Mihoyo Reveals More Details About Genshin Impact On PS5

The release of Genshin Impact on PS5 is fast approaching, and developer MiHoYo has just let us in on some brand new details about the port. Here’s what PS5 players can expect when Genshin Impact launches for PS5 on April 28.

The Chinese studio has already announced that the native PS5 version of the game will play in 4K with enhance textures across the board, featuring faster load times, higher image quality, and better performance.

In the new blog post, MiHoYo revealed that it built certain systems for the PS5 from the ground up, future-proofing it for upcoming updates. This includes a new graphics library for enhanced visuals, and a customized file-loading system to better take advantage of the PS5’s fast load times.

“In future updates, we will have much more potential to elevate the visual quality and game performance,” MiHoYo’s technical director Zhenzhong Yi promised. Thanks to these new systems, even players who’ve already been playing Genshin Impact on the PS5 through backwards compatibility will see big improvements in performance. Yi says that loading screens seen when fast-travelling or when entering domains will now last only for a few seconds on PS5.

Upgrades have also been made to how the game interacts with the DualSense controller, though Yi says that more time will be needed to fully integrate the new controller. For now, controller vibration has been optimized for the PS5, while players can expect further improvements in future updates.

PS5 players will also get a small amount of new content, in the form of a redesigned version of the unearthly Qingyun Peak. “We’ve given this location a bit of a makeover,” Yi said. “We hope you like the surprise!”

The PS5 version of the game will launch for free on April 28, the same day as Genshin Impact’s next big update drops. Check here for more information on what will be added in Update 1.5.

Now Playing: Genshin Impact – PS5 Gameplay Footage Trailer

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Jamie Lee Curtis Shares Photo From Borderlands Movie Set

Are we entering a golden age of video game adaptations? We sure hope so. Production on the Borderlands movie is in full swing, according to a photo posted to Twitter by Jamie Lee Curtis, who plays Patricia Tannis in the Eli Roth-directed film.

The photo itself isn’t going to offer up much for even the most eagle-eyed of Easter egg hunters; it shows Curtis’s on-set seating on rocky ground on the film’s Budapest set. The background is just your standard movie set stuff. While Curtis doesn’t explicitly state as much, it seems safe to assume that filming has begun on the movie.

Curtis has been posting about the Borderlands film as much as she can, including a post about on-set COVID precautions and her personal on-set soundtrack.

Borderlands has put together an impressive cast of actors that makes it hard not to get our hopes up for the film:

Randy Pitchford, head of Borderlands game developer Gearbox and a producer on the film, recently said on Twitter that the movie will be “authentic to the characters, tone, and style” of the games, but will “allow for independent storylines.” Pitchford compared the two to the Marvel Cinematic Universe and comics.

Borderlands doesn’t have a release date scheduled just yet. In the meantime, we have a whole stack of video game adaptations to look forward to. HBO is working on a TV adaptation of The Last of Us. Netflix’s Castlevania is getting a fourth and final season, but plans to continue exploring that universe. New set photos from the Sonic the Hedgehog sequel show series character Knuckles (We loved the first one!). Sony recently delayed Tom Holland’s Uncharted film, but only by a week. Ubisoft and Netflix are working to bring their game The Division to life starring Jake Gyllenhaal, and Werewolves Within just got a new trailer. While we wait on all of these, make sure to check out our list of the most watchable video game movies and the absolute worst of the worst.

Game of Thrones’ Emilia Clarke Announces Debut Comic Book Series

In an exclusive interview, Game of Thrones star and Emmy-nominated actress Emilia Clarke revealed she has been working on a new project: a comic book series. The series, titled M.O.M.: Mother of Madness, will debut July 21 at Image Comics and run for three issues. In addition to Clarke, GLAAD Award-nominated Marguerite Bennett will help write the books, with Leila Leiz providing art.

M.O.M.: Mother of Madness follows struggling single mother Maya as she takes down a ring of sex traffickers. While Maya starts off ashamed of “everything that makes her unique,” through her journey she reaches a place of “true acceptance of who she is.”

In the EW interview, Clarke described the series as “a Deadpool-esque blend of ‘a lot of silliness’ and tongue-in-cheek humor, combined with a very current feminist sensibility.” While Maya’s powers have yet to be revealed, Clarke laughed while revealing Maya’s monthly cycle plays a part in them.

According to Clarke, while she first had the idea for the mini-series three years ago, she has been a fan of comics her whole life. Growing up, the actress said, “there weren’t a lot of women on the covers, and there weren’t a lot of women in the shops. So I didn’t feel safe to explore it at that age.” This, coupled with her observations while attending events such as Comic-Con, strengthened her desire to see “women out there that are superpowered, but aren’t in a skintight costume,” and ultimately pushed her to write the series.

After reaching out to co-writer Bennett, the pair assembled an all-female crew to bring Clarke’s idea to life. She says working on the comic has been “a very beautiful female experience,” as well as a “phenomenally creatively fulfilling process.” A preview of the comic’s first issue is now available to read at EW.

Disney Inks Massive Deal With Sony Bringing Spider-Man Movies To Disney Plus

Disney and Sony have inked a new deal that will give streaming and TV rights for Sony Pictures’ new releases–including movies like Spider-Man: No Way Home–to Disney’s many streaming and linear services. It’s complicated, so buckle in.

The streaming deal includes Sony’s new theatrical releases between 2022 and 2026 as well as titles from Sony’s existing library, with releases heading to Disney+, Hulu, ABC, Disney Channels, Freeform, FX, and National Geographic as appropriate. In the press release, Sony specifically calls out its Sony Pictures Universe of Marvel Characters films, which would include any Spider-Man films, as well as spin-off characters like Venom, Morbius, and Kraven–not to mention Spider-Man: Into the Spider-Verse and its upcoming sequel.

Here’s where things get complicated, though. Earlier this month, Sony made a very similar-sounding deal with Netflix, which specifically included Spider-Man. So what’s up? These features would go to Netflix first during what the industry calls the “Pay 1” window. Historically, that would’ve been the period after theaters but before home video; that time period where you could catch the movie on HBO or order it on Pay-Per-View from your cable provider. It typically lasts about 18 months, according to The Hollywood Reporter.

Disney’s deal kicks in after that window. Once a movie is out of that “Pay 1” window, then you might see Hotel Transylvania and Jumanji pop up on Disney+, and the Monster Hunter and Uncharted movies on Hulu.

According to Variety, the Netflix and Disney deals stand to dump a truckload of cash on Sony weighing around $3 billion over the life of the two deals. Neither Sony or Disney has officially disclosed the financial terms of the agreement, however.

“This landmark multi-year, platform-agnostic agreement guarantees the team at Disney Media and Entertainment Distribution a tremendous amount of flexibility and breadth of programming possibilities to leverage Sony’s rich slate of award-winning action and family films across our direct-to-consumer services and linear channels,” said Chuck Saftler, head of business operations for ABC, Freeform, FX Networks and Acquisitions for Disney’s Media and Entertainment Distribution, in a press release. “This is a win for fans, who will benefit from the ability to access the very best content from two of Hollywood’s most prolific studios across a multitude of viewing platforms and experiences.”

“This groundbreaking agreement reconfirms the unique and enduring value of our movies to film lovers and the platforms and networks that serve them,” said Keith Le Goy, president, Worldwide Distribution and Networks, Sony Pictures Entertainment. “We are thrilled to team up with Disney on delivering our titles to their viewers and subscribers. This agreement cements a key piece of our film distribution strategy, which is to maximize the value of each of our films, by making them available to consumers across all windows with a wide range of key partners.”

For us streaming fans at home, this means that we can expect to find nearly all of the Marvel movies in one place following that Netflix window, whether they were formerly part of Fox’s X-Men series, the current Sony Spider-Man universe, or the Marvel Studios collection of films.

Now Playing: Spider-Man: Far From Home Movie Breakdown (Spoilers)

Oculus Gives An In-Depth Look At The Resident Evil 4 VR Remake

Oculus held its first livestreamed game showcase this week, and it spent a good amount of the 25-minute runtime focused on Resident Evil 4 in VR–a Quest 2 exclusive. New footage gives us a good look at how combat will feel in the game, as well as a rundown on which systems have been changed and which have been left the same.

Most notably, the VR port adapts Resident Evil 4’s third-person viewpoint to a first-person experience, and a lot of tweaks have had to be made to accommodate for that. Using weapons will be a more physical experience with the Quest 2’s motion controls, allowing for finer melee weapon control, dual wielding, and the ability to manually reload firearms–which also adds the threat of fumbling a reload in a tense situation.

While the game offers VR-style teleportation as a movement option, as well as Roomscale tracking, the developers expect most people will navigate with the analogue stick as they would in a non-VR game. The developers also have made sure the VR version of the game is comfortable to play while seated, given the game is longer than most designed specifically for VR. Enemies have been balanced to adjust for the increased difficulties of navigating in VR, but Oculus expects the game overall to feel scarier and more tense in VR.

Notably, all the cutscenes will exist in their original forms, meaning there will be some shifting between third-person and first-person perspectives while playing. Many of the world’s textures have also received a revamp, given the age of the original game and the shift to a first-person perspective.

The port is coming exclusively to the Oculus Quest 2 later this year, though no specific release date has been given yet.

With the first three Resident Evil games having received full remakes in recent years, fans have long expected Capcom to announce a full, non-VR remake of Resident Evil 4. While nothing has been officially announced yet, Resident Evil Village is due to release soon–and developers have said the upcoming series installment is heavily inspired by RE4.

Now Playing: Resident Evil 4 VR – Official Gameplay Breakdown Trailer

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Sonic Movie Sequel Set Images Include Knuckles And Tails

It’s already been well-documented that production has officially begun on the movie Sonic the Hedgehog 2 in British Columbia and Fort Langley, and eagle-eyed fans have recently been taking and publishing photos and videos that potentially provide some of the first solid information about the film. At the end of the first movie’s teaser, it was revealed that Tails would be in the next film–but one fan’s photos show props of Sonic, Tails, and also Knuckles (who hadn’t yet been announced).

Additionally, another video has been released online by a fan seemingly showing Jim Carrey attached to a crane, apparently reprising his role as Doctor “Eggman” Robotnik. This footage, presented as-is, doesn’t make for the most thrilling insights into the film (the video is filmed from a great distance), but both serve as solid confirmations of what characters will be in the film. Check out the fan footage below, and note that the stationary props will later be replaced by CGI characters–these are there for their human actor counterparts to have a reference when performing.

The first Sonic movie, released in 2020, proved a resounding success despite a bumpy start in 2019 with a polarizing first trailer that ultimately forced Sonic to be redesigned. The film went on to make $148.9 million in the US and to become the highest-grossing game adaptation ever in the country, overtaking Detective Pikachu. Globally, however, Sonic made $319.7 million, which lags behind Detective Pikachu ($433 million) and Warcraft ($439 million).

Sonic the Hedgehog 2 is expected to come to theaters on April 8, 2022.

Ubisoft Announces New Assassin’s Creed Projects, But No New Games

The Assassin’s Creed’s universe is receiving a massive expansion as developer Ubisoft has announced multiple new projects in the highly successful franchise, though none of them involve a new game. Instead these new AC projects will instead span multiple books, podcasts, and graphic novels.

Each new project will fall into one of three categories: “Classics” or stories adapted directly from the games, “Chronicles” or new stories starring established characters, and “Originals” which feature brand new characters and settings. The new project formats will include full novels, Chinese comics called “manhuas”, and “podcast dramas” with voice actors portraying characters in the story.

Partners joining with Ubisoft in this new initiative include Asmodee Entertainment through its publishing wing Aconyte Books, Dark Horse, and VIZ Media.

“With so many creators from all over Asia delivering innovative content”, Julien Fabre, Associate Director of Publishing, said in the official press release, “a priority for Ubisoft has been to forge new relationships with talented partners in the region.”

Some of the specific new projects announced include Assassin’s Creed Fragments, a series of young adult novels with the first three books’ settings as 19th Century Japan, 13th Century Scotland, and 17th Century France respectively, and Assassin’s Creed: Blade of Shao Jun, a manga series starring Shao Jun from Assassin’s Creed Chronicles: China and a new modern-day protagonist named Lisa.

This is not the first time the franchise has ventured into different media, the most notable examples being the full-length 2016 Assassin’s Creed feature film starring Michael Fassbender and the 2017 comic series Assassin’s Creed: Uprising which marked the end of series antagonist Juno’s story.

More information about each of the new stories announced today can be found at the official site.

The latest game in the franchise was last November’s Assassin’s Creed Valhalla, which recently saw its next downloadable content pack Wrath of the Druids delayed by two weeks to May 13.

Now Playing: Assassin’s Creed Valhalla Review

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Jeff Kaplan Was Vital

Jeff Kaplan served as, until his recent departure, the Vice President of Blizzard Entertainment. But for Overwatch fans not tuned into Activision-Blizzard’s corporate hierarchy, he may most humbly be known as “Jeff from the Overwatch team.” That’s how he introduced himself at the start of every Developer Update video, a greeting that downplayed his status as Game Director, and emphasized that Overwatch was a team effort. But while he didn’t shout them from the rooftops, his achievements speak for themselves: Jeff Kaplan was, for 19 years, one of Blizzard Entertainment’s most vital and important innovators.

Blizzard recruited Kaplan in May 2002 specifically to help it expand into a whole new genre: the MMORPG. Back at the start of the millennium, the studio’s experience was predominantly in the real-time strategy space, and the team lacked the expertise to help inform the company’s next venture. And so Rob Pardo, one of Blizzard’s lead designers, looked to the most obvious place to find an MMO expert: an MMO itself. At the head of EverQuest’s prominent Legacy Of Steel guild, he found exactly the kind of person Blizzard was looking for: a player named Tigole, a passionate (see: outspoken) and well-known member of the game’s community. Outside of EverQuest, he was known as Jeff Kaplan.

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Pardo invited Kaplan to a series of lunches. “With hindsight, what I didn’t realize at the time was that those guys were interviewing me for a role with World of Warcraft,” Kaplan recalled during an interview with Game Informer.

Six months later, Kaplan joined the World of Warcraft team, helping design quests for what would eventually become the genre-defining MMORPG. A significant part of the reason behind World of Warcraft’s success was its approach to questing, something Kaplan helped shape. Previous MMOs, like EverQuest, had very few scripted quests and were largely freeform, player-directed games. But Kaplan, along with his design partner Pat Nagle, forged World of Warcraft’s questing system as a near-constant supply of hand-crafted missions.

Player testing only reinforced the need for numerous quests. “Our old estimates for how many quests we thought we were going to do versus how many quests we ended up doing were radically off,” Kaplan told Edge. And so the world of Azeroth was designed that it would always have new stories for you to explore, even if that was just killing six rats for a farmer.

[poilib element=”quoteBox” parameters=”excerpt=By%202008%20Kaplan%20was%20World%20of%20Warcraft%E2%80%99s%20Game%20Director%2C%20leading%20the%20charge%20on%20one%20of%20the%20series%E2%80%99%20landmark%20expansions.”]This approach helped make World of Warcraft significantly more accessible to MMO newcomers. Unsurprisingly (at least in hindsight), his efforts were part of its colossal success. After several promotions, by 2008 he became World of Warcraft’s Game Director, leading the charge on what is still to this day considered one of the series’ landmark expansions, Wrath of the Lich King. With a focus on story (entwining the player’s story with that of legendary antagonist Arthas), Kaplan ensured that WoW’s second expansion was a vital part of not just Blizzard’s MMO, but the entire Warcraft mythos.

Kaplan left World of Warcraft behind the day after Wrath of the Lich King shipped. His new calling was, naturally, Lead Game Designer on a new MMO that was in the works. He was the guy Blizzard employed for his MMO expertise, afterall. This new project was going to be the most ambitious thing Blizzard ever made, and its working title reflected that: Titan.

But Titan would never see the success that World of Warcraft did. In fact, Titan infamously would never see the light of day. In the desperate struggle to make something – anything – from the ashes of Titan’s design, Kaplan came up with what is, undoubtedly, his greatest achievement at Blizzard: Overwatch.

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Kaplan was enamoured with the class designs and RPG abilities that fellow designer Geoff Goodman had created for Titan. “I started thinking about a more tightly scoped game using that Geoff Goodman concept of dozens of classes with abilities,” he explained to Edge. Kaplan envisioned a game in which these faceless classes became playable heroes with names and backstories. But rather than an MMO, this would be a PvP shooter.

“Team Fortress 2 was just mega in my mind,” Kaplan told Game Informer while discussing Overwatch’s genesis. “There was such inspiration from that, so as we were rolling off of Titan and we were coming up with ideas that we as a team were super passionate about, we really chased our hearts more than anything else.”

Kaplan’s vision was embraced by the team, which led to them pitching it to Activision. “They were super polite and super nice to us, but you could sense this undercurrent of, ‘Oh god, of all things, what are you idiots doing?’” Kaplan recounted to Edge. But while perhaps another shooter alongside Call of Duty was not part of Activision’s original plan, Kaplan says the character designs won over CEO Bobby Kotick. “What that bought us was that we had until March to put together a core combat demo of the game,” said Kaplan.

A successful demo led to full development, and Overwatch would eventually be revealed at BlizzCon in 2014. Its fresh new world and innovative rethinking of MMO and MOBA-style class abilities as shooter mechanics quickly won the hearts of fans.

[poilib element=”quoteBox” parameters=”excerpt=Kaplan’s%20Developer%20Update%20videos%20are%20the%20gold%20standard%20example%20of%20direct%20transparency%20with%20a%20game%E2%80%99s%20player%20base.”]As Overwatch’s Game Director, Jeff Kaplan became something of a community celebrity. Following in the footsteps of Hearthstone’s Game Director, Ben Brode, Kaplan made himself the face of Overwatch. His friendly, mild-mannered personality was endearing, and he was soon lovingly known as ‘Papa Jeff’ by the community. Kaplan has always taken this in his stride, ever happy to join in on a meme, even going as far as to sit by a fire in near-silence for an eight-hour festive livestream just for the fun of it.

But it was really Kaplan’s innovative approach to communication that made him such an effective face for Overwatch. His Developer Update videos are, to this day, the gold standard example of direct transparency with a game’s player base. On a semi-regular basis, Kaplan would explain in clear detail the changes coming to Overwatch, and why those changes were being made. He used straightforward language, so the updates felt like a friend talking with you, rather than a marketing team talking at you. All this made it easy to understand the thinking behind Overwatch’s many alterations, and invited players to feel like they were part of the decision-making. There’s perhaps no better example of this than Role Queue, the team composition system created after years of back-and-forth debate between players and the Overwatch team.

Combined with being ever-present on the Blizzard forums, there was a constant sense that Kaplan cared about Overwatch’s players, or at the very least was actively listening to them. And even in moments when the conversation could become exceptionally heated – the Mercy resurrection rework was a particularly rough time – Kaplan would be there answering questions. It always felt as if players were part of Overwatch’s development. It’s hard to imagine this would be the case without Kaplan’s particular approach, and Blizzard would be ill-advised to abandon the strategy going forward, especially in regards to Overwatch 2.

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No matter what approach the company takes going forward, though, Blizzard won’t be the same place without Jeff Kaplan. But it’s also important to remember that Kaplan never saw himself as the ivory tower leader on his projects. He was always Jeff from the Overwatch team, never Jeffrey Kaplan, Game Director. His Developer Updates would regularly champion his colleagues, be that the design decisions of Aaron Keller, the heroic creations of Geoff Goodman, or the lore drops from Michael Chu. Kaplan was a team player, and, at least as far as outsider perceptions go, seemed to foster that approach among his peers. And as Keller steps up as Game Director, it seems sensible to expect at least some of Kaplan’s spirit to remain.

Over 19 years, Jeff Kaplan has been one of Blizzard’s most important voices. Recruited for his passion, his work helped shape one of the core pillars of not just World of Warcraft, but modern MMO design. His strength of vision helped rescue Blizzard’s most notable disaster, and turn it into what is arguably the developer’s most significant mainstream game in Overwatch. And as the head of that project, he refined communication between developers and players in a way few other studios have been able to replicate. He will be missed. But, just like Blizzard superstars Mike Morhaime and Chris Metzen, who also stepped away from the company in recent years, Jeff Kaplan leaves behind him a legacy of hugely successful creativity and innovation that has inspired not just those at Blizzard, but studios all over the world.

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Matt Purslow is IGN’s UK News and Entertainment Writer. 

New Avatar: The Last Airbender Funkos Are Up for Preorder

Here’s some good news for fans of Avatar: The Last Airbender–a new wave of Funko Pops has just gone up for preorder on Amazon. The standard-size figures cost $10.99, while a super-sized Aang All Elements figure runs $19.99. All the figures will release July 23, but you can lock in your preorders now.

And you might want to, because there’s no telling if they’re going to sell out.

Preorder New Avatar: The Last Airbender Funkos

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The figures in question include the previously mentioned white-eyed, floating Aang, which is how he looks when he’s locked and loaded with all the elements and ready to destroy everything that stands in his way. Other regular-sized figures in the new wave include Suki, Ty Lee, Ozai, and Admiral Zhao.

They all look great in the classic big-head Funko style. Zhao’s armor looks rad. Suki’s face paint is on point. Ozai is surrounded by a pool of fire, and Ty Lee is ready to rumble in a martial arts stance.

These are far from the first Avatar Funkos, though. You can check out more previously released characters here.

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Chris Reed is a commerce editor and deals expert at IGN. You can follow him on Twitter @_chrislreed.

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MLB The Show 21 Review

MLB The Show 21 is a historic game: For the first time since the series began as a PlayStation exclusive in 2006, both Xbox and PlayStation owners can take their favorite teams head to head in Sony San Diego’s consistently excellent baseball simulation. And it’s even on Game Pass! With that in mind, this year’s addition of three distinct difficulty modes and in-depth tutorial cards makes a lot of sense for helping new players break into its complex game modes. It also has an enticing new custom Stadium Creator, and the ability to export your Road to the Show player across modes, which fans have been asking for for years. That said, moment-to-moment gameplay isn’t meaningfully different from the most recent iterations, and it doesn’t look like a generational leap forward, so it’s not quite a home run for series veterans – especially if you aren’t playing on a DualSense controller.

The biggest new feature of the year is the flexible Stadium Creator, which brings a new layer of depth and creativity to MLB The Show. You can alter seating arrangements, change the height and location of your walls, and even create entire cities in the background. But like most first drafts, it has some areas that need improvement: The controls are tough to get used to and can often seem misleading, especially if you’re trying to make your way through its confusing menu system. It’s also weird that none of your custom ballparks have a nighttime variant, so evening games that should extend into the night remain bathed in perpetual sunlight.

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Of the returning modes, the Road to the Show campaign mode has received the most significant changes from last year’s version. For starters, your character is a “two-way” player by default, meaning that they can be a hitter and a pitcher without you needing to create a new save file in order to switch between the two roles. Eventually, anyway – you need to play several games before you’re even allowed the option to specialize the way you want, which is a little annoying. The story in this year’s Road to the Show is still barebones, but if you’re playing on PS5 or Series X you’ll get video commentary on your performance from sportscasters like Ben Gellman. It’s certainly a neat addition that vaguely calls out your decisions on the field, but it still manages to fall flat in its delivery.

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Another nice touch is that when you take your custom Road to the Show player into Diamond Dynasty or Franchise mode you can finally pair them with your own custom teams. The bummer here is that you can no longer move your save file forward from previous games in the series, meaning you need to start fresh. Given how insubstantial the changes are to the mechanics of how characters work in MLB The Show 21 this is surprising – I can’t imagine what’s so different about this year’s version that would prevent a feature that’s carried over for years.

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When it comes to content, there is still no baseball simulator on the planet that is as attentive to its teams and rosters, as meticulous with the momentum of its on-field baseball simulation, or as awash with diverse and interesting gameplay modes as MLB The Show. The list of modes hasn’t gotten any longer this year and pretty much everything is carried over from MLB The Show 20, but there are a handful of notable improvements.

  • March to October mode isn’t too much different this year than last, but it still lets you take the reins of your team of choice and participate in vignettes where your decision as a pinch hitter can change the dynamic of a ballgame. Additionally, its momentum system that makes your team play better or worse based on your performance is still great and leads to some exciting comebacks.

  • Over in the Diamond Dynasty card collection mode, things are a bit friendlier this year. It offers the same diverse set of modes like last year’s fantastic Showdown, Battle Royale, and more. The main difference is that it’s much more generous: you can carry your Road to the Show player over with all their stats intact, and it introduces the new Community Parallel cards, which let you level up each player card up to five times to keep them relevant for longer.

  • And of course, MLB The Show 21’s Franchise mode benefits greatly from custom stadiums and the ability to bring your Road to the Show player into your custom teams. However, it’s disappointing that there is still no way to take your Franchise mode team head to head with others online, especially given that this year’s addition of cross-platform multiplayer in standard play seems like a perfect opportunity for that.

MLB The Show 21 can also lay claim to the cleanest main menu screen in the series’ recent memory. Where previous years’ modes were unintuitively jumbled together, this time I could easily figure out exactly where I wanted to go for the experience I wanted to have, and all of the most feature-rich modes are right at the top. It really ties everything together.

Upon loading up for the first time, you immediately have a selection between Casual, Simulation, and Competitive modes, which means you can fine-tune the amount of challenge you want right off the bat. For a game as complex as MLB The Show 21, it’s probably wise for most people jumping in for the first time to dabble in Casual to find their footing before cranking it up to the more intensive levels. Everything you need to know about each of MLB The Show’s controls and game modes is broken down for you into convenient tutorial cards until you deem them no longer useful and decide to turn them off or switch to a harder difficulty mode.

[poilib element=”quoteBox” parameters=”excerpt=The%20better%20you%20get%20at%20playing%20in%20Simulation%20Mode%2C%20the%20more%20likely%20you%E2%80%99ll%20strike%20hitters%20out.”]The advantage of graduating to the tougher Simulation mode is that it makes AI more challenging and you can play with things like super-precise, zone-based hitting that lets you take more control over your swings, and a brand-new Pinpoint Pitching feature. It’s a much more challenging pitching mode wherein you use your thumbsticks to manually wind up the pitch, giving you maximum control of your precision on the plate. Likewise, the better you get at playing this way, the more likely you’ll strike hitters out once you master the controls.

On the other hand, the graphics aren’t quite as revolutionary, which is kind of a letdown from the first iteration of a Sony-developed game appearing on the PlayStation 5. The field looks as good as always, but there’s really nothing much about this that jumps off the screen if you’ve played any of the other recent MLB The Show games on a PS4 Pro. Player models are well beyond showing their age, and most textures still look like they were picked directly out of the previous games. This problem extends to reused animations and even voiced lines as well. Granted, that’s fairly typical of an annualized sports series; I don’t expect a full do-over every year but the launch of a new console generation demands substantial improvements, and MLB The Show 21 has not kept up.

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One of the most noticeable graphical issues is the uncanny valley vibe when a character is speaking during a close-up shot. Heidi Watney looks just as much like a mannequin as she did in MLB The Show 20 on the PS4 Pro. When you compare this to other recent Sony-developed games like Spider-Man: Miles Morales or The Last of Us Part 2 it leaves much to be desired.

It’s also notable that, when playing on PlayStation 5, there doesn’t appear to be an option between performance or graphics modes, meaning that you are locked to 60 frames per second at 4K without an option for 120 frames per second. This is disappointing, given that 120fps is one of the marquee features of the PS5 and Series X for those with TVs that support it.

That’s not to say MLB The Show 21 isn’t worth playing on PS5 if you have the opportunity. The DualSense controller and Pulse 3D headphones combine to create the most immersive stadium experience yet. Feeling the DualSense pulse between my palms as the pitcher winds up their pitch to the backdrop of music and crowd cheers echoing around the stadium is sublime. This is especially great when your controller emulates the crack of your bat upon contact with a flyball. You know immediately when you’ve landed a home run, and having experienced it I dread the thought of playing without it now.

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