World of Warcraft developer Blizzard is working on a free-to-play title, according to a Develop report.

The site's anonymous source added that the studio is looking to expand business opportunities and develop both subscription and freemium titles, but didn't offer any further detail.

Blizzard declined to comment on the story.

If true, this wouldn't be the first time that Blizzard has dipped its toes into free-to-play - you can currently play World of Warcraft until your character reaches level 20 without opening your wallet.

However, at Blizzcon last year CEO Mike Morhaime spoke up for its tried and tested subscription model.

"For us, and even for EA with the Star Wars game, I think that the value that you get for the $15 a month is just unmatched. I don't think you can get that amount of entertainment value anywhere. I'd put the $15 up against anything," he told Eurogamer.

Aside from Diablo 3, new WOW expansion Mists of Pandaria and the next two chapters in the StarCraft 2 trilogy, Blizzard has confirmed work is underway on a brand new MMO codenamed Titan.

Company of Heroes: Campaign Edition, a single player-only version of THQ's popular PC WWII RTS, arrives on Mac from 1st March, publisher Aspyr Media has announced.

It will include the single player campaign from the original Company of Heroes as well as the additional solo missions from the Opposing Fronts and Tales of Valor expansions.

The set will set you back your local equivalent of $49.99, though it's currently discounted to $44.99 on Aspyr's site.

Your system requirements are as follows:

• Minimum System Requirements
• Operating System: 10.6.8 (Snow Leopard), 10.7.2 (Lion)
• CPU Processor: Intel Core 2 Duo (Dual-Core)
• CPU Speed: 2.4 GHz
• Memory: 2 GB RAM
• Hard Disk Space: 13 GB
• Video Card (ATI): Radeon HD 2600
• Video Card (NVidia): Geforce 8600
• Video Memory (VRam): 256MB
• Peripherals: Macintosh mouse and keyboard

The Relic-developed strategy title originally launched on PC back in 2006 to universal acclaim - see Eurogamer's 10/10 Company of Heroes review for more details.

This isn't the first time Aspyr has taken it upon itself to launch multiplayer-free Mac SKUs of other publisher's titles. It recently released a Campaign Edition of id Software's shooter Rage.

The Darksiders series is to get a scene-setting novel tie-in, THQ has announced.

Written by fantasy veteran Ari Marmell and published by Random House's Del Rey imprint, Darksiders: The Abomination Vault is set thousands of years before the events of the first game in the franchise.

The book follows twin Horsemen Death and War as they attempt to scupper a mysterious plot to resurrect powerful ancient weapons and trigger a devastating conflict.

It's due on shelves in May this year, a month before Darksiders 2 is expected to launch.

For a closer look at the Vigil Games-developed sequel to the well-received 2010 Zelda riff, head on over to Eurogamer's Darksiders 2 preview.

Undermined publisher THQ has publicly recommitted to developing a host of core games - some of them years away.

The note has no doubt been issued in response to scrutiny of THQ's long-term health.

Five internal THQ studios are making games "aligned" to several of the publisher's key brands, the company revealed. They are UFC Undisputed, Darksiders, Company of Heroes, InSane, Saints Row, Warhammer 40,000 and the new game by Patrice Desilets.

Those internal studios are presumably Yuke's, Vigil, Relic, Volition and THQ Montreal.

UFC Undisputed and Darksiders boxes are ticked by upcoming games UFC Undisputed 3 and Darksiders 2.

But Company of Heroes Online was cancelled last year, which means the above Company of Heroes project may be Company of Heroes 2. A sequel has been rumoured but never confirmed.

The Saints Row reference is presumably a fourth, unannounced game in the series. And why not? Saints Row: The Third has now shipped 3.8 million copies, THQ revealed. Lifetime shipped estimates are between five and six million.

The Warhammer 40,000 project could be multiple games: MMO Dark Millennium Online, Space Marine 2 or Dawn of War 3. Of the three, Dawn of War 3 carries the most weight. THQ has talked relatively openly about the project before, whereas talk of Space Marine 2 has been more wishy washy.

Warhammer 40,000: Dark Millennium Online may have been properly announced, but an ominous cloud looms over its future - THQ was rumoured to be selling it off. That we've seen little of the game since it was announced in 2007 strengthens these claims. MMOs are also notoriously long and arduous undertakings. If THQ was to be struggling, shedding an MMO burden would certainly lighten the load.

THQ's note went on to announce the company's withdrawal from the kids' licensed game market.

The note also mentioned that THQ would try to establish "new franchises on the next generation of game devices". Clarification of that statement will be given during and investor call next week.

A job posting for the role of franchise development producer on Blizzard's next MMO indicates that the developer is considering product placement and possibly in-game advertising for the game, codenamed Titan.

As well as various branding and merchandising responsibilities, the producer is to "work with major consumer brands to facilitate product placement and licensing within the world of Blizzard Entertainment's next-gen MMO that enhances the gameplay experience."

This is the first indication, and a strong one, that Titan is not a fantasy game, but is set in the present day or the future - potentially a near future.

Blizzard is notoriously protective of the integrity of its fictions and would be unlikely to consider the move if it wasn't harmonious with the game's setting - as suggested by the requirement that the licensing "enhances the gameplay experience".

Back in 2005, a Blizzard April Fool satirised the deal between Sony Online Entertainment and Pizza Hut that allowed players to order pizza from within EverQuest 2.

Blizzard has previously stated that Titan is a brand new franchise with new art, design and lore, and not related to its fantastical StarCraft, Warcraft or Diablo universes; president Mike Morhaime called it "something that's completely new and fresh". No other indication of the game's genre, platforms, gameplay or release date has been given.

For an area that's been blasted by radiation for the past twenty years, the sloping hills of the countryside around Chernobyl are impressively virile. The grasses have shifted from soft greens to muted browns, admittedly, but there's still a lot of vegetation, and, more worryingly, a lot of wildlife.

The first thing you kill in S.T.A.L.K.E.R (and that's the last time I type it out like that), is likely going to be something that mostly resembles a dog. It'll be hairless, with a few open sores covering a big chunk of its body, and, by and far the most noticeable thing about it, it'll be trying to eat your face.

But the dogs of Stalker travel in packs, and they'll only attack in packs. Thin them out a little with a quick bark of your gun and the rest will scatter and whine, with the stumps of what were once tails held firmly between their legs.

Stalker: Shadow of Chernobyl was an incredible game, in the most literal sense. It inspired incredulity, forcing you, again and again, to question whether something was happening because it was scripted to happen like that, or just because you happened to be in the right place at the right time for that to happen. More often than not, it was the latter.

GSC were absentee developers. In this sense, that's a good thing. Throughout playing any of the three Stalker games, it's difficult to feel like their attention is ever really on you. Instead it's on organising a hillside scuffle between the dog-things and those boar-things. Or orchestrating some skirmish between two gangs of Stalkers, or maybe some bandits. Or swirling up some horrendous, travelling anomaly, that will pull you into a whirlwind of radiation and wind, before flaying you alive. But it wasn't created for you - you just happened to be the dummy that walked into it. Idiot.

It's a world that exists despite you, rather than because of you. In an industry where a game like Skyrim has enough stuff for you to stumble across and trigger to distract you into thinking this is a living, breathing world, GSC actually managed to do it, for the most part. There are still scripted sequences, but those became less and less prevalent across the development of the three games, until Call of Prypiat just dropped you into the Zone with a vague mission to investigate some downed choppers and left you to it.

It's a world that has a palpable sense of history, which makes sense, given that the game world genuinely does have history. It's modelled exquisitely on photographs taken of the real Chernobyl, only slightly altered to allow for a better game environment. So you have locations like Prypiat and the reactor, places that truly exist. But there's a disconnect from reality at the point of that reactor explosion, where the Zone starts to be filled with the weird and not-so-wonderful. Mutants and anomalies, artifacts and radiation.

And so the game makes its own history, filled with enterprising Stalkers and militant (and military) factions vying for control of this potential gold mine, despite the beyond hostile conditions and cutthroat bandits. Each game builds on this, filling in more blanks while creating larger mysteries. It's only natural that somewhere like the Zone is going to raise more questions than answers, what with its anomalies and wide swathes of highly radioactive swamplands.

You came thirty years too late, all the answers have been and gone. Everywhere is a ruin, an architectural memory that could have been caused by the original reactor explosion, or anything since. And you don't really want to investigate too much, because the game instills a clear sense of fear within the first hour. Curiosity will very much get you killed, because there are mutants and anomalies and artifacts and bandits and everything you can't see.

All of this would be moot if Stalker was just a shooter. If everything was something to kill, and everything was killed beneath the horrendous onslaught of your assault rifle and grenades. Fortunately, Stalker isn't just a shooter. It's got shooting, but it's sneakily disguised itself as an RPG. In fact, it's more of an RPG than a lot of RPGs are RPGs. Beyond the slot based inventories, the gun degradation, the crafting, the side quests, RPGs are fundamentally about choice, and that's what separates them from other games. The choice on whether or not to do something, or which of two somethings you want to do.

The choices Stalker provides you with are minute to minute, and mostly small. The most common, by far, is merely one of action or inaction. The levels are large enough to afford you with quite the view; almost everyone you come across will start off as a few pixels in the distance before you get closer. The problem being, a few pixels isn't the best indicator of whether that's the kind of guy you could sit down and trade stories about the crazy s**t you've seen, or the kind of guy who will shoot you in the head and steal all the crazy s**t you've stolen.

It necessitates anxiety. It forces a kill-or-be-killed mentality on you, because it's either that or you're on the be-killed end of that see-saw. You very, very rarely feel safe in a Stalker game, which is a sharp u-turn from the vast majority of shooters, where expressing your dominance through the form of ranged death-dispensing is the main point.

You'll die in Stalker. You'll die by the hands of the bandits who ambush you when you slip through a tunnel. You'll die by the claws of the mutated wildlife, because you were too busy looking at your map to notice the howls getting closer. You'll die by the superior weaponry of the Duty, who killed you because you walked into the wrong corner of the zone. You'll die by the terrifying face-fronds of the invisible bloodsuckers, because you're somewhere you really shouldn't be.

It's a game that makes fear palpable again, and manages it in a way that most games don't quite manage. It comes back to that randomness, the procedural nature of the AI and the unpredictable nature of you, the player. This is a world where there are things, and you have the option of stumbling across them and being killed by those things.

Which probably isn't the best way to recommend or laud a game. Who wants to die over and over? But that's part of the point; the Stalker games create an environment that is apathetic of you at the best. It doesn't make allowances, or pay any undue attention to what it is that you're doing, and that's liberating. It means the game has stepped back and allowed you the space to enjoy your own story, rather than the one that has been prepared for you. Even if that story is some minor, insignificant tragedy that is followed by a quickload and a second attempt, it's yours.

The first time I played Call of Prypiat, it took me about an hour to establish myself, get a better gun, make a few friends. In the middle of some marshland, I start to hear this wooshing whip sound, like a tornado flying right by my ear before coming back and doing another flyby. It was one of the few warnings you get in Stalker, and this was a warning of a blowout, a heavy, deadly radiation storm that will flay you alive if you don't find cover. Helpfully, the game provided a marker towards a nearby cave, and I legged it.

Despite the darkness, the way the stone walls muted the outside winds was reassuring. Besides, I had a flashlight, and a sleeping bag, so I should be fine. A moment later, I had light. A moment after that I was back out in the storm again.

I'd rather be flayed alive than share a cave with a dozen sleeping blood suckers, all of them standing straight upright, arms planked to their sides, and head slightly hung, face fronds quivering with each breath. Screw that.

Last weekend, GSC closed its doors, and with it, there's a good chance that Stalker 2 will never see the hazy, slightly irradiated light of day.

It's impossible for a studio closure to be anything but a bad thing. People's jobs are lost, projects are abandoned, and legacies are ended. But such is the homogenisation of games that it's difficult not to expect some of these closures. The people who play games have only so much money to spend on them, and so when a genre gets crowded, it's inevitable that some games won't do so well, and the developers who make those games fall by the wayside.

When the developer that closes isn't crowding a genre, when they're actually forging their own way and creating something grand and unique, something that should be a trailblazer rather than a sideshow, it's difficult not to feel like this is a greater tragedy, like we're not just losing a competent studio but instead an entire future, a way that games could have gone but didn't. It's happened too many times, and that it's still happening, when it's so much easier to reach your audience, to create an audience thanks to the internet, is heartbreaking.