Dylan Lepore

Category: Video Games

  • Opinion: Sony Is Pushing an All-Digital Future While Undermining Digital Ownership

    Opinion: Sony Is Pushing an All-Digital Future While Undermining Digital Ownership


    On July 1, 2026, Sony Interactive Entertainment issued two announcements that expose a fatal contradiction in the modern video game industry. The company is actively forcing players toward an all-digital future, while demonstrating in real time that digital libraries carry a corporate expiration date. They are demanding total consumer reliance on their digital infrastructure, while proving that infrastructure is anything but permanent.

    The first blow to physical preservation came via the official PlayStation Blog. Sid Shuman, Senior Director of SIE Content Communications, announced that starting in January 2028, physical game disc production will end for all new PlayStation releases. Shuman framed the decision as a necessary adaptation, stating the move is “in response to shifting trends in consumer preference.”

    “Physical game disc production for all new games releasing on PlayStation consoles will be discontinued starting January 2028.”

    — Sid Shuman, Senior Director, Sony Interactive Entertainment

    The market data certainly supports that trend. According to gaming industry analyst Piers Harding-Rolls of Ampere Analysis, the digital share of game purchases has skyrocketed over the past decade, jumping from just 13% at the PS4’s launch to nearly 80% by 2025. From a strict business perspective, eliminating the manufacturing, shipping, and warehousing overhead of physical media is an understandable corporate efficiency.

    But what makes financial sense for a corporation isn’t always what is best for the consumer—especially when digital ownership is legally treated as a revocable license.

    The Illusion of the Digital Library

    Sony is asking players to move toward an all-digital future, yet the company is actively dismantling its digital past. This concern is not theoretical; it is happening right now.

    Just days before announcing the end of physical discs, Sony confirmed a massive deletion of digital content from user libraries. According to reporting from Game Informer, written by Marcus Stewart, Sony began notifying users that hundreds of previously purchased movies and television shows from Studio Canal—including acclaimed films like Terminator 2: Judgment Day, Apocalypse Now, and Paddington 2—would be wiped from PlayStation digital libraries starting September 1, 2026. The removal, tied to expiring content licensing agreements, offers no refunds to the players who paid for them.

    “From September 1, 2026, due to our content licensing agreements, you will no longer be able to access your previously purchased content from Studio Canal, and it will be removed from your video library.”

    — Official PlayStation Store Notice

    This establishes a grim precedent: when a licensing agreement lapses, the consumer is the one left empty-handed. For anyone who has spent decades curating a physical media library, the reality is stark. A physical disc on a shelf belongs to you. A digital purchase is merely a conditional rental, tethered to the shifting legal agreements of corporate entities.

    Dismantling the Fallback

    To compound the issue, Sony used the very same day it announced the 2028 disc cutoff to reveal that legacy digital infrastructure is also on the chopping block.

    In a separate post, Shuman announced the impending closure of the PlayStation 3 and PlayStation Vita digital stores, shutting off new purchases globally by July 2027. The juxtaposition is staggering. Sony is demanding that consumers abandon physical media while showing exactly what happens when the digital storefronts that replace them eventually become obsolete.

    The community immediately connected the dots. Sony’s announcements quickly accumulated thousands of comments on the PlayStation Blog, the overwhelming majority expressing fierce opposition.

    “We literally own nothing now but licenses.”

    — PlayStation Blog Commenter

    For many core fans, the 2028 timeline marks a hard exit ramp, with another commenter adding, “Looks like the PS6 is where it sadly ends for me.”

    The Core Argument for Ownership

    Physical media provides rights that digital purchases simply do not: resale, lending, donation, and long-term preservation independent of platform control. In a fully digital ecosystem, access is conditional—governed by licensing agreements, account status, and storefront availability rather than permanent possession. As preservation organizations like the Video Game History Foundation have long warned, when physical formats die, the legal and practical ability to archive and protect the medium’s history is severely crippled.

    Thirteen years ago, Sony built a mountain of consumer goodwill with a 22-second viral video playfully demonstrating how to share physical games on the PS4. It was a defining moment that helped them win a console generation by positioning PlayStation as the platform that respected traditional ownership. Now, Sony is eliminating the very medium that made that message possible.

    The Retail Ripple Effect

    The consequences extend far beyond a single player’s game shelf. Without physical media, Sony gains significantly greater control over pricing within its own ecosystem because consumers no longer have access to competing retailers selling new physical copies or a used game market.

    This shift will fundamentally alter the broader retail landscape. Walk into many Target or Walmart stores today, and the console game aisle is already shrinking. Removing PlayStation discs eliminates one of the largest remaining categories of physical console software. Retail analysts warn that this transition could accelerate the decline of specialty electronics stores like GameStop, which rely heavily on the secondary market of used games to maintain foot traffic.

    Sony argues that it is following consumer behavior, but by removing the alternative, it is actively reshaping it. The question is no longer whether digital downloads are the future—they already are for a majority of the market. The real tension is no longer physical versus digital, but permanence versus permission. If that choice disappears in 2028, July 1, 2026, will be remembered as the day PlayStation fundamentally redefined game ownership.

  • Rumor: PlayStation State of Play Set for February as PS6 Launch Slips

    Rumor: PlayStation State of Play Set for February as PS6 Launch Slips


    Sony is expected to host a new PlayStation State of Play presentation in February, according to multiple industry insiders and retail leaks surfacing this week. While Sony Interactive Entertainment has not officially confirmed the event, the reports suggest a showcase focused on the 2026 software lineup and upcoming PlayStation Plus Essential titles.

    The rumored event comes amid shifting expectations for Sony’s hardware roadmap. Industry analysts now suggest the PlayStation 6 may not arrive until 2030, a significant delay from the previously projected 2027 or 2028 launch windows.

    Extended Lifecycle for PS5

    The shift in console timelines is reportedly driven by the continued strength of the PlayStation 5 market and the impending release of Grand Theft Auto VI. Analysts at SandStone Insights noted that Sony likely wants to extend the PS5 lifecycle to capitalize on the massive momentum expected from Rockstar Games’ next title, which is slated for a late 2025 or early 2026 window.

    “Sony expects the PlayStation 5’s lifecycle to be extended,” said David Gibson, an analyst at SandStone. Gibson noted that the “Console Timelines Shift” at Sony points toward a longer-than-expected wait for next-generation hardware.

    February Content Outlook

    While hardware news remains speculative, the rumored February State of Play is expected to highlight immediate software concerns. Leaks suggest that the boxing title Undisputed—which currently holds a 70 on Metacritic—will headline the PlayStation Plus Essential lineup for February.

    Other potential highlights for the showcase include:

    • New gameplay details for Resident Evil Requiem.
    • Updates on Bungie’s Marathon, currently slated for a March 5 release.
    • Trailers for first-party titles like Ghost of Yotei.

    Sony typically announces State of Play events only a few days in advance. If the February rumors hold true, an official announcement from the PlayStation Blog is expected within the next two weeks.

  • Soccer Dash: Football Simulator Review — A Mobile Game Wearing Switch Clothes

    Soccer Dash: Football Simulator Review — A Mobile Game Wearing Switch Clothes


    It’s Soccer… Sort Of

    In Soccer Dash: Football Simulator, you don’t control a player—you are the ball. You aim, charge, and kick your way through 46 near-identical levels, dodging obstacles and cartoonish defenders while navigating mini golf-style mazes.

    It’s an idea that could be fun in quick bursts. But the game doesn’t evolve. It doesn’t challenge. It doesn’t respect your time—or your money.

    “I had everything unlocked in under 30 minutes. And I wasn’t even rushing.”

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    One Mechanic, Zero Innovation

    The game’s main feature is slow motion. You pull back on the left stick to charge a shot, then press “A” to kick. This triggers a slo-mo effect that helps you line up your path.

    You can spam this mid-air, meaning you can basically cheese your way through any obstacle. There’s no scoring, no timing challenges, no tracking—just kick, coast, repeat.

    “There’s nothing to master. No skill ceiling. Just a skill floor you never need to leave.”

    Touchless on a Touchscreen?

    This game screams “mobile port,” but bafflingly, there are no touch controls on the Switch. For a game all about tapping direction and momentum, it’s a strange omission—and one that makes it feel half-finished.

    The UI is also barebones. Your only options in the settings menu? Mute sound and mute music. That’s it.

    World Cup Without the Cup

    The “World Cup” mode lets you choose from dozens of country flags and compete with a CPU through a 4–5 match sequence. Sounds exciting—but you win nothing, there are no rankings, and the matches don’t feel any different from normal levels.

    It’s a mode that exists just to exist.

    Skins Don’t Save It

    There are 16 unlockable “ball skins,” some with minor perks like more speed or coin bonuses. One of them is a literal golf ball that’s immune to traps. But they don’t add depth. If anything, they make the already-too-easy game even easier.

    “The skins are cute. But when your game is this thin, cosmetics aren’t a fix.”

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    Sound Effects: One Size Fits All

    The sound design feels as lazy as the level design. Every ball—whether it’s a beach ball, a steel ball, or a soccer ball—makes the same dull thud when kicked or deflated. No variation. No charm. No immersion.

    Final Thoughts: A Game That Barely Tries

    Soccer Dash: Football Simulator is what happens when a clever core idea gets lost in poor execution. There’s potential in controlling the ball and navigating puzzle-like soccer mazes, but this game simply does not care to do more than the bare minimum.

    No par system. No level variety. No rewards. No difficulty curve. No sound diversity. No joy.

    Score: 2/10 – Painfully Basic

    It feels like an early mobile prototype rushed onto a console marketplace—without even bothering to implement touch controls on a touchscreen system. It isn’t offensively bad. It’s just lazily made and quickly forgotten.

    “You won’t hate it. But you definitely won’t remember it.”

    Soccer Dash: Football Simulator – Fact Sheet

    Release date: July 23, 2025 (Switch Store March 6, 2025)
    Reviewed on: Nintendo Switch
    Developed by: [Developer name not specified]
    Published by: Upscale Studio
    Platform(s): Nintendo Switch

    Disclosure: I received a free review copy of this product from Keymailer. All thoughts and opinions in this review are my own.

    🎮 Want to try Soccer Dash: Football Simulator yourself?
    Visit the Nintendo eShop or check availability via your Keymailer dashboard.

    Author

    Dylan Lepore's avatar

    Founder of LeporeMedia & The Part-Time Gamer

    Dylan Lepore

    Dylan Lepore is a multimedia professional, entrepreneur, and lifelong gamer who’s passionate about blending creativity with strategy. As the founder of LeporeMedia and The Part-Time Gamer, and the Business Manager at Port City Architecture, Dylan brings a unique mix of storytelling, design, and business savvy to everything he does. He lives in Portland, Maine, with his wife and his dog, Alecto.

  • RoboCop: Rogue City Review – A Flawed but Faithful Sequel

    RoboCop: Rogue City Review – A Flawed but Faithful Sequel


    TL;DR – RoboCop: Rogue City Review

    RoboCop: Rogue City is a gritty, cinematic return for the legendary cyborg cop, acting as a spiritual RoboCop 4 complete with Peter Weller’s iconic voice. It nails the tone and story with impressive cutscenes and RPG-lite mechanics, but technical issues and weak replayability hold it back. The combat is fun but too brief, especially in New Game Plus, and the lack of mission select limits replays. Still, it’s a love letter to fans and a surprisingly faithful licensed game.

    Verdict: A must-play for fans—just be ready for some rough edges.
    Score: 6/10

    RoboCop Returns in Glorious, Gritty Fashion

    RoboCop: Rogue City is the kind of surprise you don’t see coming. In a time when many licensed games feel like cash grabs or forgettable tie-ins, this one dares to deliver a full-blown cinematic experience rooted in love for the source material. It plays like a direct sequel to the original films—ignoring the reboot and stepping in as a worthy RoboCop 4. From the unmistakable voice of Peter Weller to the smog-choked streets of Old Detroit, this game is clearly made by fans, for fans.

    It’s a game that gets a lot right: the tone, the pacing, and especially the first-person feel of becoming RoboCop. But for every step forward in immersion and style, there’s a stumble in technical polish and replayability. The result is an experience that feels both authentic and ambitious, but ultimately uneven.

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    Authentic RoboCop Vibes

    RoboCop: Rogue City does a great job capturing the gritty, dystopian world of the classic RoboCop films. Set after the events of RoboCop 1 and 2, the story throws you into the boots of Alex Murphy once again, with new villains and conspiracy theories that feel right at home in the franchise.

    It nails that RoboCop tone—grimy streets, corrupt systems, and violent justice. What really impressed me was how faithfully it recreated iconic locations from the movies. These environments have been rebuilt from the ground up and are surprisingly detailed and immersive. It actually made me go back and rewatch the original films, which says a lot about how well the game captures the spirit of the source material.

    Peter Weller Returns as RoboCop

    One of the coolest things about this game? It’s voiced by Peter Weller, the original RoboCop himself. That alone gives the game a huge dose of authenticity. His signature monotone delivery and presence make it feel like you’re really stepping into a forgotten chapter of the movies. Fans of the franchise will absolutely appreciate hearing that familiar voice again—it’s not just a nostalgia hit, it’s a game-changer for immersion.

    This feels like RoboCop finally got the Alien: Isolation treatment.

    A Great Start with Solid Gameplay

    The first 15 minutes had me hooked. Playing in first-person as RoboCop feels right—it gives weight to every step and bullet, immersing you in his heavy, methodical presence. The pacing, music, and tone blend into something cinematic yet still fun to play. It’s reminiscent of how Alien: Isolation brought its movie world to life—this feels like RoboCop finally got that same treatment.

    Combat is satisfying. RoboCop doesn’t sprint or dive-roll—he stomps through enemies like a tank. As you level up, you can upgrade your skills and customize your Auto-9 pistol. The Deduction skill is especially useful early on for a 30% XP boost.

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    Customization and RPG Elements

    The skill tree is simple but effective—you’ll likely max it out by the end of the campaign. Each skill tier noticeably improves RoboCop’s capabilities, from combat efficiency to environmental scanning, making you feel progressively more powerful without overwhelming you with complexity.

    As far as customization goes, the RPG-lite mechanics are surprisingly engaging. RoboCop’s iconic Auto-9 sidearm supports swappable chip sets that alter its performance—everything from increasing damage and armor-piercing capabilities to boosting fire rate or ammo capacity. You’ll collect these chips throughout the game and use a clever mini-puzzle system to optimize how they’re slotted in. The trick is to align power flow through a circuit grid, finding the most efficient path to activate multiple bonuses at once. It adds just enough depth to reward experimentation without slowing down the pace.

    RoboCop in Old Detroit - Rogue City screenshot

    A Cinematic but Restrictive Experience

    Beyond the action and leveling system, the game leans heavily into its cinematic roots. The cutscenes are frequent, well-acted, and beautifully rendered, often blurring the line between game and movie. This immersive storytelling works great in your first playthrough. The story even branches in some interesting ways. You can affect relationships with characters and your decisions lead to either a “good” or “bad” ending.

    This layer of choice is a great addition to the RoboCop franchise in game form. But it also introduces some technical constraints that I don’t think the developers were quite prepared for. The branching narrative adds replay value, sure, but it also complicates things like mission select, and replayability—making the absence of those features feel more like a necessary compromise than a design choice.

    New Game Plus and Replayability Issues

    But once you get towards the end of the game and New Game Plus, the pacing falters. With RoboCop already fully leveled, enemies go down almost instantly, making combat encounters feel more like brief intermissions than actual challenges. The excellent cutscenes begin to feel like barriers between gameplay, especially when you’re just in the mood for some RoboCop-style carnage. Those moments of explosive action become too brief simply because of how overpowered you are.

    New Game Plus should’ve been a chance to relive the best moments with more freedom. Instead, it’s more of the same—and too easy. Once you’ve maxed out your skills and gear, even the hardest difficulty becomes a walk in the park.

    As mentioned before, there’s no level select or mission replay, which is a major oversight—especially in a game with such strong cinematic highlights. If you want to relive a specific shootout or story beat, you have to replay the entire campaign from the beginning. A sandbox or freeplay mode would’ve added a lot of value, especially for players who prefer gameplay over story or just want to flex their fully-upgraded RoboCop in combat.

    A dedicated practice mode or combat simulator could’ve solved this, offering quick access to action without narrative interruptions. There is one section of the game that does something close to this—and it’s a blast—but it ends up feeling more like a tease than a feature. Its presence only emphasizes how much the game would benefit from more of that kind of content.

    Combat gameplay in RoboCop Rogue City

    Ambitious World Design, Uneven Execution

    The game tries to walk the line between open-world exploration and a linear narrative. Some zones feel lively and well-integrated, offering side missions, interactive NPCs, and environmental storytelling that expands the RoboCop universe in interesting ways. However, this semi-open structure often clashes with the more rigid, cinematic pacing of the main story.

    Dialogue doesn’t pause when you walk away, and characters don’t repeat lines—so if you miss something, it’s gone. This leads to moments where the storytelling and gameplay feel out of sync. For instance, you may stumble across a meaningful side activity only to find it undercut by your current story objective or accidentally miss important narrative beats by straying too far off the path.

    It’s like the game wants to be both things at once—story-driven and semi-open—but doesn’t quite stick the landing. The lack of dynamic systems or reactive world-building means exploration can sometimes feel flat, and you’re left deciding whether to slow down for immersion or risk missing content entirely. A more focused structure or better integration of open-world elements could have really elevated the experience.

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    The Technical Glitches Hurt the Experience

    As fun as it is, the game isn’t without its issues—and they can pile up fast. Frame rate drops are common, especially during high-intensity scenes or crowded environments, which undercuts the game’s cinematic momentum. One particularly frustrating bug caused the right stick to stop responding entirely, meaning I couldn’t turn the camera—mid-fight or while exploring, that’s a dealbreaker.

    The audio also suffers: voice lines sometimes crackle, sound effects cut out, and lipsync frequently drifts out of sync during dialogue. Add in the occasional flickering textures or glitches, and immersion starts to crumble. If this game ever had a VR version, the performance alone would make it nauseating.

    Most of these issues can be temporarily resolved by restarting the game, but that’s no real fix. It disrupts the flow of gameplay and can make progress feel tedious rather than rewarding. For a title that relies so much on atmosphere and presentation, these technical flaws stand out even more. The developers clearly have a strong foundation here, but they absolutely need to follow up with patches and performance updates to let the experience shine the way it was meant to.

    Final Thoughts: A Love Letter to RoboCop with Room for Improvement

    RoboCop: Rogue City is clearly made by people who love the franchise. The visuals, the tone, Peter Weller’s return, and the general feel of the game all come together in a way that really honors the movies. It absolutely succeeds at making you feel like RoboCop.

    But as strong as the heart is, the body still needs work. Technical bugs, lack of quality-of-life features like mission select, and shallow replayability keep it from being a truly great game. With a little more refinement—like a training mode, improved pacing, and patching out the glitches—this could’ve been a definitive RoboCop experience.

    6/10 – Okay

    Rating: 6 out of 10.

    With a few patches and a little more content, it could easily be a 7 or even 8. As it stands, it’s a rough but lovable tribute to an ’80s icon—and definitely worth playing for fans of RoboCop.

    RoboCop: Rogue City
    Release date: November 2, 2023
    Reviewed on: PlayStation 5
    Developed: Protostar
    Published by: Teyon
    Platform(s): PlayStation 5, Xbox Series X and Series S, GeForce Now, Microsoft Windows, Amazon Luna, Mac operating systems

    Author

    Dylan Lepore's avatar

    Founder of LeporeMedia & The Part-Time Gamer

    Dylan Lepore

    Dylan Lepore is a multimedia professional, entrepreneur, and lifelong gamer who’s passionate about blending creativity with strategy. As the founder of LeporeMedia and The Part-Time Gamer, and the Business Manager at Port City Architecture, Dylan brings a unique mix of storytelling, design, and business savvy to everything he does. He lives in Portland, Maine, with his wife and his dog, Alecto.

  • Why Videogame Journalism and How I Got in To It

    Why Videogame Journalism and How I Got in To It


    Every since I was a little boy, my dad was always into videogames. He had the SEGA Game Gear, a Gameboy, the original PlayStation One (PS1), and a Nintendo Entertainment System (NES). My twin brother Noah and I would play our Gameboys, and before going to daycare, we would wake up in the morning to play Big Bass Fishing, Dave Mirra Freestyle BMX, or Caesars Palace on the PS1 even if we had no idea what we were doing. It was fun, and that was the point. Eventually, I got into more AAA games, typically meaning of having a higher development and marketing budget, such as Tony Hawk’s Pro Skater and the Spyro the Dragon franchise.

    As we got older, my brothers and father would move over to the new Xbox 360 (2005) playing Halo and Gears of War. At the same time, I would stick with PlayStation and Spyro through and through, attempting to play every Spyro videogame ever made – collecting gems and hatching dragon eggs, as they would be brutally killing aliens from faraway planets saving the Earth.

    That’s when playing videogames became more personal for me as I got into Sly Cooper, Ratchet & Clank, Crash Bandicoot, Need for Speed, Scooby-Doo, and Spider-Man at the peak of the PlayStation 2 (PS2) era.

    I was glued.

    Friends and neighborhood kids would ask me to come and play outside with them, and I wouldn’t want to because I felt it couldn’t be any better than what I was already doing. Being on my own and staying my course is something I learned I like to do real quick, as that time alone gave me a chance to think, create, wonder, dream, and play. In that sense, I grew up fast and matured quickly.

    Eventually, after the PlayStation 3 (2006), PlayStation Vita (2011), and the PlayStation 4 (2013) came out, between 2012 and 2013 I was thinking of what I wanted to become or do for the rest of my life. I knew I wasn’t just going to be playing videogames all day as a full-time income, while more possible now, it’s still a rare gig to acquire.

    I started thinking of what I was good at or things I could do with little no money. I couldn’t draw, so no graphic design; I couldn’t write stories, so no directing or becoming an author; and I didn’t have the know-how or equipment to stream or video record my games.

    However, I watched many YouTube videos talking about gaming news and reviews, had magazine subscriptions to Game Informer and Playstation Magazine, and I would read up on news on the internet whenever I could. I even started watching videogame press conferences such as the Electronic Entertainment Expo (E3) at a young age.

    Greg Miller, a former editor and video host of the entertainment website Imagine Games Network (IGN), came up on my radar earlier into my self-discovery. Greg had a similar story; he was just a kid growing up in the ’80s and ’90s who loved playing videogames and reading comics. He went to college at the University of Missouri to pursue magazine journalism and started working for IGN by 2007.

    This story seemed possible at the time to impatient, but times have changed, and the way videogame news and entertainment are consumed and produced have changed as well. I realized it’s going to take me a lot more than just writing articles and hoping for the best.

    I consumed every book I could get on videogame journalism, watched every video, listened to every podcast, and read every article to determine the path I needed to take. I started browsing the web for an opportunity to write anywhere I could find that was videogame centric. I came across the website Brutal Gamer and worked there for about a year and a half for free. I wholeheartedly thank them for introducing me to freelance writing and working for a website.

    Truth be told, I was a terrible writer even out of high school. It wasn’t good.

    But, I got better with practice. I never had the chance to write what I wanted to write or explore other writing types in public school. It was always essays that were oddly formatted.

    Journalism drew me in because I am naturally sarcastic, blunt, and to the point. I want to say what I need to say, keep it clear, and move on to the next topic. It doesn’t need to be complicated with a 10-page paper, single-paced, point 12 font, APA style, and in Times New Roman. That’s just too much and something the average person wouldn’t read.

    Everyone eventually gets where they need to be, but no path is usually the same. It’s more of a feeling and a drive, and that’s what I have found with videogames and journalism. Not because it would seem cool or that all I care about is videogames, but more of a feeling of something I need to do.

    When you get that feeling for something, follow through with it, and see where it leads you. Life can surprise you.

  • It’s Literally Just Mowing: A Mobile Game Review

    It’s Literally Just Mowing: A Mobile Game Review


    It’s Literally Just Mowing is a game developed for people who like the satisfaction of a well-cut lawn but don’t want to do the actual work. The result is a self-aware game that delivers in giving you a casual zen experience by mowing grass from anywhere in the world on your mobile device.

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  • Marvel’s Avengers Videogame Announced for May, Captain America Dies?

    Marvel’s Avengers Videogame Announced for May, Captain America Dies?


    Endgame wasn’t the end for The Avengers yet, with Crystal Dynamics studio premiering a trailer for their new videogame Marvel’s Avengers during this past E3.

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  • Minecraft Earth Coming Soon To IOS and Android This summer!

    Minecraft Earth Coming Soon To IOS and Android This summer!


    Mojang Studios, the founding company that brought Minecraft to the world, recently announced an augmented reality Minecraft game, Minecraft Earth, through a press release sent out May 17, 2019, on Minecraft’s official site. Think next level Pokémon GO!

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  • Bungie has Reveled Destiny 2’s Next Big DLC: Shadowkeep

    Bungie has Reveled Destiny 2’s Next Big DLC: Shadowkeep


    Bungie has recently revealed Shadowkeep, the next chapter for Destiny 2, which will reunite players with Destiny 1’s Eris Morn and return players to the hive infested Moon of Earth.

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  • Borderlands 3: Everything We Know So Far Plus Guns with Legs

    Borderlands 3: Everything We Know So Far Plus Guns with Legs


    Gearbox Software announced its long-awaited sequel, Borderlands 3, back in March at PAX East 2019 in Boston, MA, and since then, numerous teasers and trailers have popped up revealing the insanity that is to come.

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