Sony Closes First-Party PlayStation Studio

PlayStation has decided to close Manchester VR, its first-party studio in the UK that was working on an unannounced PlayStation VR project.

As reported by GamesIndustry.biz, PlayStation made this decision “to close it as part of our efforts to improve efficiency and operational effectiveness.”

Manchester VR was formed in 2015 to specifically work on VR games. It never released a game, and has now become the third UK studio PlayStation has closed in the PS4 generation.

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In 2016, PlayStation closed MotorStorm and Driveclub’s Evolution Studio and, in 2017, it shut down Killzone: Mercenary and RIGS: Mechanized Combat League’s Guerrilla Cambridge.

PlayStation still has two studios operating in the UK, Dreams developer Media Molecule and the team behind Blood & Truth, London Studio.

Even though it has shut down this VR-focused studio, PlayStation remains committed to PSVR, and it already confirmed that it will be backward compatible for the PlayStation 5.

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Beat Saber, which is available on PSVR, won our Best VR Game of 2019, and beat out other PSVR titles as Blood and Truth, Ghost Giant, and Trover Saves The Universe.

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Adam Bankhurst is a news writer for IGN. You can follow him on Twitter @AdamBankhurst and on Twitch.

Cliff Bleszinski Says He Made LawBreakers Too “Woke”

Cliff Bleszinski struck gold with the Gears of War franchise, but his first game after leaving developer Epic–the team-based shooter LawBreakers–was not a success. That game, and developer Boss Key’s battle royale follow-up Radical heights, failed to find an audience. And in turn, Boss Key closed its doors and Bleszinski left the gaming world.

Bleszinski is now taking time to reflect. He said in post on Instagram that lately he’s been thinking about what he could have done differently with Boss Key. Easy ideas might have been to “pivot hard” when Blizzard’s own team-based shooter, Overwatch, was announced, or he could have been “more of a dictator” with his ideas for LawBreakers, he remarked.

But perhaps a bigger revelation for Bleszinski was that he regrets getting political. He said he wishes he let LawBreakers speak for itself instead of being the “white dude [who] shoehorns diversity in his game and then smells his own smug farts in interview.”

You can read Bleszinski’s full statement below:

“Ever since the studio closed I’ve been wracking my brain what I could have done differently. Pivot HARD when the juggernaut of Overwatch was announced. Been less nice with my design ideas and more of a dictator with them.

One big epiphany I had was that I pushed my own personal political beliefs in a world that was increasingly divided.

Instead of the story being ‘this game looks neat’ it became ‘this is the game with the ‘woke bro’ trying to push his hackey politics on us with gender neutral bathrooms.’ Instead of ‘these characters seem fun’ it was ‘this is the studio with the CEO who refuses to make his female characters sexier.’ Instead of ‘who am I going to choose’ it became ‘white dude shoehorns diversity in his game and then smells his own smug farts in interviews’ instead of just letting the product … speak for itself.

It’s okay to be political when your company or studio is established for great product FIRST. But we were unproven and I regret doing it. (This will be quite the doozy of a chapter in the upcoming memoir.)”

As Bleszinski mentions here, he is currently writing a memoir that will chronicle his life and experiences in the video game industry.

Bleszinski left Epic after 20 years in October 2012, prior to the release of Epic’s massively popular battle royale game Fortnite. He started Boss Key with former Killzone boss Arjan Brussee in 2014; the team shipped LawBreakers in 2017 and the early access PC game Radical Heights in 2018 before closing down later that year.

Bleszinski is now pursuing one of his other passions: theatre. He is an investor in the critically acclaimed Broadway musical Hadestown, which he is also co-producing. Hadestown earned a whopping 14 Tony award nominations, winning eight–including Best Musical.

Here’s How Many People Have Signed Up For Disney Plus

Disney+ got off to a very strong start following its release in November. Disney reported today that the streaming service had 26.5 million paying subscribers as of December 28, 2019, and a total of 28.6 million as of February 3.

“The launch of Disney+ has been enormously successful, exceeding even our greatest expectations,” Disney CEO Bob Iger said on the company’s earnings call, according to The Hollywood Reporter.

Analysts anticipated subscribers to reach up to 25 million for the period, so the numbers are ahead of expectations. Disney+ costs $7-per-month in the United States, which is below the monthly cost of a Netflix subscription.

The average revenue per Disney+ subscriber for the period was $5.56. Driving that figure down were a number of promotions, including free Disney+ for Verizon users and pre-sale bundles that offered discounted rates for those who sign up for three years. According to Iger, 20 percent of Disney+ users came to the platform from the Verizon freebie. As such, Disney+’s profit profile should get better over time as the discounts expire.

By comparison, Netflix had 167 million paying subscribers globally by the company’s latest count.

Disney’s other streaming service, Hulu, had 30.4 million paying subscribers by the end of 2019, while ESPN+ had 7.6 million subscribers. Disney’s streaming business–across Disney+, Hulu, ESPN+, and others–remains a money-loser for the company. This segment posted a loss of $693 million during the period, but this is all to be expected as Disney builds the infrastructure. As announced previously, Disney expects Disney+ to turn a profit in 2024. The company also expects to have as many as 90 million Disney+ subscribers by 2024.

Notably, Disney+ is only available in a limited number of countries thus far. Disney plans to continue to roll out the platform in other parts of the world throughout 2020 and beyond.

One of the most highly touted pieces of content on Disney+ right now is the Star Wars TV show, The Mandalorian (which returns for a second season in October 2020). Looking beyond that, Iger teased that Disney is considering spin-offs based on The Mandalorian characters, though he did not single out any characters in particular. The executive also said Disney will focus on Disney+ for future Star Wars projects, at least for the next few years.

Even more news came out of the Disney earnings call today–check out the stories below to learn more.

The Flash: Midseason Premiere Review

Warning: this review contains full spoilers for The Flash: Season 6, Episode 10. If you need a refresher on where we left off, here’s our review for the midseason finale and our full review of Crisis on Infinite Earths.

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It’s funny to think how little we knew about the future direction of The Flash coming into the second half of Season 6. Crisis on Infinite Earths had been casting a huge shadow over the series, to the point where we didn’t even know if Barry Allen would still be alive come January. And even once it became clear Grant Gustin’s Barry wasn’t the one sacrificing his life to save the multiverse, there was still the question of what conflicts and villains would drive the series post-Crisis. Thanks to “Marathon,” we now have a much clearer sense of how the series will move forward from the crossover. This episode deftly balances the need to reflect the events of Crisis while also building a clear path forward.

Surprisingly, the tone of “Marathon” isn’t as lighthearted as you might expect now that Barry has just been given a second lease on life. Apart from that early CC Jitters scene, this episode is a fairly glum exploration of how the various members of Team Flash are moving forward from Crisis. This does feel like an appropriate choice, however. With multiple heroes having sacrificed everything to save the multiverse, a lighthearted, feel-good midseason premiere would probably ring hollow. This goes back to one of the main strengths of Season 6 – it’s better at tone management and knowing when to be funny and when to let the drama carry the day.

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“Marathon” is also notable for featuring Arrow’s David Ramsey in his first guest role since that show wrapped. I’m sure we were all hoping this episode would follow up on Arrow’s big cliffhanger, but the script is very careful to place this episode’s events before the Diggle family’s departure from Star City. Instead, Dig plays a more understated but still important role, helping Barry come to terms with Ollie’s death. I appreciate how this storyline subverts expectations by revealing there’s no actual mystery at all and Ollie’s final gift is truly just that – a gift to commemorate a friendship that helped establish the Arrowverse as we know it today. Plus, it never gets old watching Dig deal with Speed Force-induced motion sickness.

In another surprise, welcome twist, Iris is turning out to be the driving force of the show’s post-Crisis status quo. Her ongoing investigation and partnership with Esperanza has never really been one of the more compelling pieces of the Season 6 equation, but this episode goes a long way toward changing that. While a bit plodding at first, there’s a growing sense of danger and unease as Iris digs deeper into the mystery of McCulloch Technologies and invites both physical and legal disaster. That culminates in a very satisfying stinger scene that makes the identity of the series’ latest big villain abundantly clear.

Along the way, we also get a surprisingly different take on Doctor Light, one that doesn’t seem particularly beholden to any prior comic book incarnation. While it’s a little strange seeing Kimiyo Hoshi depicted as a ruthless assassin when she’s always been the heroic counterpoint to the fiendish Arthur Light, she does make for a fun secondary antagonist in this episode. And with the Arthur Light version having recently appeared in Titans, it stands to reason The Flash may have been limited to using Kimiyo.

The promise of an ongoing Team Flash vs. Mirror Master storyline is extremely appealing. For all that this series has done to refine the Arrowverse formula and showcase speedster villains like Reverse-Flash and Zoom, it’s never really taken advantage of the full scope of Flash’s rogues gallery. Specifically, the Flash Rogues have always felt like an afterthought. Captain Cold and Heat Wave barely spent any time as villains at all before reforming and shifting over to DC’s Legends of Tomorrow. The rest have been used as minor, forgettable footnotes.

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Even Mirror Master suffered that fate back in Season 3, with the Sam Scudder version of the character being used as a one-and-done threat to Central City. Mirror Master deserves better, and it seems that he’s finally getting better. The twist being that the classic Evan McCulloch version is being transformed into Eva McCulloch, a billionaire inventor who now exists as some sort of warped, journalist-snatching mirror demon. And as with the previous Bloodwork arc, the hope is that the the condensed nature of this storyline will prevent too much fluff and filler from gumming up the works.

Barry and Dig’s quest aside, the lingering effects of Crisis are most clearly felt in Cisco’s emotional journey. “Marathon” is great about exploring both the humor and the tension that arise in trying to come to terms with a new world built on the ashes of multiple worlds. Having Supergirl and Black Lightning as permanent neighbors is great, but what about all the new and resurrected villains that have appeared alongside them? That’s to say nothing over Cisco’s guilt and regret over taking the metahuman cure. That’s the tricky thing about the old great power and great responsibility mantra. Do superheroes get the luxury of a happy, peaceful retirement? Can they even appreciate that retirement when it comes? These are interesting questions to explore, particularly in light of how Smallville’s Clark Kent was portrayed in Crisis.

Carlos Valdes delivers what is easily the episode’s strongest performance, especially late in the game where his guilt begins to overwhelm him. It’s a welcome reminder that Cisco is far more than just the obligatory snarky tech whiz, but a character who’s grown and evolved and suffered every bit as much as Barry himself over the course of six years.

I do wish “Marathon” gave us a better sense of what Cisco’s Arrowverse future entails. There were rumors last year that Valdes was leaving the series after Season 5’s finale. Clearly that rumor didn’t pan out, but maybe there was a kernel of truth to it? It’s hard to tell if Cisco’s absence is temporary as the series builds toward a new status quo for the character, or if Cisco is being phased out so Valdes can pursue other projects. It would be a shame if Cisco exits the picture just as the series is finally finding its footing again.

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One thing is clear – Nash Wells is now being positioned as Cisco’s temporary replacement on Team Flash. Having a Wells as a more permanent presence on the series is always a nice thing, particularly one who isn’t as aggressively annoying as Season 5’s Sherloque. While this episode highlights the fact that his adventurous swagger is a mask for his loneliness and guilt over his role in Crisis, there are some concerns regarding Nash’s current characterization.

For one thing, it’s a little bizarre seeing him revert to his old Nash persona so soon after his turn as Pariah. I’m not clear on how much time was supposed to have passed between Nash’s disappearance and his return as Pariah, but he definitely had the air of a man haunted by countless years of watching his failure play out in front of him. Neither the writing nor Tom Cavanagh’s performance reflect the full weight of that experience. If anything, Nash seems more bothered by his daughter’s estrangement than his role in the death of the old multiverse.

On that note, do we really need another running subplot about Harrison Wells trying to reconnect with his daughter? It’s a redundant plot twist, and seemingly unnecessary given how much drama this character already has to process. The hope is that Nash can better find his place in the team Flash dynamic in this second half of Season 6, but there are reasons for concern right now.

How Much Money Birds Of Prey Is Expected To Make In First Weekend

DC’s next big comic book movie, Birds of Prey, comes to theatres this weekend. It’s expected to have a huge opening at the box office, where it’s projected to pull in between $110 million-$125 million globally for the three-day weekend, according to Deadline.

The movie was produced on a $97.1 million budget, which drops to $84.5 million after California’s tax credits, so Deadline estimates it won’t have trouble turning a profit.

Birds of Prey is a spin-off of Suicide Squad. That movie made $133.3 million over its opening weekend back in 2016. One important distinction between the two is that Suicide Squad released during the summer, while Birds of Prey is premiering in February.

Early social media commentary on Birds of Prey has been overwhelmingly positive. Official reviews will start to appear on Wednesday, February 5, so keep checking back for more.

Margot Robbie stars as Harley Quinn, alongside Mary Elizabeth Winstead as Huntress, Jurnee Smollett-Bell as Black Canary, and Rosie Perez as Renee Montoya. Star Wars actor Ewan McGregor plays the bad guy, Black Mask. Birds of Prey is directed by Cathy Yan.

Perfect Dark Reboot Rumors Heating Up

It may still be winter but Xbox Series X talk is heating up! We discuss the “old thing” Microsoft’s new studio, The Initiative, might be working on. Plus: Star Wars Jedi: Fallen Order is a hit, EA talks up the Xbox Series X, the mystery port on the back of the Series X might not be for diagnostics, and more!

Subscribe on any of your favorite podcast feeds, or grab an MP3 download of this week’s episode. For more awesome content, check out the latest episode of IGN Unfiltered from our new barcade set, featuring an interview with Star Wars Jedi: Fallen Order director Stig Asmussen. It’s an open bar; come and join us!

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It’s already an incredibly fun year of Xbox coverage, and the best is yet to come. Join us!

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Ryan McCaffrey is IGN’s Executive Editor of Previews. Follow him on Twitter at @DMC_Ryan, catch him on Unlocked, and drop-ship him Taylor Ham sandwiches from New Jersey whenever possible.

Update: Animal Crossing Switch Preorders Now Live at Amazon

UPDATE: the Animal Crossing Nintendo Switch is finally available for preorder at Amazon.

On March 13, Nintendo will a special edition Animal Crossing: New Horizons-themed Nintendo Switch console. It arrives exactly one week before the game (which, true to form for Nintendo, is sold separately). Preorders for the new hardware are now live at a number of retailers, including Amazon, GameStop, and Best Buy. If you want one, you might want to lock in your preorder soon, because there’s no telling whether these will sell out.

Preorder Animal Crossing: New Horizons Special Edition Nintendo Switch

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The special edition Nintendo Switch is now available to preorder at most online retailers that sell such things. Note that preorders haven’t gone live yet on Amazon, and that they’re currently sold out at Best Buy. That means if you want to make sure you get one, you’d be wise to place your preorder soon so it doesn’t sell out everywhere before you have the chance.

This Is the “V2” Nintendo Switch

This special edition of the Switch is the “V2” version of the hardware, which means it gets longer battery life than the launch Switch. It has pastel blue and green Joy-Cons. The base is cream colored and features an image of Tom, Timmy, and Tommy Nook standing on a small island in the sea. The back of the Switch is black, but it’s etched with Animal Crossing imagery.

It Does Not Include the Game

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Unfortunately, this special edition Switch does not include the game. Assuming you’ll want to play Animal Crossing: New Horizons on your Animal Crossing-themed Switch, you’ll have to buy it separately (see it at Amazon). Also available is an Animal Crossing-themed carrying case for Switch and Switch Lite, plus a pair of officially licensed Switch controllers made by PowerA, which you can see below.

Preorder Animal Crossing Carrying Case & Screen Protector

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Animal Crossing: New Horizons is the first game in the series since Animal Crossing: New Leaf released on the 3DS in 2012. New Horizons has a vacation theme, as you’re whisked away on the Nook Inc. Deserted Island Getaway Package. As usual, you’ll be able to customize your character and your home to your liking, shaping the landscape as you see fit. You can craft items, fish, decorate, and yuck it up with the neighbors.

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Chris Reed is IGN’s shopping and commerce editor. You can follow him on Twitter @_chrislreed.

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