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The xenomorph in Alien: Isolation
Product Reviews

The creator of Dead Space ‘would love to make an Alien game’

by admin September 10, 2025



Dead Space, along with so much sci-fi horror, probably wouldn’t exist without Alien. Ridley Scott set the bar high, and for close to 50 years the xenomorph’s first outing has informed what people want and expect from their cosmic nightmares.

So it shouldn’t come as too much of a surprise that Dead Space creator and The Callisto Protocol director Glen Schofield would be up for taking a crack at the series—though he’d rather create more original games.

He’s a fan, though, to the point where he likes to muck around in Midjourney creating different xenomorphs. Everyone needs a hobby.

“Let’s say I took on a licence,” he says. “Which I really don’t want to do; I want to make my own. Let’s say somebody came to me and said, ‘We’re going to give you the Alien licence.’ Immediately I could show you, I don’t know, maybe 100 different aliens I’ve made in Midjourney over the last two years, just because I like it. So yeah, I would love to make an Alien game.”

Getting to dabble in a huge, long-running universe usually comes with some caveats and restrictions, though. It’s why, for instance, you’re probably never going to see a Star Wars adaptation where someone hangs dong. Disney doesn’t do dong.

If 20th Century Studios—which is owned by Disney—was to give Schofield the reins, however, he wouldn’t do it unless he had complete creative control. “I have to own the creative,” he says. “That’s not even negotiable. Because I won’t make a great game unless it’s mine and I’m so ingrained in it—then I will give you 130%.”

Thanks to Aliens: Dark Descent, we’re no longer living in a world where the last decent Alien game was Isolation (which is also getting a sequel), but it still feels like a property that has a lot left to offer. The new TV show, Alien: Earth, has reinvigorated the series after an exhausting run of disappointments (though Romulus was pretty good!) while making the universe feel so much larger.

Now the xenomorphs get to share the spotlight with even more horrific monsters, like blood-sucking alien leeches who can impregnate you, or tentacled eyeballs who can turn your body into their puppet. There’s so much potential for new levels of vomit-inducing body horror.

Cool your jets, though. The way Schofield talks about games makes it clear he’s still got that bug—the desire to create. But the current state of the industry means that we shouldn’t count on him directing any more of them, let alone a new Alien game.

In July, he wrote a post on LinkedIn about a project he’d been developing with his daughter, Nicole Schofield, an environment artist who previously worked with her father on The Callisto Protocol.

“We pulled the budget down to $17 million, built a prototype with a small, talented crew, and started taking meetings,” he wrote. “People loved the concept. We got a lot of second and third meetings. But early feedback was “get it to $10M.” Lately, that number’s dropped to $2–5M. So last month, we decided to walk away. Some ideas are better left untouched than done cheap.”

Publishers and investors are becoming more risk averse, stalwart franchises are struggling, and studios that have been around for decades are being torn apart. It’s bleak. And Schofield himself has taken some hits. After The Callisto Protocol missed publisher Krafton’s sales target, he stepped down as CEO of Striking Distance Studios. Since then, most of the development team has been laid off.

“I miss it all,” Schofield said. “The team, the chaos, the joy of building something for fans. I’m still around, making art, writing stories and ideas and still cheering the industry on. But maybe I’ve directed my last game. Who knows? If so, thank you [for] playing my games.”



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September 10, 2025 0 comments
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Breathtaking Keanu Reeves would "love" to be Johnny Silverhand in Cyberpunk 2
Game Reviews

Breathtaking Keanu Reeves would “love” to be Johnny Silverhand in Cyberpunk 2

by admin September 8, 2025


Hollywood actor Keanu Reeves has said he would love to reprise the role of Johnny Silverhand in Cyberpunk 2.

Reeves spoke to IGN while promoting his new film Good Fortune, in which he plays an angel, fittingly. Apparently it’s funny. When asked by IGN whether he’d like to be in CD Projekt Red’s new Cyberpunk game, Reeves answered, “Absolutely. I’d love to play Johnny Silverhand again.”

We don’t know much about Cyberpunk 2 other than it will feature a new city that Cyberpunk TTRPG creator Mike Pondsmith – who collaborated heavily on Cyberpunk 2077 – recently described as “Chicago gone wrong”. We also know the in-development game is called Project Orion and has around 80 people working on it, and is in pre-production.

The question of Reeves’ involvement I expect depends on what part Johnny Silverhand will play in the second Cyberpunk game, if any. The entire plot of Cyberpunk 2077 revolved around Silverhand, so his story has been told, and it did have an end to it.

There’s a possibility that Silverhand could still appear in a sequel but it depends which ending CDPR decides is canon in the game – all of which sounds like too fussy a narrative proposition to me. It may be simpler to rule Reeves and Silverhand out.

Ruling Reeves out, though, would mean no more iconic “you’re breathtaking” moments on an E3 stage. But sometimes such sacrifices have to be made. Also, it would leave the proverbial door open for CDPR to hire another big name in Reeves’ place.

Cyberpunk 2077 expansion Phantom Liberty famously featured actor Idris Elba, and Charles Dance featured in The Witcher 3. The Polish studio has a penchant for hiring big-name talent. The question is, who could it pick? My money’s Sean Bean. Or Arnold Schwarzenegger.

This is a news-in-brief story. This is part of our vision to bring you all the big news as part of a daily live report.



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September 8, 2025 0 comments
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The Wizards of the Coast president would love a new Dungeons & Dragons MMORPG
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The Wizards of the Coast president would love a new Dungeons & Dragons MMORPG

by admin September 5, 2025


In August 2024, John Hight became president of Wizards of the Coast, the Hasbro-owned company that’s in charge of two of the most precious brands in gaming: Dungeons & Dragons and Magic: The Gathering.

But it’s fair to say that before his arrival, the company had been through something of a rocky patch.

John Hight, president of Wizards of the Coast

In January 2023, fans were up in arms about leaked plans to restrict D&D’s Open Game Licence (OGL), which permits players to freely use the D&D rules and mechanics. In the wake of overwhelming player backlash, Wizards of the Coast quickly walked back its plans.

At around the same time, the company reportedly cancelled the development of at least five video games. Then, towards the end of the year, parent company Hasbro announced it would cut nearly 1,100 jobs (although the firm didn’t specify if or how the cuts would affect Wizards of the Coast).

The bright spot of Baldur’s Gate 3 notwithstanding, it was a complicated legacy to inherit. But Hight says that “some of the hard bits were past us” by the time he joined.

And right now, he’s ecstatic by the growth of Magic: The Gathering in particular, which has surpassed his expectations, buoyed by the release of Final Fantasy Universe Beyond expansion earlier this year. The much-sought-after crossover cards made $200 million in revenue in a single day.

“I know that in the beginning, I think there was debate about how successful some of these Universe Beyond endeavours would be,” recalls Hight. “Would they overshadow the things that we were doing in our original IP? What was the right mix on it?

“And I think we landed it pretty well. The popularity of our original IP has done extremely well: It wasn’t impacted by the introduction of what we saw with Final Fantasy.”

Hight says that the company knew the Final Fantasy crossover would be big – but it was his call to predict exactly how big, in terms of deciding how many cards to print.

“We wanted to make sure that we had enough cards in place,” he says. “But you don’t want to make too many cards, because it’s a collectible, right? And if you make too many, it’s not like you’re going to discount them and sell them later. You literally have to bury them. So we had to be very careful.

“And then once early signs were that, oh my gosh, this is going to be bigger than we thought it was, we had to move quickly to reprints so that we’d be in place by the time the expansion came out.”

Hight says that for the Universe Beyond expansions have been particularly successful at expanding the audience. “We’ve had a lot of new players come into Magic,” he says.

Digital versus physical

Hight has had a long career in video games, with stints at The 3DO Company, EA, Atari, and Sony. But before he joined Wizards of the Coast, he spent nearly 13 years at Blizzard Entertainment, culminating in him becoming general manager of the Warcraft franchise.

So although he might be comfortable dealing with the digital side of Wizards of the Coast’s business – juggling the various video games based on its franchises – we wonder how challenging it has been to adapt to the physical side.

The Final Fantasy Magic: The Gathering cards have proved extremely popular | Image credit: Wizards of the Coast

“I mean, I’ve been in the gaming business so long that I can still remember what it was like to press discs and put them in a box,” he smiles. “So in terms of that aspect of supply chain, that I’m familiar with.”

But he recalls that the “spectre of tariffs” at the start of this year prompted an urgent look at the dependencies in the Magic card supply chain, in order to assess how the company might be impacted in the wake of President Trump’s wide-ranging import tax measures.

“Fortunately for us, we had made the decisions a while ago with Magic to produce product in-region. A lot of that was to be faster [and more] responsive to our player bases in those regions.”

That panic aside, he has found the physical side of the business intriguing. “One of my first field trips was to go to one of our major print facilities in North America, in Raleigh, North Carolina, and literally see how Magic cards get made, going from the blank sheets all the way through the process,” he says. “It’s fascinating.”

Under one roof

But how does he find balancing the physical and digital sides of the business?

“One of the things I’ve done is effectively move to a franchise view of how we do things,” says Hight. “So all of Magic, whether it’s digital or physical, sits under Ken Troop.”

Troop has been with the company for 20 years, and acts as the global play lead for the game. “Obviously, he knows a lot about Magic,” says Hight. “I wanted to make sure that anything that we did on the digital side was true and authentic to the Magic community. And I wanted to make sure that all of our activities were under one roof, so to speak.”

Similarly, on the D&D side, all of the operations now come under Dan Ayoub, “who’s a longtime D&D player,” says Hight. “He started playing when he was 12.”

Hight notes that by aligning everything Magic-related under one division and everything D&D-related under another, it should allow for better coordination between different aspects of the same franchise: such as making sure TV or film adaptations align with game releases.

He gives the example of the movie Dungeons & Dragons: Honor Among Thieves. “We’d love to have had a D&D book or campaign a part and parcel with the movie,” he says.

He cites Stranger Things as another example. The show led to “fantastic” interest in D&D, he says, “but it’d be nice to have that all lined up, so when this thing rolls out, we’ve got a campaign for you to enjoy that’s something you saw on the show, or the characters in the show.”

Hight’s aim is to ensure that the digital and physical sides of the business are fully integrated – and he anticipates that more gamers will return to in-person play.

“Unfortunately, because of COVID, there’s a whole generation of gamers that has spent a good deal of their time playing only online,” he says. “And they’re re-discovering the joy of being able to play together.

“What I want us to be able to do is have players move fairly seamlessly between in person play and online play.”

Magic: The Gathering Arena | Image credit: Wizards of the Coast

That means ensuring the digital and physical sides are fully linked up. So with Magic, for example, the aim is to debut cards at the same time in both the physical game and in the digital version, Magic: The Gathering Arena.

In fact, Hight notes that the firm’s tabletop group, Studio X in Seattle, has now been combined with the internal group working on Arena.

But in addition to the Magic and D&D divisions, there’s a third vertical: Wizards Digital Ventures.

“That is essentially where we’re going to incubate new franchises,” says Hight, “or take existing franchises from our board games, physical toys, or even some of the digital products that we may have on the licencing side, but now we want to elevate it to a larger digital presence.”

Hight is currently the acting head of the division, but the company is looking for a new VP to lead it. Their role will be to build relationships with the development community and matchmake developers with IP.

Ultimately, Hight says, the key thing he wants to achieve is to make Wizards of the Coast a kind of safe haven for talented people. “What makes games great is the talent behind them, and I think if we can create an environment where they feel appreciated, if they feel like they can do their best work, that will be the key to our success.”

A fresh approach

One of the biggest changes Hight has made is altering the way that the company makes video games. There’s now far more coordination.

He points out that both Wizards of the Coast’s internal studios and the company’s external partners are all working on a common platform: Unreal Engine 5.

In addition, Wizards of the Coast operates a central content development team that any of its internal or external studios can draw on. The idea, he says, is to have a “set of artists and designers that are trained up on the IP, that have a love and affection for the IP and an understanding of it, and can effectively move from one game to the next.”

The move aims to avoid the typical peaks and troughs of game development.

“One of the complexities from a business standpoint for these big games,” he says, is that they require the assembly of a huge workforce towards the tail end of the development cycle. “Then after the game releases, you’ve suddenly got this very large team on your hands.”

The task then is to find something for all those people to do at a point when the next project might only require a few individuals to work on the concept stages.

But by maintaining a central team, he says, “we’ll have this group of people that we can move from one game to the next.” And because they all share a love of D&D and will all be working on story-driven, D&D-themed games, the transitions should be relatively easy. “It isn’t like we’re trying to take them from a football game to a racing game to an RPG.”

Wizards of the Coast’s internal studios include Atomic Arcade in North Carolina, Invoke Studios in Montreal, and Skeleton Key and Archetype in Austin, Texas.

In addition, Hight has just welcomed a team of 15 former Cliffhanger Games employees who had been working on EA’s cancelled Black Panther game. Led by Michael de Plater, former VP at Monolith Productions, the team will be incubating a new title.

Meanwhile, the external studio Giant Skull, led by Star Wars Jedi: Survivor director Stig Asmussen, is working on a single-player action-adventure title set in the world of D&D.

Exodus | Image credit: Wizards of the Coast

Hight says that in addition to drawing on a central pool of Wizards of the Coast artists and designers, its studios have been utilising outsourcing and co-development. He notes that a portion of Exodus, Archetype’s AAA sci-fi action adventure, is being developed by Climax.

Speaking of Exodus, Hight gives it as an example of the kind of joined-up transmedia approach he’s hoping to foster within Wizards of the Coast, noting that celebrated British sci-fi author Peter F. Hamilton has written two “incredible novels” that explore the Exodus universe.

The AI future

We move on to the thorny topic of AI: what role does Hight think it will play in the future of game development?

Hight stresses that both Magic and D&D are “very supportive of the art community” and that artists are the “foundation” of both. “The art that you see in a D&D product will come from the mind of a human, will be made by a human,” he says.

He’s open, however, to the use of AI to come up with ideas. “But the final product, the thing that you see, will be made by a human being. And that’s our position on it. So we’re not using generative AI to create the artwork for our cards or games.”

He thinks that AI could be used to help out in the development process, though. “Absolutely, we’re looking at that.”

He stresses that any uses of AI will be examined “on a case by case basis” that questions how it’s being used.

“Is this displacing the human soul, spirit, creativity in doing it? Because we don’t want derivative work. We want that innovation. We want things that people have dreamt up.

“We’re not using generative AI to create the artwork for our cards or games”

John Hight, Wizards of the Coast

“But on the other hand, is it allowing us to explore different things? Is it allowing us to take the drudgery out of things?

“For instance, generating an audio performance so that a writer can hear their words before we go into the recording studio I think is going to help us make those recording sessions go a lot faster and smoother.”

The idea here would be to see how players respond to AI-generated lines first and to examine how the dialogue works in game, with the recording sessions with real actors being left as late as possible in the development process – so by the time the sessions happen, the dialogue is honed and complete, enabling the actors to give the “best performance”.

He also thinks machine learning could be useful for checking for errors in code, thus helping to avoid ‘breaking the build’ when introducing new elements into a game, or highlighting problems that could occur further down the road of development.

“AI is really good at that,” Hight says. “Humans, it’s a little bit clunky for us to figure out.”

Dynamic difficulty is another area where he thinks AI could be useful. “Right now, it kind of stinks,” he says in regards to difficulty settings, with binary choices between, say, easy or hard difficulties that don’t allow for nuance.

He gives an example. “I’m pretty good at puzzle solving, but I’m kind of crap these days on dexterity stuff, and yet I like games that have both. So wouldn’t it be great if the AI was analysing a little bit about how I’m playing?”

He suggests the game could, perhaps, increase the difficulty of puzzles but reduce the difficulty of dexterity challenges if it sensed the player was breezing through the former, but struggling with the latter.

MMORPG ambitions

Finally, given the huge, resurgent popularity of D&D – and noting Hight’s background with World of Warcraft – we suggest that it’s strange there isn’t a current MMORPG based around the D&D universe.

“I’d love to have that,” he says. “I think that we’ll want to rethink what an MMO is in this day and age. I think the traditional model that Blizzard – well, even before that, Ultima Online, Everquest – pursued, that could use updating.

“I think in our case, it’s probably a crawl, walk, run [situation]. We want to make sure that we’ve assembled the talent, we have the backend technology, we have the plans to pursue. But of course, that’s a glimmer in my eye. I want to see that happen.”

He says he drops hints “all the time” to his team about the possibilities. “I think technology can help us a lot, too, to make some of the things that were difficult to accomplish back in the day a lot easier.”

“I think that we’ll want to rethink what an MMO is in this day and age”

John Hight, Wizards of the Coast

Of course, the modern online gaming landscape is also much more competitive than the one into which World of Warcraft was born. Any new MMORPG would have to compete for attention with ‘forever games’ like Fortnite, Minecraft and, indeed, the still very much ongoing World of Warcraft.

But Hight reckons one of the key strengths of D&D is its flexibility. “We laid the foundation for great storytelling, great world building,” he says. “We can adapt to different styles of play, different distribution methods.”

And he thinks there’s always the opportunity to do something revolutionary, rather than evolutionary.

In the Digital Ventures division in particular, he wants designers to pursue innovation. “What [will] an MMO look like in five, ten years?” he asks. “Where do people go next, after Battle Royale?”

“It’s out there, there’s people working on it right now. And what I’m interested in is, can we tie the ideas that they have for gameplay to some of the worlds and the brands that we have?”



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September 5, 2025 0 comments
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Jeremiyah Love is turning 'Jeremonstar' into more than just a superhero in a comic book
Esports

Jeremiyah Love is turning ‘Jeremonstar’ into more than just a superhero in a comic book

by admin August 31, 2025


  • David HaleAug 31, 2025, 08:15 AM ET

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    • College football reporter.
    • Joined ESPN in 2012.
    • Graduate of the University of Delaware.

SOMEWHERE IN THE bustling metropolis of St. Louis, a mother and father watch in awe as their young son shows signs of … superpowers!

Here is Jeremiyah Love, age 4, scaling walls and swinging from the rooftops.

Here he is, an eighth grader, leaping tall buildings in a single bound.

Then a teenager in full command of his powers, torpedoing around enemies and through brick walls.

Yet, all around him, dark forces gather.

If his life were a comic book, like the project he has spent the past four years creating with his father, Jason, and a team of artists, this would be Jeremiyah’s origin story, one not all too far from reality for Notre Dame’s star running back. He swung from moldings on the 10-foot ceilings above his living room as a toddler, developed into an all-sport star who could dunk a basketball in eighth grade and became one of the nation’s top recruits by his junior year on the football field at Christian Brothers College High School.

As the story goes, Love entered the opening game of the season against powerhouse East St. Louis still bothered by nagging injuries from the track season, and his coach, Scott Pingel, had no plans to let him play. But the starter and the backup went down, so in Love went, and on his first touch, he ran a counter to the right side and sprinted 80 yards to the end zone.

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“He made everyone else on the field look stupid,” Pingel said. “He’s making big-time D-I recruits look silly. That’s when everything really took off for Jeremiyah.”

But no origin story is complete without conflict, and if Love’s legend was burnished on the football field, he hardly fit the image of the all-powerful superhero away from it. He was isolated and introverted. When he felt uncomfortable, he retreated into those superhero stories — comics, graphic novels and, especially, anime. The worlds of heroes and villains and adventure made sense in a way his real life often didn’t.

“People thought that I was weird,” Love said. “I didn’t really have friends. I didn’t like to talk to people. I liked to play by myself. I just preferred it this way.”

For a while, those urges to isolate himself seemed like the villain in Love’s story, the thing that set him apart, the battle he had to fight. What he has come to understand as his legend has grown at Notre Dame and as he has grappled with how to tell his story on the pages of his own comic, is that those things that made him different were actually the source of his strength.

“That’s the whole point of the comic, of the message we’re trying to put out,” Jason Love said. “Sometimes kids like Jeremiyah are labeled, but he reverses all those things — all the doubters and cynics. That’s his superpower.”

“Jeremonstar” will be released publicly in late September. Chris Walker

JEREMIYAH WAS 6 when he played his first football game in a county rec pee wee league. He took a handoff, cut and ran for 80 yards. He was a natural.

He ran track, too, and he was always the fastest kid on the squad.

It was basketball that Jeremiyah loved most, though, and on the court, he stunk.

“He lacked the coordination and rhythm,” Jason said.

So at 7 years old, determined to get better, he told his father he wanted to work with a trainer.

As a young boy, Jeremiyah was “a little daredevil,” Jason said. Jeremiyah was curious and intelligent, but in school, he was a bundle of energy, frustrating teachers as he struggled to follow lessons. Jason spent hours trying to force his son to sit still. They’d perch on chairs at the dining room table, and Jeremiyah would have to sit with his hands clasped without moving for 10 seconds. If he got agitated, they’d start again. It was a daily struggle.

“We wrestled with Jeremiyah being different for a long time,” Jason said. “It was a constant battle of redirection and refocusing and trying to see what works to make things more manageable for him.”

Jeremiyah has never been officially diagnosed, but Jason said he often displayed signs of ADHD or obsessive-compulsive disorders, and as Jeremiyah got older, the battles became more intense. If Jeremiyah misbehaved, Jason, an Army veteran, tried to discipline his son by putting him into “muscle failure positions,” like holding a pushup as long as possible, Jason said.

“He’s so bull-headed, he’d do it for 20, 25 minutes,” Jason said.

Eventually, Jeremiyah’s arms would quiver and sweat would drip from his forehead and, knowing his son wouldn’t submit, Jason would relent.

Then, something clicked for Jeremiyah’s parents. Their son didn’t see these acts as punishment. He saw them as a challenge, and Jeremiyah relished the challenge.

It was the same as his struggles with basketball. Jeremiyah could’ve stuck to football and track, but he embraced basketball because it was hard. He worked with a trainer, he got better and, by eighth grade, he was dunking.

Once Jason and Jeremiyah’s mother, L’Tyona, understood their son’s triggers and motivations, there was a blueprint for how to manage his energy. In a challenge, Jeremiyah found focus, and with focus, he found success.

“If you challenge his competitive nature, he turns into a different creature,” Jason said. “He wants to dominate.”

Jeremiyah Love would retreat into superhero stories while growing up. Chris Walker

JASON REMEMBERS SITTING in his kitchen one afternoon and hearing a voice from another room speaking Japanese.

Who was in the house?

He rushed into the living room, and he found Jeremiyah, sitting alone in front of the television. He was watching anime — a Japanese animation style — and interacting with the characters on screen.

Jeremiyah was 10 years old, watching with subtitles, and he had picked up enough of the language to provide his own running dialogue.

“I just fell in love with it,” Jeremiyah said. “I stumbled upon it on Netflix when I was about 6. As a kid, I liked cartoons, and anime looks like cartoons but it’s not. I kept watching more and more, and I got addicted.”

Jason had always been a fan of traditional American comics — X-Men, Superman, Batman — and he’d watched popular Japanese series like “Dragon Ball Z,” so when his son showed interest, he saw it as a way to bond.

Jeremiyah grew up in the Walnut Park neighborhood of northwest St. Louis. It was “very dangerous,” as Jason put it, and Jeremiyah remembers a soundtrack of gunshots and police sirens in his youth.

The danger outside swallowed up its share of kids Jeremiyah knew back then, he said, but he spent most of his time playing in his backyard or suiting up for sports or perched in front of shows such as “Naruto” and “Xiaolin Chronicles.”

“It was his whole realm,” Jason said. “He was watching shows I didn’t know anything about, but it was a passion of his. And anything Jeremiyah is focused on, he’s all-in.”

Jeremiyah had been talkative and outgoing in his youth, but the older he got, the more he withdrew.

In anime and comics, however, Jeremiyah found a world where he could transform into someone else — or, perhaps, simply be the person he knew he was but wasn’t yet ready to show the real world.

“It was his chance to be in a different place, a different world, where he can release all of his powers,” Jason said.

Growing up, Jeremiyah said he hadn’t considered how much he struggled. It was “a challenge to push through,” he said, but he loved a challenge. Only now, as he has revisited his story in creating his comic, has it occurred to him how big those hurdles had been.

“As a kid, when you’d be ostracized or excluded — it doesn’t feel great,” Jeremiyah said. “But I’m thankful I was that way. I never got into the wrong things, never hung out with the wrong people. The way I was protected me from that. My parents did, too. I’m thankful for how I was raised and who I was as a person. It just goes to show, don’t be afraid to be yourself, because that’s the best thing you can be.”

Jeremiyah Love was very diligent in deciding who would be working on this project with him and his dad. Vincent Carchietta-Imagn Images

THE FIRST IDEA for the comic involved Jeremiyah morphing into an animal. Something big, bombastic and strong, Jason said. They sketched out the whole book with artists’ mock-ups and a complete plot. Jason had invested thousands of dollars into the project.

Jeremiyah thumbed through it and delivered a verdict: He hated it.

“He killed the first project,” Jason said. “That broke my heart. We had to start all over. But he tells you when he likes or dislikes stuff, and there’s no misunderstanding. But it showed me he was dedicated to this process.”

It was Jason’s idea to make the comic. He had pitched it to Jeremiyah during his junior season, when he was skyrocketing up the recruiting rankings and blossoming into one of the most explosive backs in the country. Back then, neither had any idea how to make a comic, but Jason figured it was a good opportunity to tell his son’s story in a way Jeremiyah would connect with.

Nearly five years later, Jason and Jeremiyah are finally ready to deliver. “Jeremonstar” will be released publicly in late September.

“This is not a cash grab,” Jeremiyah said. “It’s something I want people to like and enjoy. I want to tap into this fan base, and I want to connect with different people who are kind of like me.”

That first idea, though, was too childish. Jeremiyah scoffs at anyone who chalks anime up as a kids show. It’s fantasy, yes, but it’s so much deeper, he said. And him turning into an animal? All wrong.

So the Loves went back to the drawing board — a massive project that included world-building, story arcs and character development.

“We’ve been through a lot,” Jeremiyah said. “It is not easy to come up with a compelling superhero story.”

But this wasn’t simply a superhero story. It was Jeremiyah’s story. It had to be perfect, and that’s where the Loves kept running into problems. They’d hire an artist, a writer or an agency, and after a few months of work, they’d realize the whole output was perfunctory. Most artists they talked to saw dollar signs because of Love’s football prowess, but Love needed the story to be personal.

In December 2024, they met Chris Walker, and finally, they felt a connection.

“Chris was Yoda for us,” Jason said.

Walker had spent a decade working with Marvel and DC Comics, had worked as a creative director at an agency and had even helped design the cover for a graphic novel by rapper Ghostface Killah. He now runs his own creative agency, Limited Edition, and he had recently found some success partnering with the Chicago Bulls and MLB Network on sports-related properties. He was hoping to grow that market when he reached out to Notre Dame’s NIL collective, which connected him with the Loves.

When Walker met Jeremiyah, he was sold instantly.

“He’s talkative, but you have to sit down with him for a while to get to that,” Walker said. “I’ve had friends like him, who don’t like to be the center of attention. I thought, here’s the No. 1 running back in the country, and the moment I met him, it was like being around family.”

Walker liked the pitch of an anime-styled comic. He worked with Buffalo Bills linebacker Larry Ogunjobi, who told him how anime helped him learn discipline, and he had read an interview with New Orleans Pelicans star Zion Williamson, who said 80% of the NBA were fans of anime. Clearly there was an untapped market.

The Loves also had a plan to grow their universe. Jeremiyah’s story would be the first volume in what they hoped could become a cultural touchpoint for athletes from all sports.

“Athletes aren’t telling their stories in a fun, interesting way that people are going to gravitate to,” Jeremiyah said. “We want to go far with this.”

Walker brought on industry veterans to help carry the project over the finish line, including an editor who worked with Marvel. The team worked with Jason, holding Zoom calls nearly daily to discuss the project’s next steps, and developed a timeline and marketing strategy for release.

At Notre Dame’s 2025 spring game, the group handed out bracelets with a QR code directing fans to a webpage promoting the comic. In the months since, Jeremiyah said he’s continually hearing from fans — through DMs and even kids at the barbershop — who want to know when it will be ready.

“People are going to read this and understand you can be more than a football player,” said Notre Dame coach Marcus Freeman. “That’s a misconception that, if you want to be a great football player, all you can do is think about that sport. But it’s not true, and Jeremiyah is a perfect reflection of that.”

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The summer retreat before Jeremiyah’s junior year in high school was held in a timeworn lodge with about 80 rooms owned by the Catholic Church. Pingel held the retreat each year as an opportunity for his team to bond before the season. This would be Jeremiyah’s first stay as a full-time member of the varsity squad, but Pingel had known him for years. Pingel’s son was a year younger than Jeremiyah, so he had seen Jeremiyah grow from a string-bean running back into a phenom.

On the first night of the retreat, Pingel had noticed a buzz among the players and heard music echoing through the hall. He meandered toward a crowd gathered around a piano, certain he’d find a handful of teammates clowning, but as Pingel edged his way to the front, he saw Jeremiyah.

“He was just tickling the ivories,” Pingel said. “And everyone’s around him singing.”

There are a lot of lessons Jason and Jeremiyah hope the comic conveys about perseverance and commitment, but because this is Jeremiyah’s story, the idea that no one needs to conform to an identity other than their own is key.

“There are tons of kids like me, and they feel down about who they are,” Jeremiyah said. “I want to communicate that it’s OK. There’s no problem with that. Be you, and big things can happen.”

Jeremiyah Love has been working on his comic book alongside his dad. Chris Walker

JEREMIYAH STILL HAS his “quirks,” as Jason describes them. He insists on symmetry, like aligning his shoes just so, from left to right. He’s finicky about how his clothes fit. His belt buckle has to rest exactly right on the front of his pants. It’s habits that, years ago, might’ve frustrated Jason and L’Tyona. They see it differently now.

“We told him he’s the master of himself,” Jason said. “We told him he’s the greatest. And we just gave constant positive reinforcement.”

Pingel had always been struck by the contradiction of Jeremiyah Love, the football player, with the kid he’d gotten to know, reserved and occasionally distant, but curious and highly intelligent.

Jeremiyah is like a lot of comic-book heroes. By day, he shows one side of himself. Then he dons a uniform and becomes something else.

“The athlete needs to be an extrovert, going out there running over people and hurdling people,” Pingel said. “That’s kind of his alter ego.”

In the comic, Jeremiyah’s superpowers are derived from his real-life traits — speed and strength and willpower — but Pingel keeps thinking about that summer retreat when he truly understood Jeremiyah’s talent.

Football is where the alter ego can come out, where Jeremonstar is the effervescent star. But the real Jeremiyah is always in there, and, Pingel thinks, that’s the more interesting character.

Working together on the comic has been a cathartic experience, Jason said. For all the progress they have made with Jeremiyah over the years, Jason said he was never confident they’d have an overtly emotional bond. But like Pingel finding Jeremiyah at the piano, Jason keeps discovering new depths in his son.

“He’s come out of his shell now,” Jason said. “He’s more empathetic, more outgoing. I’ve learned a lot more and seen my son blossom into a young man.”

Jeremiyah burst into the national consciousness a year ago, accounting for more than 1,300 yards and 19 touchdowns, helping to lead Notre Dame to an appearance in the national championship game. By the time the Irish met Ohio State with a title on the line, however, Jeremiyah was nursing a knee injury. He managed just four carries for 3 yards in a 34-23 loss to the Buckeyes.

“I didn’t have all my superpowers,” he said. “I had the will, but sometimes, will isn’t enough.”

This offseason, Jeremiyah has worked to refine his superpowers. He better understands what it takes to stay healthy over the long haul. He’s trying to be less of a magician with the ball in his hands and focus more on his straight-line speed. But he insists he doesn’t have goals, just “things to work on,” nor is he haunted by last year’s disappointment.

“I just want to get to know myself better as a football player,” he said. “If that ends up us making it to the national championship again and winning it, great. If it doesn’t, that’s OK, too. I just want to make sure I’m the best me and the team is the best version of them.”

In high school, Pingel used to see his reluctant star endure autograph sessions, media appearances and countless conversations with recruiters, and he’d ask him: “Do you like being Jeremiyah Love?”

Pingel wanted to know if Jeremiyah was OK in the spotlight because it was never a role he relished, but it’s a question that might just as easily be asked in broader terms, too.

The answer, every time, was yes. Jeremiyah Love is completely happy being himself.

“He’s a warrior. He’s a fighter. He’s an introvert. He has his behavioral challenges, and he’s prevailed” Jason said. “Through hardship, you find yourself. And if you prevail, in my eyes, you’re a superhero.”



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August 31, 2025 0 comments
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The creators of Duskers are making a twisted dungeon roguelike driven by love and contempt for chess
Game Updates

The creators of Duskers are making a twisted dungeon roguelike driven by love and contempt for chess

by admin August 29, 2025



Duskers developers Misfit Attic have revealed Below The Crown, a chess-flavoured fantasy roguelike with an Inscryption-style meta-layer and some sexy 80s CRT visuals. You are a wizard, tasked with Gathering A Party and braving an offbrand Tron dungeon to retrieve some gold. Your upgradeable party members are based on chess units, and each floor of the dungeon is a grid-based combat puzzle inspired by classic chess manouevres like Forks and Pins. Here’s a trailer.

Watch on YouTube


Misfits Attic founder Tim Keenan calls it a “gateway drug into chess”, but the press release often seems more eager to dunk on chess than celebrate it, as it straddles the line of being “accessible for newcomers and compelling for experts”. They want to sell people on the wonders of chess, a beautiful abstract strategy game that dates back hundreds of years, while also reassuring a younger generation of nerds that Below The Crown is absolutely nothing like chess, a stupid non-computer game played by losers that doesn’t even have any magic spells in it.


“Forget memorized openings, drawn-out endgames, and stalemates,” it reads. “Start with one piece, a badass wizard, instead of 16 – and bid the tedium of analysis paralysis adieu.” Sayonara, chess, you monstrous waste of perfectly good timber! I love you. You’re an awful experience and I hope all of my friends get hooked on you. Let’s kiss with tongues, you embarrassing plod.


Chess aside, Below The Crown is billed as a “thinking person’s roguelike” in the style of Slay The Spire, which seems a bit mean to other roguelikes. I consider the roguelike a fairly cerebral genre by default. It’s not like saying “thinking person’s ballpit”, is it. “Make smart plays to capture enemies and survive an ever-changing dungeon,” the press release goes on. “Imbue the party with abilities like Vision for placement flexibility or Shadow Protection, granting a shield while on a dark tile. Acquire spell cards and skills to ramp up throughout a run, collecting gold to sate the Emperor, but also finding mysterious runes along the way…”


That dot-dot-dotting probably pertains to the aforesaid Inscryption-esque meta-layer, which sees you pulling back from a computer within the computer to answer enigmatic corporate queries. “From daily stress surveys to strange ranking rituals, the game isn’t afraid to break the fourth wall and surprise the player with unexpected weirdness,” the press release adds. I am making a note, “expect weirdness”. Keenan also calls Below The Crown a “massively singleplayer experience”, with a custom board editor and the ability to share your creations online.


I will forgive all this frenzied marketing footwork because Misfits Attic are the creators of Duskers – a lonely Lieutenant Gorman simulator, and solid candidate for the title of best space game. According to me, anyway: whoever last edited that Best Of didn’t include it, and they didn’t put it on our list of the best horror games, either. Philistines!

Misfits recently announced that they’re making a “spiritual successor” to Duskers featuring ship-building, under the working title “Humanity 2.0”. They’re also making a “Crusader Kings lite” in which you try to manipulate enemy factions into fighting each other. Certainly, they’ve got a lot going on these days.


Below The Crown will launch on PC via Steam Early Access in Q4 2025, and there’s a demo coming in this October’s Steam Next Fest. Read more on the aforesaid Steam.



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August 29, 2025 0 comments
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A love letter to that one time James Bond battled the villain in a crappy arcade game instead of at cards
Game Updates

A love letter to that one time James Bond battled the villain in a crappy arcade game instead of at cards

by admin August 28, 2025


Is there anything more British than turning on the telly at 11pm and finding an old Bond film on ITV? There’s an opening that I probably couldn’t get away with on any other major games site, hey. But, really: that moment of channel-hopping and catching the smirking visage of Sean Connery, Roger Moore, or Pierce Brosnan as a bit of late-night terrestrial TV filler is as British as fish and chips, smashing up your shiny new alloy on a pothole, and needing to do a blood sacrifice for his majesty’s government in order to send a DM on social media.

Anyway, the other night I had that classic experience. I was meant to be getting ready for bed but channel-hopped, as if that’s something anyone under fifty still does – and there he was. Sean Connery. Greying, undoubtedly phoning it in, but still brilliant. A mega ropey theme song played out over footage of his Bond on a training exercise without a psychedelic title sequence in sight. It’s Never Say Never Again, then – the redheaded stepchild of the Bond franchise.

Never Say Never Again is honestly rather rubbish, but it’s also fascinating. Even a crap Bond film has something about it – that Bondian stickiness – to draw you in. And with IO Interactive’s 007: First Light weighing heavily on my mind, I ended up rewatching the whole thing. Right through ‘til nearly 1am. Doh.

Here’s the trailer for Never Say Never Again, a blast from the past.Watch on YouTube

As noted, this film is bewitching in its mix of vague crapness and true directorial flair from Irvin Kershner (at this time fresh off directing a little independent film called The Empire Strikes Back). Also compelling is its status in legal purgatory, and how it thereby has to differentiate itself from the ‘main’ franchise. That last point is how this all tenuously connects to video games, which I’ll come to in a moment.

First, it’s important to understand why this film exists. If you’re not a Bond aficionado, an extremely truncated summary is this: there were several years where Bond’s literary adventures were a hot ticket. It wasn’t a question of if a movie would be made, but when. In the late fifties and early sixties but before Dr. No entered production, Bond creator Ian Fleming worked with a Hollywood writer and producer on a screenplay, and then later adapted that story into a novel, Thunderball. That screenplay struggled to gain traction, and in the end Fleming started making Bond movies with a different company. Cue legal limbo.

The co-writing producer in question, Kevin McClory, claimed partial rights to Thunderball. He was involved with the film of the same name, but then fell out with Bond’s producers. Lawsuits flew back and forth, and in the eighties McClory was able to mount an assault on the Bond franchise by making his own rival movie. Thus Never Say Never Again, the unlicensed Bond film that went head-to-head with Roger Moore’s Octopussy. In many ways it is Bond from Temu, except it stars the original Bond, with Connery returning to the role out of what appears to be an equally balanced thirst for a paycheck and a healthy dose of spite, as Connery too had fallen out with those behind the ‘official’ franchise.

Truly a game that would leave you shaken and stirred. | Image credit: Warner / Amazon MGM

Even if you’re not a Bond fan, it’s a truly gripping and amusing tale of Hollywood nonsense – there’ve been books written about these legal wranglings, and McClory’s exploits were directly responsible for many twists in the Bond film franchise. Why did the shadowy Spectre organization and Bond arch-enemy Ernst Stavro Blofeld disappear from the narrative? Being present in Thunderball, they were characters McClory could lay a legal claim to. Why did Timothy Dalton’s tenure as the agent sputter out after just two films? Legal battles with McClory forced the franchise to take a then-unprecedented six-year break. And why did Spectre and Blofeld return in 2015? Well, McClory died – and once he was no longer around, his family was quite happy to secure the bag to bury the fifty-year hatchet and hand over the rights.

All’s well that ends well, but back in 1983 it was still war. The unofficial Bond group had a problem, though: they had rights to one story, and they also couldn’t hem too close to what the other producers were doing, as any ‘innovations’ of the Bond franchise displayed in their films technically belonged to that group. That leads to a film that desperately wants to be part of the Bond franchise but can’t copy key elements. It’s also based on Thunderball but doesn’t want to be identical to Thunderball as everyone had already seen that movie almost twenty years prior.

There’s no Aston Martin – instead Bond is back in a Bentley, as that’s what he drives in the related book. There’s no fancy animated title sequence, as that was something the other guys did. The film goes to great lengths to differentiate itself; Q is a jokey type eager to hear about Bond’s violent exploits, and Felix Leiter is black, a bit of casting later mirrored in Daniel Craig’s films. Then there’s the casino sequence.

This in spirit is essentially every UKIE event. | Image credit: Warner / Amazon MGM

Anyone who has seen or read Bond media knows the casino scene. The hero and villain face off at the table over cards. They needle each other with bets and quips. Animosity is sewn that will be paid off in violence later. In Thunderball, this scene exists where Bond and villain Emilio Largo face off in baccarat chemin de fer. This scene is in Never Say Never Again also – except it’s differentiated in the most fabulously eighties way imaginable.

Largo is given a decade-appropriate makeover as an annoying nerd with a bad haircut. He’s eighties Elon. The eyepatch and menacing snarl is gone. And instead of hanging out in a high-stakes casino, he hosts guests in a casino side room, inviting folk clad in tailored tuxedos and elegant dresses to… an arcade. A suited and booted Sean Connery leans against a beautiful then-new arcade cabinet for Atari’s Gravitar that was almost certainly product-placed and flirts with the female lead as she plays the machine. Rather than the quiet ambience of cards against felt and roulette balls rattling on the frets, these classic Bond scenes are awash with the bleeps and bloops of an eighties arcade. It’s bizarre. I love it.

When it’s time for the showdown with the villain, Largo reveals he has programmed his own video game called ‘Domination’. It’s hard to understand how this game is supposed to work, but it involves simulating nuclear war between two great powers. The controls give each player electric shocks if they perform poorly. “Eternal battle for the domination of the world begins,” raps the robotic voice of the wood-panelled arcade machine. The whole thing is a clunky metaphor for the conflict at the centre of the film, obviously. It’s got all the classic scenery-chewing dialogue from this sort of scene, the villain snarling about the need to “share the pain of our soldiers” and all that. It’s a staple franchise scene… just over an arcade game.

Here’s Domination in all its glory. | Image credit: Warner / Amazon MGM

It’s an incredible time capsule. I think it represents a few different moments in time. Never Say Never Again released in the wake of Star Wars and just a year after Tron. Gaming was enormous, even though the great industry crash was imminent. At the time this was made science fiction and video games were in vogue. It also obviously serves a purpose in transforming Thunderball too, as these scenes take on a completely different vibe despite serving an identical story purpose.

Nevertheless, this is a distinctly Bondian viewpoint of our fabulous hobby. It envisions a world in which arcade games are to become the sort of thing that the sophisticated upper echelon of society might gather and experience just as they might roulette.You can imagine how this conclusion genuinely didn’t seem so far fetched in 1982/3, before the great crash. Bond doesn’t belittle or raise an eyebrow at playing a video game – he sits down as eagerly to participate as he would for hold ‘em.

In the modern context, there’s something wonderfully mad about these people in diamonds and pearls huddled around Centipede and Dig Dug cabinets, and then gathering around to watch Bond and Largo play some digital nonsense for a quarter of a million dollars cash. This might make James Bond one of the first ever esports athletes, I suppose. Almost certainly the first on film? I can hear whoever is going to be editing this article groaning, so it’s time to stop. But, IO – I want to know. Is your new Gen-Z Bond a gamer? Could he beat Blofeld in Fortnite? I’m asking the important questions here.



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August 28, 2025 0 comments
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Love and Deepspace wins Best Mobile Game at gamescom, throws shade at you know what
Game Updates

Love and Deepspace wins Best Mobile Game at gamescom, throws shade at you know what

by admin August 25, 2025


It’s been a heck of a year for Love and Deepspace, but it’s clearly on its way to more wider, global recognition. The Infold Games-developed romance visual novel has won big at gamescom this year.

Love and Deepspace grabbed the award for Best Mobile Game at the German show, beating other major – and much more widely known – titles.


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This is an even bigger win for Love and Deepspace when you consider how much less popular it is than many of the MiHoYo games, such as Zenless Zone Zero, Genshin Impact, and Honkai: Star Rail.

In fact, LaDs was the only Chinese game given an award this year at all. MiHoYo, of course, is a fellow Chinese developer, and while the press release doesn’t mention it by name, it does make it a point to mention that fact. Indeed, Genshin Impact was itself among the list of nominees. This win also makes Love and Deepspace the first romance game to earn that award, which is a nice bonus.

In celebration, if you log in from now until August 28 you’ll earn various in-game rewards, so get on it.

Gamescom has recognised that the boys are, in fact, hot. | Image credit: Papergames / Infold Games

Love and Deepspace is actually the second entry in the Mr. Love series. It’s much more internationally recognised that its predecessor, of course. It’s a recent arrival, too, having landed just last year.

The developer revealed at gamescom that the game has over 70 million players worldwide. It’s not just players, either, the game broke its all-time revenue record last month, according to data from Sensor Tower – with a lot of that coming from outside China. There’s a reason Love and Deepspace is consistently among the top ten Chinese mobile games in overseas revenue.

If you’ve never heard of Love and Deepspace, there’s a lot we can help you with (and a lot you’re missing out on). If you’re a regular player, you’re probably more interested in untangling the game’s Abyssal Chaos endgame roguelike mode. For more specialised help – such as how to get endings for various characters, hit up the links. Also, don’t forget to check out LaDs codes for August to see if you’re missing any freebies.



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August 25, 2025 0 comments
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Elden Ring Nightreign Libra on purple background looking at camera with goggle eyes
Product Reviews

15 attempts in, I actually love that Elden Ring Nightreign’s Everdark Libra is the first FromSoftware boss who’s harder to beat in co-op than solo

by admin August 19, 2025



The handshake deal in FromSoftware games, the obfuscated difficulty option that’s always been there since Demon’s Souls, is co-op: Summoning phantoms controlled by other players or the computer⁠. In OG Elden Ring everybody’s best friend was the Mimic Tear, a powerful summon to make a copy of yourself to fight by your side.

This has held true in the co-op centric, roguelike spinoff Nightreign, with the sturdy tripod of a full party clearly being what the experience was catered towards. The new duos mode is nice enough but still slightly compromised, while even with post-launch patches, solo is still the worst way to play.

But now they’ve gone and turned all that on its head: The latest Everdark superboss, the ultra instinct version of Baphomet dealbroker Libra, only gets more challenging the bigger your posse is. I managed to take him down solo after just three runs, while I’m somewhere north of 15 attempts deep in duos and trios, a W still evading me at every turn.


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Everybody hates Everdark Libra. My peer, Austin Wood at GamesRadar, thinks he’s “100% getting nerfed.” Just like with the similarly loathed Everdark Augur, I disagree. I love this sick freak of a boss and how he turns all the rules on their heads.

To make Everdark Libra easier would compromise the beautiful vision at his core, the product of a sensitive, poet’s soul that’s clearly been hurt by this cruel world of ours and wants to inflict that pain right back. We’re all letting Libra down. Champions adjust. Spoilers for Everdark Libra below.

Make your choice

Yeah man, we get it. (Image credit: FromSoftware)

Libra’s already a real piece of work in his base form, tied with end boss Heolstor as the hardest in the game by my reckoning. He has an arsenal of unusual, difficult-to-read projectile attacks that all build up the madness status effect, which does huge damage and a stun if you manage to survive the initial burst.

His signature move is a delayed blast sigil that brutalizes you with madness build-up after a quick beat. It comes out fast enough that you can’t exactly respond to it carefully and can get royally screwed if you’re in the middle of an animation, while a slight delay punishes immediate panic rolling. It is deliciously evil.

Keep up to date with the most important stories and the best deals, as picked by the PC Gamer team.

Libra’s Everdark form ups the ante by summoning invader clones of the player party with all the same abilities and a number of potential weapon loadouts thoughtfully constructed to inflict the most pain and frustration. Some of my favorites:

  • Mini Malenia Executor: Equipped with the Hand of Malenia Sword and can perform a weaker, but still potentially instant-death version of Waterfowl Dance. Yes, that Waterfowl Dance.
  • Terminator Ironeye: Possesses the Jar Cannon and One-Eyed Shield (which has a built-in cannon), as well as a seemingly-permanent buff resembling the Ironjar Aromatic: He walks extremely slowly but is extra tanky and can’t be interrupted.
  • Sniper Wylder: Uses a greatbow to spam the Rain of Arrows ash of war, doing crazy damage in a huge AoE from long distance.
  • Rot Duchess: Dual wields Scorpion’s Stinger daggers for fast Scarlet Rot buildup.

Much like the player-style NPC enemies of FromSoft’s previous games, they don’t play by the same rules that you do: Malenia-Executor is particularly difficult to interrupt out of his signature move, while all of the clones are capable of dodge rolling out of attack combos a normal player could not.

The pièce de résistance is how they shuffle in: It does not feel like Libra has a consistent timer for summoning a fresh wave of evil twins. Wiping them out is not a guarantee of breathing room to DPS the boss, while it’s far more likely for them to start piling up as you fail to clear out old ones before the new clones spawn in.

The final indignity is that Libra summoning a new wave heals any surviving invaders, buffs their defense and damage, and the buffs stack. A veteran six rounds deep Executor spamming Waterfowl Dance is who I wish I was playing as.

All of this while Libra has new, more aggressive madness-inflicting AOE attacks to fling at you. A mature Everdark Libra fight is pure chaos, a field of evil clones glowing gold with layered buffs, some attacking each other, but most chasing you around like it’s Yakety Sax while Libra turns the field into a bullet hell screen. It’s utterly deranged. I don’t know how a group of randos with no coordination is supposed to beat it. It’s hilarious.

The time is ripe

The Gamer’s Gambit. (Image credit: FromSoftware)

Whether fully intentional or not, FromSoft’s classical deferred difficulty system works in reverse with Everdark Libra. It’s like a martial arts movie thing or Bruce Wayne climbing out of Bane’s house without the dang rope or something: If the enemy draws its strength from you, make yourself weaker.

Not only is one evil twin far more manageable than triplets, the singleplayer mode’s adjusted health values mean they go down quicker too. Even in the solo runs I failed, I didn’t experience the chaotic pileups of a three-player slugfest.

This inversion is another example of how flexible and surprising FromSoft’s well-worn systems can still be. Yet another boss in Nightreign is challenging in a way that took me off-guard, that wasn’t just another really tall, sad guy with a sword who moves super fast.

That has me even more excited for what the studio does next: After Promised Consort Radahn in Shadow of the Erdtree, I was worried there might be a ceiling to FromSoft’s arms race with itself to make ever greater twitch reflex challenges in its bosses. In Nightreign, the studio sidestepped this issue, proving there’s nothing stopping it from delivering spectacles, challenges, or sheer curveballs we just won’t see coming.

As for the fight itself, it’s a new favorite. Everdark Libra feels like a joke at my expense, a prank played on us players. That’s one of my favorite things to see in a game, and FromSoft is the master when it comes to this rare art.

Could they ease off the gas with the clone spawns just a touch? Maybe, it depends on how soon you ask me after a failed run. Is it kinda bullshit that Vyke’s War Spear, the only melee weapon Libra is weak to, is such a rare drop that I’ve only seen it twice in 111.8 hours (but who’s counting)? Perhaps.

I hope they never nerf Everdark Libra. He’s so stupid. It’s all so meanspirited. I love him like a son.



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August 19, 2025 0 comments
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