For decades now, console gaming has traditionally focused on delivering a specific experience for each platform, tailored by the developer. Sure, we've seen high frame-rate modes and occasional toggles between different presets but nothing like the kind of full suite of options found in a typical PC game... until now. That's exactly what developer Tri-Ace has delivered with its PlayStation 4 remaster of Star Ocean: The Last Hope. Every aspect of the game available for tweaking on PC is available to PlayStation owners, but is that actually a good thing?

With this remaster of its original PS3 and Xbox 360 RPG, Tri-Ace promises resolutions up to a native 4K on PS4 Pro, while the base system targets 1080p instead. In all cases, the target is now a full 60 frames per second for all aspects of the game - assuming you get your settings right, of course. Previously, Star Ocean's world exploration and cut-scenes were capped at 30fps on Xbox 360 and PS3 while battle sequences were instead updated at 60fps, albeit with plenty of slowdown.

The jump to 60fps across the board greatly improves the experience, but achieving a consistent lock ties in closely with the resolution you choose. Base PS4 users can select between 720p and 1080p, while Pro users can target 1440p or full 4K instead. By itself, this is a huge upgrade. On Xbox 360, the overworld and cutscenes are displayed at a resolution around 1248x702 with a visible black border around the image. In comparison, the 60fps battle scenes are instead delivered at roughly 900x510 resolution. Yes, just a notch above standard definition there.

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Capcom's revealed some cool new costumes coming to fighting game Marvel vs. Capcom Infinite next month.

My favourite is Haggar's Metro City Mayor costume, which gives the old bruiser a nice shirt and tie.

I also like Frank West's Proto Man costume.

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Remember Jazz Jackrabbit? The colourful PC platformer was last seen sidescrolling on PC in the mid-nineties. But it's so far been absent from modern day online shops - until now.

GOG has released Jazz Jackrabbit: The Complete Collection and Jazz Jackrabbit 2: The Complete Collection, each available for 6.89 (neither are available on Steam).

Jazz Jackrabbit was developed by Epic back when the American video game company was called Epic MegaGames. Specifically, Jazz is the creation of Cliff Bleszinski, who would later go on to work on Unreal, Gears of War and, more recently, Lawbreakers, and demoscene coder Arjan Brussee. It was one of the first sidescrolling platformers on PC, and a huge hit for Epic.

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Hearthstone's next big expansion, Kobolds and Catacombs, is due for release next week - but it was not always going to be themed as such.

Blizzard's original plan for the set was a collection themed around World of Warcraft's mysterious mecha-goblins, the Blingtrons, and during development was titled Blingtron's Lootapolooza.

Blingtron's coins were placed in this teaser image of the year's Hearthstone sets, which was created before the switch to Kobolds was made.

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After last night's blog post on the state of Destiny 2, which detailed improvements due over the next month and touched upon last weekend's storm of XP controversy, Bungie has now published a podcast with further information on several hot-button topics.

Most interesting, I thought, is a discussion of how long it takes to fix something in Destiny 2 - the process which Bungie has to go through, and how this was applied to the recent problem of the game's Monty Python emote which let you glitch through walls.

"What does it take to update the game?" project lead Mark Noseworthy began. "Something I've seen online is 'how is it you guys can you fix this one thing but not this other element?' Any time a bug in the live game comes up we have to evaluate it. There are three questions we ask - 'how severe is this thing?', 'how quickly can we fix it?' and 'when can we test and deploy it?'

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Ode is a musical exploration game, which is a bit like saying ET is a movie about missing your flight. Ode is music and exploration. Somehow, they are separate and yet entirely intertwined.

You play as a chubby little sprite of some kind, snugly encased in a crystal marble. You spawn in a burst of bloomy white light in what looks like a frozen cave, chill grey sand covering the floor, bright little chunks of rock - volcanic maybe, glossy and black and shot through with glitter - poking through here and there. As you roll around, the audio seems to shift and sigh, almost imperceptibly. You bounce off rocks - because why not? - and you are rewarded, if you listen closely, with flat little taps of a drum. You are rewarded if you listen closely, sure, but maybe the real reward comes from not listening closely, because if you just move, prodding forward, now a rock, now a rippled stretch of sand, you will not notice the music that is slowly building itself around you, and then you will suddenly discover that you are humming it, almost like it came from you and not from the game.

Soon there are spongey discs to roll over, bright balloons bursting from them as you pass. Soon there are fronds hanging from the walls that release showers of pink blossom. There are fallen stars - little golden balls that have buried themselves in the ground - to gather as you nudge them. They form threading pathways through the game's tight, but sometimes complex, spaces, like Mario's coins. And as you collect them, they trail behind you, bouncing, or can be flung into the distance, where they rattle around, a cheery, physics-driven motley, before you draw them back in again.

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A couple of weeks ago, I put my mental and physical endurance to the test with four epic hours in Sykrim VR.

You'd think that would be more than enough virtual excitement for now, but you'd be wrong. Today, I'm going one better; I'm going to go straight to hell.

From 11am today I'll be playing two whole hours of DOOM VFR gameplay in one epic BFL (Big Fumblin' Live stream). Not only that but I'll also be using the PSVR's AIM controller for added freaking immersion.

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Sledgehammer has revealed a big patch for Call of Duty: WW2 which makes some much-needed changes to the game.

Perhaps the headline change is a nerf to the M1918 Browning Automatic Rifle, otherwise known as the BAR. Most players agree the BAR is one of, if not the best weapons in the game. The video below from YouTube Drift0r goes into detail on the BAR's qualities. In short, it's powerful (it's one of the few fully automatic assault rifles that can kill in three or four shots), has decent range and is super accurate. Well, it was super accurate.

Today's patch brings with it a nerf to the BAR that increases the recoil, which makes it less accurate and in turn less deadly. Now, the BAR isn't all of a sudden a terrible weapon, but it's perhaps not quite so overpowered.

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WARNING: This piece contains major spoilers for Call of Duty: WW2's campaign.

The end of the Second World War unearthed the truth of the darkest days for humanity.

More than six million Jews and three million others were rounded up, dehumanised and shoved into cattle cars before being locked up in one of 40,000 concentration camps, where they were experimented on, shot and gassed.

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Bungie has at last posted its big blog update to address the state of Destiny 2, after a bruising few days where fan anger at both long-term problems and last weekend's huge XP controversy boiled over.

In short, the post promises a push towards greater transparency. But, in effect, it serves as a patch note preview for long-awaited improvements due to go live within the next few weeks.

"Our team has been reading feedback and working on updates to improve the game," Bungie's blog post began, in an introduction attributed to both Luke Smith, Destiny 2's game director, and Chris Barrett, lead for the game's live service team. "We've also been reading some tough criticism about our lack of communication, and we agree we need to be more open.

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