Xbox Game Pass to Gain Red Dead Redemption 2, Loses GTA 5

Red Dead Redemption 2 will be arriving on Xbox Game Pass for console on May 7, 2020, the same day Rockstar will be removing Grand Theft Auto V from Xbox’s subscription service.

Revealed on Xbox Wire, if you miss your chance to download and play GTA V in time, you will be able to get a 20% discount on the purchase of the game.

Red Dead Redemption 2 was released in 2018 and was our Game of the Year Runner-Up behind PlayStation 4’s God of War.

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Even though it didn’t win our game of the year, it did earn one of our rare 10/10 scores. In our review of Red Dead Redemption 2, we said it “stands shoulder-to-shoulder with Grand Theft Auto V as one of the greatest games of the modern age. It’s a gorgeous depiction of an ugly period that’s patient, polished, and a huge amount of fun to play, and it’s combined with Rockstar’s best storytelling to date.”

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As for Grand Theft Auto V, it was added to Xbox Game Pass in January 2020 and will be replaced by Red Dead Redemption 2 next month.

Grand Theft Auto V, according to the NPD, was the best selling game of the decade from 2010-2019, a number that has been bolstered by the continuous support of Grand Theft Auto Online.

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This news follows the report that Rockstar is making changes to fix its crunch culture and is currently developing a new Grand Theft Auto.

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Have a tip for us? Want to discuss a possible story? Please send an email to [email protected].

Adam Bankhurst is a news writer for IGN. You can follow him on Twitter @AdamBankhurst and on Twitch.

XCOM: Chimera Squad Review

Much like it’s titular team of aliens and humans, XCOM: Chimera Squad is made up of a bunch of disparate parts merged into one package – sometimes less than gracefully. This XCOM spin-off is a full-length game set five years after the events of XCOM 2, but it’s by no means an XCOM 3. Instead, it feels more like a beta of sorts for that eventual sequel, setting up how its world has changed in the aftermath of the liberation of Earth and testing the waters with some radical alterations to traditional mechanics, but not in a way that amounts to a particularly polished whole.

Rather than fighting an alien invasion or leading a resistance movement, Chimera Squad is basically “XCOM: Cops,” which is still quite compelling despite the lower stakes. Advent is defeated, Earth is saved, and humans and aliens are figuring out how to live in harmony – well, most of them, at least. The light but well-written story has you controlling XCOM’s diverse Chimera Squad as you take to the streets of the massive City 31 to track down a series of shadowy syndicates looking to disturb that fragile peace.

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With that thematic change also comes a boatload of mechanical ones, some more successful than others. Missions have been broken into bite-sized chunks, your soldiers’ turns are interwoven with the enemy’s using a new initiative system, and you now start battles with a sudden breach directly into the fray instead of a slow tactical advance. Some of these changes are just different from what we’ve come to expect from Firaxis’ XCOM rather than better or worse, but the focus generally seems to have shifted more toward smaller-scale tactics over long-term strategic decisions, which left Chimera Squad feeling thinner overall.

Role Call

One of Chimera Squad’s largest departures from previous games is that the 11 possible members of your team are unique, predetermined characters with names, distinct personalities, and excellent voice acting. There’s the lovably naive Cherub, an unindoctrinated Advent hybrid clone equipped with a holoshield; the charmingly sarcastic Terminal, a human medic with a high regard for everyone’s safety except her own; and one of my personal favorites, Torque, a deadly viper who’s more accustomed to eating humans than begrudgingly fighting alongside them.

By the end of the 20+ hour campaign you’ll have a full team of eight (with only four used during any given mission), and they are all as different on the battlefield as they are off it. Each one is essentially their own class, with unique but universally awesome abilities that can range from Terminal’s healing to the psychic manipulation of the endearingly monotone sectoid Verge to Torque using her tongue to pull an enemy across the map before wrapping around and crushing them to death.

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No matter who you use, nearly every character feels like they have some overpowered ability from the get-go. It breaks the usual rules and progression of XCOM, in which fresh recruits are sent into battle and only the strong (or lucky) survive long enough to learn new tricks, in favor of putting exciting and powerful tools at your fingertips immediately. And I don’t mean “overpowered” as a bad thing here – there’s still plenty of challenge, and the strength of these abilities makes every character valuable and distinct right away. I felt encouraged to mess around with different team compositions and combos even after finding my favorites – also, it just rules to have aliens in XCOM armor on your squad.

My main disappointment in the story is that the character of each of your soldiers is only really given time to shine through mid-mission quips and some extremely entertaining but brief dialogue interactions while back at base. Despite leveling up with some basic ability progression, the fairly simple story of cracking skulls as an XCOM SWAT team doesn’t make room for any actual character development, leaving the members of your squad as the exact same two-dimensional (if interesting) characters you first meet the whole way through.

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I actually felt strangely less attached to any of these vibrant personalities than I did my randomly generated but highly customizable soldiers in previous XCOM games. Those blank slates didn’t have well-scripted backstories, but they did have loads of natural story growth – moments where their unexpected heroics on the battlefield shaped my interpretation of who they were, which I could then reflect in their loadout and outfit. With such immutable soldiers and no opportunities offered to see them grow like in Fire Emblem or other RPGs (and visual customization limited only to a single armor tint option), it’s easy to enjoy them but difficult to get attached.

Another reason I got more emotionally invested in my past XCOM soldiers is due to one of Chimera Squad’s only outright negative changes: taking damage is almost meaningless now. Because everyone has a name and your squad is finite, permadeath has been entirely removed and the post-mission impact of damage as a whole has been lessened. Soldiers don’t need any time to recover between missions, so you can generally be more reckless without much consequence, significantly lowering the stakes of putting your most valuable players in harm’s way.

If someone goes down or takes too much damage during a mission they can potentially get a “scar” that will weaken them until you fix it – slightly lowering things like health or mobility – but I only ever had scars occur three times in my entire 22-hour campaign, and spending time to fix them only took those soldiers out of the field for the equivalent of a mission or two at most. It’s not a good replacement for mortality, and is indicative of the general lack of depth between-mission management now has.

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Deciding which missions to take and which to skip will affect the Unrest level of City 31’s nine districts, which can lose you the campaign entirely if it gets out of hand. It’s an amusing meta-puzzle to manage, but the Intel Team system that accompanies it seems like of a slapped-on Band Aid to replace base customization. You can use a resource called Intel to build and upgrade Intel Teams in each district, which in turn increase the resources you receive each week… but that’s about it. The only strategy and decision making here is really “what resource do I want more of?” but since the answer is usually all of them all the time, the best response is basically “yes.”

The excellent visual style and compelling story setup of the politics behind XCOM’s struggle in a post-occupation world does keep the conflict of managing City 31’s panicking population engaging throughout. It’s just that everything you’re asked to do outside of a fight is paper thin, making Chimera Squad feel like nothing more than a testbed for Firaxis to experiment with new gameplay concepts and setup its next big story, while the actual “campaign” structure around those experiments is just a rickety scaffolding to keep it together.

Close Encounters

Thankfully, the combat itself is still built on the bones of the absolutely incredible XCOM 2 – that means even though some of Chimera Squad’s deviations from the winning formula have weakened it, its missions still play host to excellent tactical combat. Each fight is full of the important decisions of who to target first, where to move, and when to pop that powerful-but-limited ability or item that I love about the series. Its bespoke level layouts (with some procedural elements) are generally exciting and varied throughout as well, though you will start recognizing maps toward the end of the campaign.

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The most massive change Chimera Squad makes to its combat – and probably the entire structure in general – is the decision to split every mission into discrete encounters, similar to Ubisoft’s Mario + Rabbids Kingdom Battle. Missions now take place over one to three encounters, each of which is rarely bigger than a single room, with every enemy (barring reinforcements) visible to you from the start without fog of war to obscure them. Once you clear out all the enemies or complete your objective, your squad reloads their weapons automatically and jumps to the next one.

The implications of this are enormous and far reaching, sometimes for better and sometimes for worse. On the one hand, missions never have a dull moment: you’ll always be in the thick of firefights and I rarely spent whole turns just moving across open space. But on the other hand, I sometimes didn’t have to move at all. For characters like Verge and Terminal, who rely far less on gun accuracy, I could occasionally spend their turns using abilities without ever even needing to move before the encounter was over. That’s not very tactical.

The immediacy of always having action in front of you is also welcome and exciting at first, but has the nasty side effect of making every encounter feel functionally identical. Whether the objective is to save a hostage, clear out a room, defend an object, or whatever else, you’re always just in a room shooting dudes. Varied and visually exciting level layouts do successfully shake that up a bit, but there’s generally one gear no matter the task you’re given, and that gear is “go.” I missed XCOM 2’s moments of downtime and building tension after a while.

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Another double-edged sword of the new encounter system is mission length, which is generally shorter across the board. I like that I wasn’t faced with any hour-and-a-half marathons in Chimera Squad, but less important missions could also go by trivially fast. The three-encounter missions were always more fun because I knew I had to make tricky choices of how to ration my abilities across all three – especially the unique Team Up skill that can immediately jump one of your soldiers to the top of the turn order, but only once per mission. By contrast, single-encounter missions often had little strategy beyond just popping all my strongest stuff right away and going wild – that can be a burst of fun, but it requires no thoughtful restraint, so it’s not exactly complex.

The encounter system highlights the general shift Chimera Squad has taken away from long-term planning in favor of more moment-to-moment decision making. Those decisions are still very fun to make and the quicker pace is certainly appreciated, but that narrower focus still means this is a thinner puzzle to solve than XCOM 2, and the bite-sized combat chunks blend together even as enemies change with decent regularity.

Another prime example of this shift in priorities is the new Breach Mode that kicks off every encounter. This cinematic spectacle is cool to watch – even if you are sometimes nonsensically “breaching” a chain link fence or glass door that the enemy can clearly see you through – but similarly slims down strategic choice. You don’t get to control your initial positioning once you’ve breached through, just the order your soldiers enter and who you’ll fire at when they do. Each breach point has different boons or debuff modifiers associated with them that can give you temporary defense, stun enemies with breaching shots, or mark or root any of your soldiers that use it.

XCOM: Chimera Squad Gameplay Screenshots

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It’s an entertaining way to distill your approach strategy into a single quick decision, but it offers far less tactical control than planning how to advance on a position as a squad. All this streamlining and simplification likely makes Chimera Squad the most approachable XCOM yet, which certainly has value. I could easily see this being the gateway game that eases people into the deeper waters of the main series, but it undeniably leaves veteran players like me in a lurch as a result.

Breach Mode also ties into another major change Chimera Squad tests out: initiative order. Instead of moving all of your troops and then letting the enemy do the same, your turns jump back and forth and only specific abilities and items let you push people around in that order, which is clearly displayed on the side of the screen. This new system feels more like a sidegrade than anything – not really better or worse, just a different approach to turn-based gameplay. I enjoyed manipulating that timeline to my advantage and it certainly changed the way I thought about how and when to take down certain targets, but I also missed being able to more easily set up combos between my characters. In the end, it’s sort of a wash.

In keeping with the fact that you aren’t commanding a wartime army anymore – just insanely aggressive and alarmingly free-of-consequence law enforcement (you aren’t technically cops, but you are working with the cops) – there’s cool new encouragement not to simply murder everyone you see. Getting civilians killed as collateral damage can raise Unrest, making them interesting map hazards, and subduing enemies with non-lethal melee attacks or other special items and abilities will reward you with bonus Intel at the end of a mission. The extra melee option across all characters felt appropriate given the more intimate maps, and was generally a neat tool I felt actively encouraged to and rewarded for using.

The Only Good Bug Is a Dead Bug

Unfortunately, entirely removed from the copious amount of ways Chimera Squad morphs the XCOM formula, good or bad, are the copious amount of bugs that bring this game down a notch. I am naturally accustomed to a certain amount of rough edges in an XCOM game, but these issues ranged from minor annoyances to major inconveniences. They didn’t outright ruin my enjoyment, but there were just so many. Where to even begin…

First, you’ve got an assortment of oddly familiar visual issues: soldiers randomly floating in the air, guns constantly pointing the wrong direction while firing during a breach, the roof occasionally appearing during indoor missions to block my view, enemies inexplicably freezing at the start of their turn, and more. Then there were issues that made it actively annoying to play: stuff like the tooltip for the flash grenade saying it doesn’t affect allies when apparently it actually does (I learned that the hard way), the UI on one of Verge’s abilities sometimes indicating it will damage himself too when it really won’t, or line-of-sight indicators not appearing properly when deciding where to move.

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But then there are the worse issues – the ones that had me audibly cursing at my screen. Once I moved a soldier out of a fire to punch an enemy, only to have him teleport back into the flames at the end of his turn. You can find a handful of special guns through missions or a limited Scavenger market, but equipping one would sometimes (not always, mind you) delete that soldier’s regular gun from my inventory, preventing me from ever being able to unequip it because they had nothing to switch back to.

But by far the worst bug I encountered was when the body armor for one of my soldiers randomly deleted itself in a similar fashion. You can’t buy more armor or get any replacements, so he was permanently left with less health and armor for the rest of my campaign, which basically forced me to put him (and his un-unequippable special weapon) on research duty from that point on. Issues like this frustratingly hampered my strategic options and left me playing in constant fear of it happening again down the road.

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Weapon and armor-swapping bugs aren’t helped by the fact that the equipment UI is generally as ugly as it is difficult to use – far worse than XCOM 2’s already cumbersome interface. It looks borderline unfinished, making it difficult and confusing to swap items – especially when odd glitches occur, like my persistent medkit item inexplicably multiplying in quantity between every mission, apparently leaving me with over 200 extras by the end of the campaign. No matter how much time was paid to the story, characters, or gameplay alterations, the housing for those things clearly didn’t get the same attention.

80 Days Dev Is Buying Up User-Submitted Short Fiction For Next Game

Inkle, the developers behind 80 Days and Heaven’s Vault, are currently developing a new medieval strategy game called Pendragon. As a part of the game’s development, Inkle has been inviting their community to submit stories that will appear in-game.

Pendragon is a turn-based combat game focusing around strategy and story, with each game having a different experience thanks to the board being randomized each time. The story takes place during the year 673 AD, with Camelot on the verge of destruction and the Round Table falling apart. Players must lead a band of knights and heroes across Britain and reach King Arthur in time.

The stories that are submitted need to be “500-word, lightly-interactive ‘campfire tales’”, as they would be acting as the folklore in-game. Characters will settle down for the night and tell each other ghost stories, fairy tales, legends, and general folk stories to keep morale up in between events. The developers have released an example text, which is just a few lines of dialogue between characters that adds a piece of flavor to the story and setting.

Stories will need to be submitted by May 5 with the Ink tool, and for every story Inkle uses in-game they will pay $50 to the submitter. Outside of the usage in Pendragon, the story will remain the property of the writer to reuse however they wish.

Pendragon is scheduled to release on Steam later this Summer.

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Gladiator Almost Had A Very Different Ending

Ridley Scott’s Oscar-winning 2000 drama Gladiator ended in heartbreaking fashion, with Russell Crowe’s Maximus dying in the final battle against Joaquin Phoenix’s Commodus. Crowe has now spoken about how this wasn’t always the plan.

Speaking to Empire, Crowe said that Scott decided to change Maximum’s fate after filming had begun. Crowe said he agreed with the change, saying it was more fitting to his journey.

“I remember Ridley coming up to me on set saying, ‘Look, the way this is shaping up, I don’t see how you live. This character is about one act of pure vengeance for his wife and child, and, once he’s accomplished that, what does he do?'” Crowe said.

Crowe recalls that he joked with Ridley at the time that he had a good think about what Maximus might do if he were to survive. He would open a pizzeria next to the Colosseum, Crowe joked.

Instead of this more comical ending, Maximus perishes after completing his life’s journey to avenge the death of his wife and family. “He has a singular purpose, which is to meet his wife in the afterlife and apologize for not being there for her. And that’s it,” Crowe said.

Gladiator was nominated for 12 Academy Awards. It took home five, including Best Picture and Best Actor in a Leading Role for Russell Crowe.

A sequel to Gladiator is in production, but sadly, it’s not based on a script that makes Maximus a time-traveler.

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Trials Of Mana Review – Mana Enough

Trials of Mana is not a bold reinvention. While it has been given a graphical overhaul and added systems that help flesh out and modernize the combat systems, this remake of a once-obscure RPG is very much rooted in its own history. And by some combination of that history and the modern enhancements, it has a bundle of great ideas that are often hampered by others that are obtuse or confusing.

From the start, Trials of Mana distinguishes itself from other traditional Japanese RPGs by presenting a pool of heroes. The very first thing you do is select three of the six characters to be your party–a swordsman, thief, healer, berserker, offensive magic user, and support/ranged magic user are available–and that decision will last throughout the game. You can swap between any of the characters in the heat of battle, while the other two will manage on their own with some simple preset behaviors, but your primary character is treated as the game’s protagonist during major story moments.

It’s an inventive idea that adds a layer of personalization and a criss-crossing narrative. The stakes of the overall story remain the same, but by presenting you with a selection of six different prologues, you get to see the various motivations that led your custom-built party to be thrown into this grand adventure. The other characters that you left unchosen appear in brief cameos, and it’s implied that their own quest is still happening just off-camera as they go it alone.

However, this quality cuts both ways. While many similarly styled JRPGs would present a set cast, or have you swap characters between a larger roster, Trials of Mana has you choose the three who will last you for the entire adventure before you know anything about them or how the game will proceed. While all team compositions are probably viable, some are more sensible than others, so it’s entirely possible to get knee-deep before wishing you’d made different choices. I had chosen Reisz as my main character with the promise that she’s a strong ranged fighter, with the brawler Kevin and healer Charlotte as my backup. I imagined hanging back and doing ranged damage while Kevin pulled aggro. Several hours in, I realized her ranged abilities are fairly limited. And as I was fighting up-close anyway I might as well be controlling Kevin instead, since his aggressive fighting style and powerful attacks were much more satisfying.

I also regretted choosing Charlotte, albeit for completely different reasons. Much of the English voice acting in Trials of Mana is hokey and stilted, but fine and functional enough. Charlotte’s is obnoxious, in large part because the localization accents her youthfulness with a heavy speech impediment. In short, she tawks wike this, fow the whole thiwty houws! (It is actually spelled out that way in the subtitles, mind you.) If it was meant to be endearing, it failed. I had reservations the moment my characters met up with her, but by then I didn’t want to turn back and repeat the beginning of the game. Plus, Charlotte is also the only dedicated healer, so just about any given team composition would likely need to include her.

The characters themselves are familiar fantasy tropes, but strangely, many of them share almost identical qualities too. All three of my characters were heirs to a noble family–two of them an actual prince and princess–chased out of their kingdom by family strife or tragedy. There’s nothing necessarily wrong with leaning on these archetypes for a fantasy story, but it feels formulaic when seeing them back-to-back in three different prologues.

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Most of the time in Trials of Mana is spent in combat, interspersed with simple pathfinding and occasional platforming. Waypoints dot the map, neatly pulling you from objective to objective, though you’re rewarded for straying from the path. Sometimes waypoints simply bounce you back and forth between cutscenes, which can feel like busywork without combat sequences to break up the pace.

That’s because the combat is surprisingly fluid, especially in the late-game when you’ve unlocked a wide array of moves and combos. The Mana series is known for being action-focused, and this remake lovingly captures that quality in its transition from 2D to 3D. Striking enemies swiftly or charging a heavier attack and then dodge-rolling away feels weighty, and the powerful Class Strike abilities grant the appropriate feeling of overwhelming your opponents. Upgrading your characters eventually leads to bigger combo chains, giving you more versatility in the heat of battle. By the end it feels so naturally like a character-action game that its RPG roots are just running under the hood.

Because of this fluid combat system, Trials of Mana is at its best when you’ve found your main and your backup characters can behave independently. I struggled to switch between characters during tense battles when Charlotte wasn’t being generous enough with her healing, but after some tweaking of her passive settings it became largely unnecessary. These options are relatively simplistic with only a handful of toggles, but I found that focus helped keep them user-friendly.

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As enjoyable as the combat is, though, some of the elements surrounding the battle system can be confusing or obtuse. You start earning elemental spirits, which grant magical abilities, long before you could reasonably have leveled up enough to gain access to those abilities. Tool tips kept telling me I could equip these spells in the Training menu, implying they were immediately available, and I spent too much time hunting for abilities that didn’t yet exist. The third-tier Class upgrades, which are already gated behind a level requirement, are also gated behind special seeds, and the game isn’t immediately clear about where to look for them. And once you find those seeds, the classes they grant are randomized between a handful of different sets, so you may not get the variant you wanted.

The elementals also contribute to a day-night and calendar cycle, a genuinely impressive idea that goes almost entirely wasted. The game will stop at regular intervals to let you know when a new day begins and what type of elemental attacks get a boost on that day. This could encourage experimentation and strategy, but elemental spells are so rare that lining them up with the day just doesn’t seem worthwhile. I can’t imagine waiting several in-game days just to hit a boss with some slightly buffed magic. The day-night cycle is much more impactful if you have Kevin in your party, because as a member of the Beastmen tribe he turns into a much more powerful werewolf form at night.

As enjoyable as the combat is, though, some of the elements surrounding the battle system can be confusing or obtuse.

The story meanders oddly, with the nemeses introduced in the various prologues coming and going without much rhyme or reason. This seems partly due to the non-linear nature of telling pieces of stories starring a DIY cast, but it also just doesn’t have much substance. The plot runs out of steam about halfway through the main quest, first tasking you with a laundry list of remaining elemental spirits to gather up, and then facing a series of bosses. Tiny pieces of character development appear throughout these hours, but since you can do these segments in almost any order, the story pieces don’t really relate to one another. It’s instead a series of vignettes leading up to the reveal of the Big Bad and final confrontation.

Those staid elements are unfortunate, because the world of the Mana series is filled with joyful moments of whimsy and weirdness. This is a game in which you travel between villages by being shot out of a cannon built by a gnome named Von Boyage. Once you need to take to the sea, your method of conveyance becomes a giant turtle wearing snorkeling gear. Enemies have names like “Assassant” and “Captain Duck.” It’s just delightfully oddball and helps soften some of the more dire melodrama.

Trials of Mana stands on the strength of its combat, and the fact that it’s how you spend the vast majority of your time. That easy recommendation comes qualified with several elements that don’t work nearly as well, from dull and hodge-podge storytelling to bewildering progression systems. Seeing a historical curiosity through the lens of a mostly modernized action-RPG was enough to pull me through the experience despite my quibbles, though, so there’s certainly still life in the world of Mana.

Now Playing: Trials Of Mana Video Review

Halle Berry Says Pierce Brosnan Saved Her Life During An Intimate Scene In 007: Die Another Day

Actress Halle Berry has shared a scary behind-the-scenes story from the James Bond movie Die Another Day wherein she could have died were it not for the efforts of 007 actor Pierce Brosnan.

Speaking to Jimmy Fallon, Berry said she was filming a scene with Brosnan where she was trying to seduce him with a piece of fruit when she began to choke. Berry is likely referring to this scene where Berry’s character, Jinx, cuts a fig with a knife while in bed with 007.

“I am supposed to be all sexy and trying to seduce him with a fig–and then I end up choking on it,” she said. “And he had to get up and do the Heimlich [manoeuvre].”

The experience was “so not sexy,” the actress recalls.

Berry said she is thankful to Brosnan, who might have saved her life. “He was there for me; he will always be one of my favorite people in the world,” she said.

The next James Bond movie is No Time To Die, featuring Daniel Craig as 007 for the last time. The movie was scheduled to premiere in April before being delayed to November due to COVID-19. Recently, director Cary Fukunaga revealed that he pitched a very out-there idea for the movie.

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Xbox Series X Logo Revealed And Warzone Tackles Cheaters | Save State

Lucy brings you all the biggest gaming stories for your April 22 Save State. The Xbox Series X logo has been revealed via a trademark application and it looks pretty great. Call of Duty developers Infinity Ward have patched some huge exploits in Modern Warfare’s multiplayer and Warzone. The studio is also tackling cheaters in an ingenious way.

Elsewhere in the news, there’s a Splatoon 2 demo coming to the eshop next week, and a brand new Splatfest. Fortnite is finally available to download from the Google Play Store, and we advise you to set up 2FA on your Nintendo accounts.

Call Of Duty: Modern Warfare Season 3’s Ronin Operator Is Based On A Real-Life Soldier

Call of Duty: Modern Warfare‘s new Season 3 update introduced two new Operators, Alex and Ronin. It’s now been confirmed that Ronin is based on a real-life solider, and he’s the first character in the game to be modeled after a real-world military veteran.

Ronin is based on a man named Tu Lam, who escaped from communist Vietnam in 1979, fleeing the country in a fishing boat, according to Task & Purpose. He eventually landed in the United States, where he joined the US Army and become a member of the Special Forces. He served in the Army for 23 years, visiting 27 countries, before leaving the service in 2016 with the title of Master Sergeant.

Lam then moved into a new business venture with a civilian equipment and training company called Ronan Tactics.

Lam told Task & Purpose that the Call of Duty franchise is beloved among service members, who play the game to boost morale. “It’s just really part of the culture in the military. In Special Forces, we’d go out to do missions, and then guys would come back to log on to play. It’s a morale thing for our veterans overseas,” he said.

Lam visited the Infinity Ward studio in Los Angeles and completed motion-capture to help create an authentic-looking character model for the game. Lam also performed Ronin’s finishing move that is seen in the game. You can check it out in his Instagram video below.

Go to Task & Purpose to hear more from Lam and developers at Infinity Ward. Ronin is available to buy through the Ronin Operator Bundle for 2400 Call of Duty Points. For more, check out GameSpot’s gameplay video above where we play as Ronin.

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Team Fortress And CS:GO Source Code Leaked, But Valve Isn’t Worried

Valve seemingly has a bit of a leak problem right now, as the source code for both Team Fortress 2 and Counter-Strike: Global Offensive has recently made its way into the public eye. Or at least, that’s how it appears. The source code has actually been public knowledge for a while and is only now hitting the mainstream.

If you’re unaware of what’s going on, here’s the short of it: The source code for both Team Fortress 2 and Counter-Strike: Global Offensive seemingly leaked on April 22 through an anonymously posted blog post (by a user only known as Maxx), though the files in question are dated for 2017/2018. Regardless, the leak still represented a possible means for hackers to run a remote code execution and inject malicious code into a player’s account.

In response to this leak, several player-run servers temporarily shut down to protect their users. In a blog post, Creators.TF wrote, “Due to the recent source code leak, we are shutting our servers down for the foreseeable future. This is because of the uncertainty surrounding security to our infrastructure as well as your computer. We will monitor the situation and keep you updated.” Redsun.TF issued a similar statement, writing in a Steam blog post, “Due to the recent code leaks for both CS:GO and TF2, I have decided to keep all servers offline until a patch is released for potential bugs.”

However, in a statement to GameSpot, Valve confirmed that the source code in question actually leaked back in 2018, not April 22, 2020. “We have reviewed the leaked code and believe it to be a reposting of a limited CS:GO engine code depot released to partners in late 2017, and originally leaked in 2018,” Valve VP of marketing Doug Lombardi told GameSpot.

“From this review, we have not found any reason for players to be alarmed or avoid the current builds (as always, playing on the official servers is recommended for greatest security). We will continue to investigate the situation and will update news outlets and players if we find anything to prove otherwise. In the meantime, if anyone has more information about the leak, the Valve security page describes how best to report that information.”

In an attempt to identify Maxx (who remains anonymous), several people pointed fingers at Valve News Network creator Tyler McVicker, citing that the April 22 blog post that revealed the source code included leaked correspondence between McVicker and several of his friends talking about Valve leaks. In response, McVicker held a Twitch Q&A livestream in which he clarified what those leaked conversations were about and establishes how he is not the leaker–a statement further collaborated by Valve Archive curator Jaycie Erysdren on Twitter.

“So for the longest time, I ran a community server team named Lever Softworks,” McVicker said during his Q&A. And on Lever Softworks, we did a few things–Portal: Still Alive for PC, Half-Life 2: Aftermath, Half-Life 3 dog resource gathering maps–and behind the scenes we were working on a community recreation of F-STOP based almost entirely on the available assets we had found [and] new information in the retail build of Portal 2.” McVicker then goes on to say how the team fell apart, partly because he “got busy” and largely because the team “kept arguing about things.” McVicker also talks about a problematic member who was racist and transphobic, which alienated another teammate who was crucial to the project.

On April 21, 2020, McVicker got a call from a long-time friend, who asked if McVicker would be willing to transfer ownership of the Lever Softworks account to them. “I wasn’t doing anything with it,” McVicker said, “I was busy with Creators.TF.” In the process of transferring ownership, the problematic person was removed from the Lever Softworks team and, assuming there would be some form of retaliation in the form of excessive messaging, McVicker preemptively blocked them on social media. “There had been a pattern in the past of this person not being in certain groups or chat rooms and getting very upset about it,” McVicker said.

McVicker identifies this problematic person as Maxx–McVicker believes this leak was done out of retaliation for being removed from the team. McVicker added he has no connection to the original 2018 leak either. “I’m not the source of the code, I’m just not,” McVicker said. “In fact, I tried very hard to warn Valve about it.”

So, all in all, there was no leak–or at least not one on April 22, 2020. The original leak happened back in 2018, and supposedly in an attempt to get back at a perceived slight, a former Lever Softworks team member reposted it alongside some private messages in order to frame McVicker for the deed. Valve has not announced whether it intends to pursue legal action against Maxx or whether this instance will influence its relationship with the Source Engine modding community going forward.

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