Having played the opening hour of Altus’ Metaphor: ReFantazio – now mere weeks away from its October 11th launch – I think it’s high time to correct a games previewing injustice. Namely, that the majority of its pre-release buzz has centred around its proximity to Persona, and not its far more entertaining quality of having the most gleefully bizarre RPG enemy design this side of Elden Ring’s horn-tooting orbpeople.

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Why is every blockbuster video game now some kind of live service game? Speaking as a clueless idiot, the explanation I find most convincing is that it's an attempt to bridge the gap between the returns publishers want from video games, versus how much we're able or willing to pay upfront. "Triple-A" projects now cost exorbitant sums to develop, partly thanks to wider economic inflation, but also because publishers have spent decades teaching players that every sequel has to be More and Shinier. Premium game prices have not risen in proportion, and investors want growth, as they do.

Live service games sneak around this difficulty by dragging out the time we spend playing them. Whether premium or free-to-play, they seek to install themselves as habits by means of regular, planned updates and additions. This is time that can be monetised by way of a subscription model, time in which other products may be sold to you, like skins and paintjobs, and time that becomes a commodity in itself, "engagement", which can be transmuted and exploited to various end. I'm not sure it's ever been expressed this way in any press release boast about longevity, but the unspoken principle/logical extrapolation seems to be that ideally>, a live service game should keep us plugged in and plugging away till we die.

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Strange Scaffold’s newly released FPS I Am Your Beast is very fun for quite a few reasons, but chief among them is a deep appreciation for the poetry of good videogame violence. I’m not using the big P word just to throw out an overly worthy comparison to something we might associate with craft or beauty, but as a nod toward the game’s playful application of what I previously called ‘a euphoric splurge of murderous game verbiage’ one morning where I had clearly eaten my wordy Weetabix. The way its hurled knives and curb stomps and inexplicable decapitations flow together have an assonant, almost Suessian quality to them.

But it’s also, well, just a bit like Mad Libs. You play as Harding, a man who’s mythical lethality is established very early on. The showing is there in the moment to moment, but the telling is conveyed through cute tricks like how everyone you meet is so deeply afraid of Harding that they loudly keep track of exactly what weapon he’s holding at all times. The Mad Libs comes in through the fact that you can draw Harding a route between A and B, and it’s a given that multiple heads are going to come unstuck from necks along the way. You’re sort of just casually filling in the verbs that seem the most fun to you in the moment. One of the verbs is ‘hornet’. Hornet is a verb now.

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If you’ve played Battle Brothers, you’ll know that Overhype Studios have a way of making you care for an underling, no more so than when you inadvertently send them onto the wrong end of a sharp blade. Menace, their upcoming turn-based tactical RPG, will also put the wellbeing of your chosen fighters at the forefront of your mind – along with a dramatic shift from 2D medieval sprites to the fully 3D battlefields of a unruly space frontier.

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Hello reader who is also a reader, and welcome back to Booked For The Week - our regular Sunday chat with a selection of cool industry folks about books! This week, it’s writer on Marvel’s Midnight Suns, Hindsight, Life is Strange Season 2 and more, Emma Kidwell! Cheers Emma! Mind if we have a nose at your bookshelf?

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Sundays are for eating chocolate spread straight from the jar and rewatching Better Call Saul. Before that, let’s read this week’s best writing about games (and game related things!)

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Good Saturday, friends! It's finally hitting Autumn, isn't that lovely? The leaves are doing that cool visual glitch where they look nice for once. All pretty and crunchy and satisfying. It's just a shame it only lasts a week or two before turning into mulch on the pavement. Reminds me of a Regina Spektor lyric: "Leaves become most beautiful when they're about to die". And now, inevitably whatever I write below this will be a lie, because I'll actually spend my weekend listening to old Regina Spektor songs, because she's just the best.

But for now at least, let's keep up the pretense that we're not all lying through our teeth every weekend with these posts. Here's what we're all (allegedly) clicking on this weekend!

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There are many reasons to play and write about Arco. The Mesoamerican pixelart landscapes, for example - radiant, cloud-hung platters of land with people and buildings reduced to daubs of paint in the foreground. The fact that it's about witnessing and surviving colonial invasion, rather than the more familiar European or North American video game fantasy of searching a New World for plunder.

The ensemble storytelling, with four, successively playable characters setting their own lenses to thickly entangled themes of sorrow, vengeance and growing understanding. The sparse, expressive dialogue, each phrase carefully tucked inside its speech bubble. The music. And the little things at the level of how you move, what you do. When you pick a faraway destination on your map, your character makes the journey screen by screen, which gives you a second to lean back and be a passenger, watching the horizon, at least until you're ambushed by a giant beetle.

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Oh, S.T.A.L.K.E.R. 2: Heart of Chornobyl. Mere weeks from release after years of delays, plopped in front of me at a cramped, lightly vibrating Gamescom booth, and you still won’t reveal your secrets. I did get to play a brief whizz through GSC Game World’s eerie FPS – enough to feel encouraged, even – but be it time constraints or the darkness of my nighttime raid into the radioactive Zone, I would have liked to have quite literally seen more.

Then again, keeping the mystery intact may have been the point all along. "As a game director, I want to hide everything from the player", GSC’s CEO Ievgen Grygorovych had told me minutes earlier. "I'm fighting with the marketing team because they want to show as much as possible!"

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Hollowbody’s introduction is masterful, and not just for a sallow skyline that captures the life-sapping dreariness of British coastlines. The horror nous required to impart unease in the middle of the day are somewhat eased up on when you’ve got all that serotonin-begone drizzle to work with, sure. But this feels more poignant than that. There’s a soulful drearines and utterly heartbreaking inevitability to the vibe here, as your character and rubber suited activist pals try to get the bottom of a horrific incident. It’s got best British indie horror film of the year written all over it.

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