his old life in a new one or does he accept the responsibility he has to protect his own world, no matter the personal cost?
And if the multiverse is the key to restoring Peter’s identity, what does all this mean for Strange’s future MCU? We know Spider-Man: No Way Home plays into the events of 2022’s Doctor Strange in the Multiverse of Madness. If Strange is arrogant enough to think he can manipulate time and space not just to save all existence, but to help out individual heroes, that could have dire consequences for the larger MCU.
Spider-Man, Doctor Strange, and the Marvel Multiverse
As we saw in Avengers: Infinity War, Strange was able to explore millions of possible timelines in the span of a few minutes, scanning the multiverse for the one reality where Earth’s heroes eventually triumph over Thanos. Could Strange attempt something similar here? Will he scan for a universe where Peter’s identity was never leaked and merge that reality with the MCU?
Many fans are also wondering why Doctor Strange even cast that spell, especially since it was one Peter could evidently so easily help screw up? If there’s one consistent theme when it comes to magic in the MCU, it’s that spells always carry a cost. If Strange finds an alternate universe where Spider-Man’s identity is still secret, what’s the cost of altering his reality? Will two worlds become one? Merging multiple worlds into one inevitably results in some rough edges and cosmic mistakes. But Strange also concedes there’s much about the multiverse they don’t yet understand.
Perhaps helping Spider-Man is exactly what further unlocks the door to the Multiverse of Madness — as much as Wanda’s possession of The Darkhold or Sylvie’s shattering of the sacred timeline did. In that case, Doctor Strange, not Spider-Man, would be the real loser in this One More Day-inspired conflict.
What did you think of the new trailer for Spider-Man: No Way Home? What are your theories about how the magic and multiverse of it all will play out? Let us know in the comments.
And for all things MCU and Spider-Man, keep it locked on IGN.
Quake was re-released this week, boasting improved graphics and the return of the game’s original soundtrack. In an added bonus, the E2M6 map “Dismal Oubliette” has been restored to its original, extended length, a detail noted by original designer John Romero on Twitter.
Romero explained that the version of E2M6 that made it into the game was the one he originally designed, but that the extended entrance was added when Romero decided to “make the start of it better.” Sadly the improvements pushed the map over the 1.44MB size limit the team had placed on the maps, and E2M6 had to be stripped back to its original form.
All map sources were preserved. I originally created E2M6 without the new entrance. Then one night I decided to make the start of it better and made the expanded entrance. The next day I thought about the file size and saw it was over 1.4MB. I decided to go back to the original.
Regarding E2M6, the Dismal Oubliette, the reason the original beginning had to be cut was so it would fit within our 1.44MB file size limitation in place at the time. https://t.co/LdMgzl0WSf
Romero later released the extended entrance as E2M10: Lost Entrance of the Dismal Oubliette, but now thanks to the remaster, Quake players can enjoy the full map in its extended, “better” form. The map now starts players in a watery cavern, forcing them to fight through enemies to get to what used to be the beginning of the map.
The remastered edition of Quake is available now on PlayStation, Xbox, the Nintendo Switch eShop, and Steam, and players who already own the game on PC will receive the remaster as a free update. Other new content included in the enhanced edition includes the new “Dimension of the Machine” expansion developed by MachineGames.
Fans of Psychonauts have been waiting over a decade for the sequel, and early impressions suggest that Psychonauts 2 will not disappoint. A number of reviews are in ahead of the game’s release on August 25–here’s what the critics think.
“Sixteen years ago, Psychonauts made a cartoonish, comically lopsided world feel believable and weighted thanks to its loveable characters and earnest storytelling. Now, Psychonauts 2 builds upon this foundation to reach ambitious new heights, while equally deepening its roots to impressive depths,” Kurt Indovina wrote in GameSpot’s Psychonauts 2 review. “It takes already well-realized characters and makes them more complex, even if that means traveling to the darker corners of their minds.”
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We’ve included a number of other reviews below. For an even broader view of the critical reception, check out Psychonauts 2 on GameSpot’s sister site Metacritic.
Game: Psychonauts 2
Platforms: PC, PS4, Xbox One, Xbox Series X|S
Developer: Double Fine
Release Date: August 25
Price: $60
GameSpot — 9/10
“On the surface, Psychonauts 2 is an engaging, ambitious, honed-in take on colorful 3D platformers. However, the most rewarding aspect hasn’t just been mastering its platforms or combat, but peeling back the layers to see what’s beneath it; to take a closer look at its characters, the depth of their struggles, fears, and regrets, all of which serve as the game’s foundation. It’s an astonishing achievement in nearly every regard and the quintessential display of Double Fine’s mastery in story, gameplay, and distinct direction, making it the studio’s best game to date.” — Kurt Indovina [Full review]
IGN — 8/10
“Psychonauts 2’s weird and wonderfully written story is full of interesting, nuanced characters that I instantly fell in love with. Most of its fresh ideas go a long way toward elevating the Psychonauts formula into the modern era, though its enticing new equippable pin system can be a little too stingy. Double Fine has also done a great job of expanding this universe toward both grander and more intimate threats without losing the joyous childhood adventure vibes of the original.” — Tom Marks [Full review]
Kotaku — No Score
“Psychonauts 2, even more than the first game, truly explores all the challenging, painful, wonderful complexity we carry around inside our heads. The end result is an action platformer with a lot to say, a ton of heart, and only a few minor design flaws.” — Zack Zwiezen [Full review]
Game Informer — 9/10
“I adored almost every second of Psychonauts 2. It achieves something I don’t often see in games – a continual sense of awe as each of its worlds unfold. It took 16 years to reach release, but Double Fine has delivered an incredible sequel. I hope we get a third installment that doesn’t take nearly as long to create.” — Andrew Reiner [Full review]
GamesRadar — 4.5/5
“Psychonauts 2 captures the spirit of ’90s cartoons and channels it into an imaginative, inventive adventure that never fails to find heart and humor in every one of its consciousness-expanding encounters.” — Josh West [Full review]
PC Mag — 4/5
“If you’re a fan of the original Psychonauts, you’ll probably adore Psychonauts 2. If you aren’t familiar with Psychonauts but enjoy 3D platformers, you’ll still find plenty to love. It’s endlessly charming, with a satisfyingly large world filled with secrets and collectibles to find through entertaining and varied platforming. It captures the magic of the first game and builds on it to produce a simple joy to play through.” — Will Greenwald [Full review]
EA is making its five accessibility-related technology patents — including the ping system from Apex Legends — freely available for use by anyone, even its competitors.
In an announcement today, the publisher said it was making a “Patents Pledge,” promising to make five of its patents available for free and without repercussion to anyone who wishes to use them indefinitely, as well as future accessible technologies it develops.
Effectively, this means any of these five patents can be used by other developers, competitors, or others without the worry of being sued by EA.
The most notable of the five patents EA is making available is the ping system from Apex Legends, which was lauded at the game’s launch for allowing players to communicate easily with one another in-game. The system was praised for making Apex more accessible for players with hearing, speaking, or cognitive disabilities.
Three other patents are related to vision accessibility and include tech that detects and modifies the colors, brightness, and contrast in a game to improve object visibility. This tech is currently included in the Madden NFL and FIFA franchises.
The fifth patent is not currently being used in any EA games but is related to personalized sound technology to assist players with hearing issues. With it, players can create or modify music based on their hearing preferences.
In addition to these, EA is open-sourcing code for colorblindness, brightness, and contrast accessibility in digital content. This code is being made available on GitHub.
“At Electronic Arts, our mission is to inspire the world to play,” said Chris Bruzzo, EA EVP of positive play, commercial, and marketing. “We can only make that a reality if our video games are accessible to all players. Our accessibility team has long been committed to breaking down barriers within our video games, but we realize that to drive meaningful change, we need to work together as an industry to do better for our players.
“We hope developers will make the most of these patents and encourage those who have the resources, innovation, and creativity to do as we have by making their own pledges that put accessibility first. We welcome collaboration with others on how we move the industry forward together.”
Call of Duty: Vanguard alpha is coming to PlayStation players on August 27 to August 29. The alpha will feature Champion Hill, a brand new game mode. You can pre-load the game on your PS4 and PS5 today.
Netflix has unveiled some new Cowboy Bebop images, as well as the release date for the show.
In the first real skirmish in Aliens: Fireteam Elite, you encounter more of the series’ iconic Xenomorphs than in all of the films combined. This third-person shooter trades the slow tension of escaping one extraterrestrial predator for the chaos of trying to survive waves of hundreds at a time, instilling a different type of dread that the franchise has rarely balanced successfully. While not without its issues, Aliens: Fireteam Elite is a strong step towards realizing the potential in that approach, with a surprisingly deep progression system, consistently entertaining firefights, and engrossing presentation that keeps the action gripping throughout.
Akin to squad-based shooters such as Left 4 Dead, Aliens: Fireteam Elite plays out over a series of acts which are part of larger chapters, and each one features new enemies and set pieces for your team of three colonial marines to tackle headfirst. The story leans heavily into iconography and tropes from classic Alien films, but its narrative is also influenced by modern entries such as Prometheus, directly referencing events from the divisive project. It doesn’t add much to the overall lore of the series in its trajectory, nor does it potentially set up anything meaningful, but it is a nice touch for each chapter to feel like it has a significant place within the universe.
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The third-person action is the foundation on which everything is built, though, and it’s a strong one at that. Aliens: Fireteam Elite pulls generously from the pool of weapons available to Colonial Marines, with the recognizable pulse rifle just being the tip of the iceberg in terms of enjoyable weaponry you’ll be able to wield. There are notable inclusions in every tier of weapon type, with powerful flamethrowers and enemy-seeking smart guns being desirable heavy weapons and a burst-shot hand cannon or sawn-off shotgun being notable in the sidearm category.
Each weapon can be customized with three attachments, too, letting you enhance their effectiveness against stronger enemies while also imbuing them with unique abilities. One of my favorites would restore ammo straight into my magazine on successful precision kills, not only giving me some relief from the often-strict ammunition limits, but also letting me go on absolute rampages when my aim was on point. Attachments also contribute to your overall combat rating–a numerical value used to determine your offensive ability like those used in games such as Destiny–incentivizing you to routinely consult the merchant in the game’s hub world and seek out hidden caches in each act to unlock more.
Aliens: Fireteam Elite features five classes for you to choose from (four initially, with the final one unlocking once you’ve finished the game once), each of whom has their own active and passive abilities as well as loadout options. The standard Gunner class, for example, has access to one rifle slot and one CQC slot, letting you take a pulse rifle and shotgun into battle. The Tactician, on the other hand, can only use a smaller sidearm and CQC weapon, but has access to a deployable turret and shock grenade that is extremely effective at crowd control.
Aliens: Fireteam Elite adds a variety of different Xenomorphs variants, such as the Burster-type that explodes when it gets close enough to your squad.
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You customize each class further using a perk system, with numerous modifiers unlocked as you level up its respective class. Unlike other conventional systems like this, Fireteam Elite seems to take inspiration from the inventory system from Resident Evil 4. You have a grid with a limited number of spaces where you can place new modifiers and perks, each of which has a distinct shape and size. Some modifiers need to be placed on particular sides of the grid in order to affect one of your active abilities, leading to further complexity when attempting to maximize the space you have effectively. It’s a little strange at first, and compounded by the absence of a tutorial that breaks down some of the system’s nuances. But once you’ve unlocked a reasonable amount of space, it is a crucial component of your overall progression, unlocking abilities and combinations that will be vital to success on higher difficulties.
The sheer number of perks available helps this too, letting you completely redefine how a particular class works in between runs. This becomes crucial with higher difficulties, where your class benefits from a perk loadout that suits the types of enemies you’re going to face. For example, Xenomorphs are weakest against fire, which makes the Tactician’s turret more effective when equipped with its short-range flamethrower variation. On the other hand, the slower-firing but higher calibre rounds of its other variation make it more effective against slower-moving synthetics, forcing you to think carefully about your loadout choices on every run. Each of the classes can be altered in similar ways, redefining their active abilities with appropriate pros and cons to give them more depth than their standard archetypes suggest initially. This makes spending time with each individual class rewarding as you start tinkering them to be both fun to play and effective as part of your team.
The ways in which your chosen weapons, selected classes, and equipped attachments affect gameplay is directly influenced by which enemies you’re matched up with, and Aliens: Fireteam Elite has a deep pool of aliens and androids that it pulls from. Some are immediately familiar in terms of the archetypes they populate–the Prowler hides on ceilings and pins you down, while the Burster explodes into a puddle of acid blood when killed–but there are numerous others that all introduce new combat wrinkles to consider. The Drone (the same type of Xenomorph from both the original film and Alien: Isolation) emerges from vents and crawl spaces to do some quick damage before disappearing again, making it a consistent threat unless you manage to kill it before it retreats and gets ready for another surprise attack. Heavily-armored synthetics will force you to engage with cover mechanics and chest-high walls in a way that fast-rushing Xenomorphs don’t, challenging you to break from your established muscle memory. Aliens: Fireteam Elite uses enemy sizes and skill sets to constantly keep you adapting to their respective threats, never letting you get comfortable by ensuring you can be attacked from the ceilings, small crawl spaces, or directly ahead in equal measure.
Aliens: Fireteam Elite features many deep cuts to films and novels from the Alien franchise, including references to the events in the 2012 film Prometheus.
Also available for purchase are consumables that can be used once during any run, which include sentries with limited ammunition, an assortment of elemental mines, and useful recon drones that buff damage inflicted on enemies they mark. Perhaps one of the most useful consumables are challenge cards, which can be activated before a run to change up how it plays out. These can make things easier, like giving you double the health or more ammunition, but the most interesting ones are those that change the ruleset and increase the probability of failure in return for drastic money and experience boosts. Some memorable ones included a card that constantly introduced a Drone into the mix, meaning my team was always hunted by a strong and deadly foe at the worst possible times. Another turned all regular enemies into exploding variants, while another reduced regular damage by a third but tripled weak point damage. Each of these changes the way you approach a particular act and shakes up the gameplay in fun and tangible ways, making otherwise routine motions through a level feel fresh again.
This is particularly welcome in the face of the objectives in each level boiling down to the same structure, which does become stale rather quickly. Each stage is a linear path from one big ambush section to the next, peppering the route with some exciting engagements against pockets of enemies. But the indicators of your progression through a stage never really change; once you reach an area with an ammo box and some spare health packs you know you’re about to dig in deep and defend your position for a bit, with each level usually containing two or three of these sections throughout. This further dilutes the Horde mode that is only unlocked once you’ve finished the story campaign, given that it’s just a distillation of the same objective you’ve already been repeating to get there. There are sparse exceptions to this rule, especially the final climatic escape, which dials up the Alien horror as far as it goes in-game, but if you aren’t playing around with challenge cards or plunging into harder difficulties, the level design of each stage doesn’t do enough to keep things that exciting.
While it may lack in mission design, each act does deliver in terms of its outstanding visual presentation. Each takes place in a new area, which slowly evolves over time as you make your way through it. The game is steeped in familiar iconography and eye-catching details, from the grossly wet hallways of a Xenomorph hive to the dirty but opulent control rooms of an Engineer station. Lighting does a great job of highlighting the attention to authenticity in these areas, while also creating numerous pockets of darkness for threats to hide in, making tracking incoming Xenomorphs suitably tense. Weapons also stand out in terms of how they brighten up each scene with their deadly ordinance, with the searing flames of the flamethrower being a particularly good example of this. The blinding heat of the devastating weapon is a sight to behold, accompanied by the satisfying screeches of the enemies burning to a crisp in its wake. It’s all so faithful to some of the franchise’s most memorable film setpieces, grounding the action within the franchise even if its pace couldn’t be further from it.
To spice up missions, you can select special challenge cards that adds interesting modifiers and bonuses, some of which make the Xenomorphs an even greater threat.
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Playing alone sadly does a disservice to the entire experience, while also diminishing many of the strategic and dynamic elements of Fireteam Elite. With other players, you’re consistently making calls and pinging dangerous enemies, while also composing your team carefully for the challenge ahead. Alone, you’re just playing with two AI bots, who are competent at best when it comes to aiding you. They’re generally good at reviving you should you go down or drawing some attention from the hordes of Xenomorphs, but they don’t have the ability to intelligently synergize with your chosen class’s abilities when it matters, which makes higher difficulties almost impossible. Aliens: Fireteam Elite acknowledges this when choosing anything above its regularly difficult, recommending player-controlled teammates over the bots, which severely limits replayability if you’re wanting to go at it solo.
Despite what its reduced price might suggest, there’s a lot here to keep you entertained for numerous hours, especially once you’ve managed your first run through all four acts and start tackling them again with higher difficulty settings in the pursuit of consistently better gear. There’s so much satisfaction in customizing and managing a handful of classes with enough depth to transform them into the Colonial Marine you need at a given time, along with a plethora of great weapons to make the moment-to-moment action engaging from the first time you pull the trigger. What it lacks in dread it makes up for in pure white-knuckle action, making Aliens: Fireteam Elite a great place to engage with this iconic sci-fi franchise again.
Netflix isn’t so much a streaming service as it is a never-ending onslaught of media these days. To reinforce that, the service has revealed release dates for 43 films coming out in the next four months.
Things start off early in September with Worth, starring Michael Keaton and Stanley Tucci, telling the story of Kenneth Feinberg, the person in charge of creating the formula for payouts to the families of victims of 9/11. From there, the films include both live-action and animated fare, as well as both low and high profile movies. October features Army of Thieves, which acts as a prequel to Zack Snyder’s Army of the Dead. November’s headliner is Red Notice, an action film starring Dwayne Johnson, Gal Gadot, and Ryan Reynolds.
The list below includes all announced dates; some of the films only have a month noted, and no specific date. Additionally, some of these films will see limited distribution to the Netflix-owned theater The Paris in New York City, as well as potentially other (unannounced) venues. The theatrical dates for those films are marked in parentheses.
September
Afterlife of the Party – 9/2
Worth – 9/3 (8/27)
Blood Brothers: Malcom X & Muhammad Ali – 9/9
Kate – 9/10 (9/3)
Nightbooks – 9/15
Schumacher – 9/15
Intrusion – 9/22
The Starling – 9/24 (9/17)
My Little Pony: A New Generation – 9/29
No One Gets Out Alive – 9/29
October
The Guilty – 10/1 (9/24)
Diana: The Musical – 10/1
There’s Someone Inside Your House – 10/6
Found – 10/20 (10/13)
Night Teeth – 10/20
Stuck Together – 10/1
Army of Thieves – 10/29
Hypnotic – October
Fever Dream – October (Unannounced)
November
The Harder They Fall – 11/3 (10/20)
Love Hard – 11/5
A Cop Movie – 11/5
Passing – 11/10 (10/27)
Red Notice – 11/12 (11/3)
tick, tick… BOOM! – 11/12 (11/10)
Bruised – 11/17
Robin Robin – 11/24
14 Peaks: Nothing is Impossible – 11/29
7 Prisoners – Novemeber
A Boy Called Christmas – Novemeber
A Castle for Christmas – Novemeber
The Princess Switch 3 – Novemeber
December
The Power of the Dog – 12/1 (11/17)
Shaun the Sheep: The Flight Before Christmas – 12/3
Eric Barone, the creator of Stardew Valley, has announced the official Stardew Valley Cup, creating an eSports competition for the farming simulator. On Twitter, Barone announced that the competition would consist of four teams of four, each featuring different streamers and speedrunners. Teams will compete to see who can earn the most points by completing different challenges in-game. The winner will take $40,000 USD worth of prize money. Barone is holding the competition in collaboration with Zach “Unsurpassable Z” Hartman, a Stardew Valley content creator.
In an announcement video, Hartman detailed the one hundred challenges that the teams will be aiming to complete in a three-hour timespan, all starting on a beach farm. The challenges range from completing the different rooms in the community center to reaching the lowest level of the mines. Each challenge is worth a different amount of points based on how difficult it is to complete. Hartman said that teams will have two weeks to make a game plan ahead of the competition, however, Hartman will introduce hidden challenges during the cup to entice competitors to abandon their plans.
The event will take place on Hartman’s Twitch channel on September 4 at 9 AM PT / 12 PM ET, where he and Barone will be commentating on the event, but all of the individual competitors will be streaming their own viewpoints. The competition will last three hours of real-time and there is no limit on how many in-game days players can go through. The $40,000 prize, provided by Barone, will be split between the four teams, with the winning team getting $28,000 to split between the four members.
Following the release of Black Widow to both theaters and Disney+ Premier Access, star Scarlett Johansson filed suit against the Walt Disney Company, claiming that the simultaneous release was a breach of contract causing her to lose millions of dollars. Now, fellow MCU star Elizabeth Olsen has offered her support for Johansson in a new interview with Vanity Fair.
“I think she’s so tough and literally when I read that, I was like, ‘Good for you Scarlett,'” the WandaVision star said during the interview. The interview, which focused on the move from movies to streaming shows, also included Ted Lasso star Jason Sudeikis, and the two discuss a variety of topics around the issue at hand in Johansson’s suit–movies releasing simultaneously to theaters and streaming services. The actor said, though, that she’s “Not worried on Scarlett’s behalf… That’s all just contracts, so it’s either in the contract or it’s not.”
“I’m worried about small movies getting the opportunity to be seen in theaters. That was already a thing pre-COVID. I like going to the movies and I don’t necessarily want to see only an Oscar contender or a blockbuster. I would like to see art films and art house theaters. And so I do worry about that, and people having to keep these theaters alive,” Olsen said, suggesting that theaters may end up back in the hands of movie studios.
