Gaming.

Spil, hardware og e-sport.

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Microsoft lancerer sin mindste Xbox-controller Nano - recordere.dk Microsoft lancerer Xbox Nano Controller, der med en længde på lidt over 12,7 centimeter og en vægt på 99 gram er virksomhedens hidtil mindste Xbox-controller. Den er især målrettet børn, personer med mindre hænder og gaming på farten. Controlleren har genopladeligt batteri, programmerbar knap samt Xbox Wireless og Bluetooth, og den kommer til Danmark i november til 409 kroner.

Rec.dk Gaming for 1 time siden

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'I'm in Grade School Again' — Arc Raiders Players Are Complaining About Griefers Who Are Bullying Them in PvE Arc Raiders’ eksperimentelle PvE-tilstand bliver allerede udnyttet af spillere, der blokerer andre ved udtrækningspunkter, camper ved låste områder og lokker fjenderobotter hen til deres holdkammerater. Da spillere ikke kan skade hinanden direkte, bruges evner og værktøjer til at skabe farlige situationer uden straf. Embark Studios kan stadig nå at ændre tilstanden, som også har udløst debat om PvE’s plads i spillet.

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'Blue Is Intellectual, It's Smart' — We Asked a Color Psychologist Why Blue Team Only Wins 15% of Its Wardogs Matches IGN undersøger, hvorfor Blue Team i militærspillet Wardogs kun vinder omkring 15 procent af kampene, mod 36 procent for Red Team og 49 procent for Green Team. Udvikleren peger på historiske balanceproblemer, holdets centrale spawnplacering og en selvforstærkende opfattelse blandt spillerne. I sæson 2 flyttes spawnpunkterne på Bakuriani-kortet, mens holdet forsøger at ændre Lonestars dårlige ry.

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Developer of 2026 Game of the Year Contender Explains Why It's Boycotting Xbox Det australske studie House House har bekræftet, at co-op-spillet Big Walk ikke udkommer til Xbox Series X og S. Beslutningen skyldes støtte til BDS-bevægelsens boykot af Microsoft og Xbox, som bevægelsen har udpeget som et prioriteret mål. Spillet er i stedet udgivet til PC, PlayStation 5 og Nintendo Switch 2.

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Mick Gordon On How He Helped to Make Warhammer 40,000: Boltgun 2’s Climactic Boss Fight “Big and Bombastic” Komponisten Mick Gordon fortæller i et interview med IGN om sit arbejde på den afsluttende bosskamp i Warhammer 40,000: Boltgun 2. Han skabte nummeret “Ascent of the Arkifane” ud fra gameplay-optagelser, konceptmateriale og udviklersamtaler, fordi spillet endnu ikke var stabilt nok til at spille under produktionen. Gordon tilpassede blandt andet tempoet nøje til kampens naturlige rytme.

IGN Gaming for 13 timer siden

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Rockstar Games Originally Planned to Develop GTA 6 Alongside Red Dead Redemption 2, But Plans Changed Rockstar Games planlagde oprindeligt at udvikle GTA 6 sideløbende med Red Dead Redemption 2, men projektets omfang gjorde det nødvendigt at prioritere westernspillet. Udviklingen af GTA 6 fortsatte med research og planlægning fra midten af 2010’erne, mens spillets historie først tog form i 2019. Erfaringer og systemer fra Red Dead Redemption 2 forventes at have haft stor betydning for det kommende spil.

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'Mark Better Know How to Fight' — Invincible VS Players Can't Get Enough of Atom Eve's 'Thicc' Casual Skin Skybound Games har udgivet et nyt afslappet alternativt kostume til Atom Eve i kampspillet Invincible VS. Kostumet har udløst stor aktivitet blandt fans, især på grund af figurens ændrede kropsform, som afspejler udviklinger fra tegneserien og animationsserien. Spillet har også fået nye figurer og andre kostumer, mens næste sæson af Invincible ventes på Prime Video i begyndelsen af 2027.

IGN Gaming for 16 timer siden

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Celebrate IGN Fan Fest by Entering to Win a Digital Deluxe Edition of LEGO Batman: Legacy of the Dark Knight and a Classic Batman Minifigure! IGN udlodder en digital Deluxe Edition af LEGO Batman: Legacy of the Dark Knight samt en fysisk Retro Batman-minifigur. Deluxe-udgaven inkluderer blandt andet Mayhem Collection med Joker og Harley Quinn som spilbare figurer, en ny mission og en særlig spiltilstand. Konkurrencen er åben for myndige personer bosat i USA fra 14. oktober til 14. november 2026.

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The Physical and Digital Premium Editions of Forza Horizon 6 on Xbox Series X Have Hit Their Lowest Prices Yet at Amazon and Walmart Forza Horizon 6 sælges nu til rekordlave priser hos Amazon og Walmart. Standardudgaven til Xbox Series X er sat ned med 40 procent til 42 dollar, mens Walmart tilbyder den digitale Premium Edition til 59,99 dollar, svarende til 50 procent rabat. Premium-udgaven inkluderer blandt andet Car Pass, udvidelser, VIP-medlemskab og flere bonuspakker.

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New Psychological Horror Game Jiaohun Traps Players in a Y2K-Era Chinese Town Filled With Dark Secrets, Inner Demons, and Nostalgic Terror Jiaohun er et nyt førstepersons psykologisk horrorspil fra udvikleren 12AM Blackout. Spillet foregår i Fairy Town i Kina i 1999, hvor spilleren møder dæmoner, hemmeligheder og mystiske væsner i en fortælling inspireret af kinesisk folklore. Det udforsker besættelse gennem gåder og udforskning og udkommer til PlayStation 5 og PC via Steam i 2027.

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PlayStation Plus Catalog Games for October 2026 Revealed, Includes Mafia: The Old Country PlayStation Plus Extra- og Premium-abonnenter får i oktober adgang til blandt andre Mafia: The Old Country, Horizon Forbidden West og co-op-spillet Mycopunk. Flere titler, herunder Poppy Playtime: Chapter 2 og Tales of Arise – Beyond the Dawn Edition, udkommer regionalt senere på måneden. Premium-brugere får desuden Dino Crisis 2 og RollerCoaster Tycoon 3 Complete Edition.

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Master Chief, Space Marines, and Clone Troopers Come to Gears of War: E-Day in New Mod En ny mod til Gears of War: E-Day giver spillerne mulighed for at udskifte figurerne Marcus, Dom, Mags og Lucas med skins inspireret af blandt andet Halo, Star Wars og Warhammer 40,000. Modden Incursion samler flere skin-muligheder i én vælger, så de kan skiftes direkte fra spillets menuer. Den kræver en kopi af E-Day og installeres via Nexus Mods.

IGN Gaming for 18 timer siden

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Spawn Warlock Diablo Immortal Action Figure Goes Up for Preorder McFarlane Toys har annonceret en 7 tommer høj deluxe-actionfigur af Spawn i Warlock-udgaven fra Diablo Immortal. Figuren har op til 22 bevægelige dele, stofkappe med indbygget tråd og flere tilbehørsdele. Den kan forudbestilles for 49,99 dollar hos udvalgte forhandlere og udkommer i marts 2027. Figuren er en del af spillets Spawn-samarbejde, som løber frem til 1. november 2026.

IGN Gaming for 19 timer siden

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Warhammer 40,000: Boltgun 2 is a Gore-geous, Pixelated Boomer Shooter That Builds on the Original IGN anmelder Warhammer 40,000: Boltgun 2 som et tempofyldt old-school first-person shooter med masser af blodig action. Efterfølgeren introducerer en ekstra spilbar hovedperson, forskellige kampstile og forgrenede baner, der øger genspilningsværdien. Varierede mål og miljøer holder kampagnen frisk, men spillet lider også under enkelte tekniske problemer og en til tider tyndbenet fortælling.

IGN Gaming for 19 timer siden

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'Unplug for a Bit When It's Too Much' — Magic: The Gathering Designer's Response to Product Fatigue Sparks Debate About the Deluge of New Cards Magic: The Gathering-designeren Mark Rosewater har afvist, at den store mængde nye kort nødvendigvis er et problem for spillerne. Han fremhæver, at kun en lille minoritet forsøger at følge alle udgivelser, og at antallet bør styres af salg og spilaktivitet. Udmeldingen har dog skabt debat blandt især engagerede spillere, som oplever produktmæthed og udfordringer for Standard-formatet.

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The Legend of Zelda: Ocarina of Time Remake Will Support All Existing Zelda Amiibo, With In-Game Item Bonuses Confirmed by Nintendo Nintendo har bekræftet, at genindspilningen af The Legend of Zelda: Ocarina of Time understøtter alle eksisterende Zelda-amiibo. Scanningerne ser ud til at give spillere forbrugsgenstande som hjerter, grønne eliksirer og Deku-kæppe, mens de nye Young Link- og Young Zelda-figurer også låser op for masker. Spillet udkommer eksklusivt til Nintendo Switch 2 den 5. november.

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‘Programming Is Hard’ — Epic Says It ‘Vibe-Coded’ the New Version of Its Games Launcher Epic Games har lanceret en ny version af Epic Games Launcher, som ifølge virksomheden er udviklet med omfattende brug af generativ AI. AI’en er især anvendt til kode, arkitektur og hurtigere udvikling, mens designet fortsat håndteres af Epic’s normale designteam. Den nye launcher understøtter Windows og Mac, og en Linux-version er på vej.

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Grand Theft Auto IV – The Legacy Review IGN genbesøger Grand Theft Auto IV som led i en retrospektiv gennemgang af seriens hovedspil frem mod Grand Theft Auto 6. Anmeldelsen fremhæver spillets mindre, men tættere og mere detaljerede Liberty City samt Niko Bellic som hovedperson. På trods af færre funktioner end GTA: San Andreas vurderes spillets atmosfære, realisme og bydesign stadig at holde sig bemærkelsesværdigt godt.

IGN Gaming for 21 timer siden

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‘The Library Loads 30x Faster’ – The New Epic Games Launcher Has Arrived and Its Creators Say Its Speedier Than Steam Epic Games har lanceret en preview-version af en helt ny Epic Games Launcher, der er bygget fra bunden med fokus på hastighed og et mindre ressourceforbrug. Selskabet hævder, at biblioteket indlæses 30 gange hurtigere end før, og at launcheren også er hurtigere end Steam i visse scenarier. Den understøtter Windows, macOS og for første gang Linux, mens Fortnite til Linux kommer senere.

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Borderlands 4 on PlayStation 5 and Xbox Series X Has Hit Its Lowest Price Yet at Amazon of Just $20, a 60% Discount From Its List Price De fysiske udgaver af Borderlands 4 til PlayStation 5 og Xbox Series X er sat ned til 19,91 dollar hos Amazon. Det svarer til 60 procent under den vejledende pris og er samtidig den laveste pris, spillet har haft hos forhandleren. Tilbuddet slår også Amazons pris under den seneste Prime Big Deal Days-kampagne.

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29 New Changes in the Zelda: Ocarina of Time Remake — Redesigned Puzzles, Updated Miniboss Fights, and Deeper Dialogue En gennemgang af en forhåndsversion af The Legend of Zelda: Ocarina of Time-remaket på Switch 2 beskriver 29 ændringer sammenlignet med Nintendo 64-originalen. Puslespil, minibosser, fjender og områder som Castle Town og Forest Temple er blevet justeret, mens nye genveje og tydeligere ledetråde skal gøre navigationen mere intuitiv. Spillet udkommer 5. november.

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The Legend of Zelda: Ocarina of Time Remake on Switch 2 is far from a 1:1 remake, instead adding depth and texture that makes this beloved adventure feel instantly fresh. IGN har prøvespillet Nintendos genindspilning af The Legend of Zelda: Ocarina of Time til Switch 2. Spillet er ikke en direkte kopi af originalen, men indeholder redesignede baner, nye dialoger, opdaterede kontroller og en mere detaljeret visuel stil. Anmeldelsen fremhæver især, hvordan ændringer i gåder, kampe og banedesign tilpasser den klassiske oplevelse til moderne spil.

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'The Leeks Stop Here. For Now' — GTA 6 Leaker Releases New Gameplay Video Showing Snippets of the Final Missions, Declares 'The End of the Road' After Crypto Scheme Collapses Den formodede GTA 6-lækker Cyberleek har offentliggjort en ny, uautoriseret gameplayvideo, som angiveligt indeholder klip fra spillets afsluttende missioner. Personen eller gruppen hævder samtidig, at lækagerne stopper, efter en tilknyttet memecoin kollapsede, og at en påstået 200 GB-spilversion ikke vil blive udgivet. Cyberleek har dog truet med at offentliggøre flere spoilers, hvis de bliver presset af Rockstar Games eller Take-Two.

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GTA 6 Didn't Cost More Than $1.5 Billion to Develop, Rockstar Insists, but It's Undoubtedly the Most Expensive Video Game of All Time Rockstar afviser et online-rygte om, at GTA 6 har kostet mere end 1,5 milliarder dollar at udvikle, men virksomheden vil ikke oplyse det præcise budget. Spillet vurderes stadig til at være det dyreste videospil nogensinde. Rockstar har nu 4.711 medarbejdere på tværs af 12 kontorer, og analytikere forventer meget høje salgstal ved lanceringen i november 2026.

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Magic: The Gathering Prepares to Overhaul Its Universes Beyond Strategy With Darkhold Destiny, as First-Wave Marvel Super Heroes Sets Start to See Deep Price Cuts Amazon har sat flere produkter fra Magic: The Gathering-sættet Marvel Super Heroes ned i pris. Tilbuddene omfatter blandt andet Play Boosters, Collector Boosters, Commander-decks og forskellige bundles, med rabatter på op til omkring 35 procent. Artiklen fremhæver også, at Wizards of the Coast planlægger det næste Marvel-sæt, Darkhold Destiny, til april 2027.

IGN Gaming for 23 timer siden

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Musik Gaming Underholdning IGN for 13 timer siden

Mick Gordon On How He Helped to Make Warhammer 40,000: Boltgun 2’s Climactic Boss Fight “Big and Bombastic”

Komponisten Mick Gordon fortæller i et interview med IGN om sit arbejde på den afsluttende bosskamp i Warhammer 40,000: Boltgun 2. Han skabte nummeret “Ascent of the Arkifane” ud fra gameplay-optagelser, konceptmateriale og udviklersamtaler, fordi spillet endnu ikke var stabilt nok til at spille under produktionen. Gordon tilpassede blandt andet tempoet nøje til kampens naturlige rytme.

Fra IGN

If you were making a sequel to Warhammer 40,000: Boltgun and wanted to inject a bit of extra boom into the boomer shooter, then you probably wouldn’t look any further than Mick Gordon. The legendary Aussie composer has been soundtracking videogames for about two decades, but it was his face-melting work on 2016’s Doom and 2020’s Doom Eternal that really established his monster guitar riffs as the perfect way to fire up fans of first-person shooters. It seemed a no-brainer, then, that developer Auroch Digital would enlist Gordon to add his signature heavy touch to the climactic boss fight at the end of Warhammer 40,000: Boltgun 2. Ahead of the game’s release this week, IGN caught up with Gordon to get an insight into how his curtain-dropping contribution to the shooter sequel’s soundtrack came about.

IGN: How did you come to be involved with Warhammer 40,000: Boltgun 2? Were you familiar with the first game?

Mick Gordon: Yeah, definitely. So, I sent the team an email after the first Boltgun, and I said, “Hey, this game is really cool. There are a lot of boomer shooters out at the moment, but I think what you guys have done with it feels really good. It feels really fun to play. And you've obviously combined this pixelated, sprite-based, first-person shooter boomer shooter thing with the Warhammer 40K universe in what seems to be the most obvious idea that nobody else had ever thought of. Really, really great job.”

So, I had a bit of a relationship with them from that moment. And when they were doing the sequel, they shot me an email. They're like, "You know what? We've got this giant boss battle at the end, and it's on a scale that did not appear in the first game, and we want to have some music for it that kind of matches that scale, something that's really big and bombastic and silly. Would you like to do it?"

And of course, I was like, "Yeah, I'd absolutely love to." I've always wanted to, but I've never been involved in the Warhammer universe. I've always wanted to stray into that territory, but I've never [been] given an opportunity to until this one came along. So, there's the first-person shooter aspect, there's the Doom-inspired first-person shooter aspect, there's the pixelated aspect, there's this giant evil-looking demonic battle boss battle thing, and then there's the Warhammer thing. So, I mean, how would you not say yes to that? It's like a match made in heaven, really, isn't it?

IGN: When something like this kind of falls in your lap, do you start completely from scratch or do you have a folder on your MacBook that's labelled "Sick First-Person Shooter Riffs" and you just kind of scoop some of those out and start sculpting with them?

Gordon: No, definitely not. My job on every single project is to try to come up with a unique voice that suits that project and that project only. I like to think about these things as something that I come up with exists in a sphere in the universe, and that sphere belongs to that thing and that project, and that is unique in that space. When I'm coming up with something else, I can't push that sphere into the space that that other sphere exists in. Do you know what I mean? I have to come up with something that takes up its own space.

Now, of course, people will say, "Well, we've listened to your music. It sounds like you did this, sounds like you did this, you did this." I know you can never completely divorce yourself from your own tastes and input. So, I understand that. But my goal is to try and work with the team to come up with something unique that fits the music's purpose for that specific project alone. So, I don't just have like a bunch of [pre-existing] riffs or ideas that I would put into this game, and this game, and this game. That's not my job. My job is to sit with the team and try to find what makes their thing unique and really just explode that out [in an] extreme sort of way musically.

IGN: As part of your process for creating your track, ‘Ascent of the Arkifane’, did you actually play the boss battle itself?

Gordon: It can be difficult because often games aren't fun to play until they are finished and ready to release. You know what I mean? And often because of the rapid development on these games, there are builds being done several times a day. So, it can be very difficult for a team to send me a stable build to actually work with.

Instead, what they do is send me capture footage that the QA department puts together for me. And the QA people, it's their sole job to play the game all day. So, they are really good at it, and they're really good at making it look like it's how it's going to be. And that's perfect. That's all I need. They will send me that. They will send me screenshots. They will send me concept art. I will have conversations with the developers and things. But I love videos. Videos are the best.

Why I love the videos is I take the video when I get it in my studio, and I put the video on my television, and I sit on my couch, and I have a controller in my hands that is not even plugged in, right? It's just there, and I sit back on my couch and I start imagining myself as a player playing the game for the first time. The reason I'm doing this is I'm trying to find the most perfect tempo for what the music should be to match what I'm seeing. Then I have a little metronome app on my phone which is sitting on my thigh, and I will literally tap metronome tempos and write them in a notebook and say, "This level needs to be 99 beats per minute. This level needs to be 138. This one needs to be 216 beats per minute." And the whole reason I'm doing that is to try and find a tempo that fits with the natural pace of the gameplay itself.

I have to do that because if the music I make is too fast, it becomes overwhelming and annoying to the player. At that point, players go into the options menu and they turn the music down or off. And if they're doing that, I have completely failed. Not just at my job, but at life in general. If my music is too slow, that can result in reviewers saying, "This game feels sluggish. This game feels slow. The game itself didn't quite feel exciting." You know what I mean? That even if the game is tight, even if the game feels really good, the mechanics are there, everything is really nice and polished, if the music is too slow, the whole experience can feel really sluggish, you know?

So, my job is to just find the right tempo. Once I've got the tempo, then everything can get built from that point there. I set everything in my studio up to that tempo, and then I start building ideas out to match the game itself.

IGN: Once the developers of Boltgun 2 have given you artwork and gameplay videos, do you just lock yourself in your studio and produce the track on your own? Was there much back and forth with the development team?

Gordon: It's definitely a back and forth thing. I mean, you've got to understand when I start working on a project, there's nothing. Nothing exists. It's a complete blank canvas, you know? I don't even have a sharpened pencil at that point. It's nothing. And I get nothing for free. Like nothing. Nobody comes along and says, "Make this in D minor at 90 beats per minute" or whatever. Nothing. Nothing at all.

I have to experiment. I have to try. And I'm very big on finding teams and people that I love working with that I can feel comfortable in failure with. So, when I am submitting an idea, I have more confidence in myself submitting an idea that might be a stupid idea or might be an extreme idea. It might be a crazy idea because I need the team to be able to start saying yes or no to certain things. It's definitely a collaboration that I have with them. Like anybody does with a computer-based setup, [I have] millions of possibilities. I can do anything. I can do an entire video game score on [a] laptop if I need to. Anything is possible these days.

When we're in the final boss battle, I can walk in and be the loudest, most obnoxious bastard in the room.

What happens with that freedom is choice paralysis. There's a million different decisions that need to get made all the damn time. And when I'm faced with a branching path between decision A or decision B, I need a deciding factor of which way to go. Now, I can do a lot of that on my own end, for sure, with my own taste, my own input, but at some point I'm going to need to say to somebody who's a lot closer to the project, who's been on it for a number of years, "Hey, do you prefer A or B or C or D or A," whatever it is.

So, there's definitely that back and forth process, and I love that, too. I love that because it starts involving them, and they start feeling like they're part of the music, and their input starts developing and shaping the song as a whole as well.

IGN: Is it a unique challenge to be tasked with specifically soundtracking what is effectively the climax of the game? Where your job is to basically push the peak of the player’s experience to its absolute limits?

Gordon: It is, but it also taps into this rather unsavory part of my personality, which is the desire to walk into a room and be the absolute most arrogant bastard in the place. And when we're in the final boss battle, I can walk in and be the loudest, most obnoxious bastard in the room.

IGN: That sounds like fun [laughs]. Is it also somewhat bittersweet in another sense, given that your music isn’t featured until the end of Boltgun 2, and statistically that’s likely to be a point that only a fraction of the audience will actually reach?

Gordon: Yeah, that's a really good point. When I make this massive game score, I know that there's a large percentage of players that are never going to hear this little bit of music. There's music I have in games that I know from even Doom and stuff that people have never, [or] very rarely even heard. The whole Rip & Tear track, for example, is about 28 minutes long. The version that sits on the album is what, three minutes or something like that? I had to cut out so much stuff just to fit it on Spotify. There's so much to it that people will only hear if they do something really specific and really unique.

But I love that, too, because I love that feeling that I had when I was playing games as a kid of finding a hidden area or finding something secret. It made it feel like I had a closer relationship to the game, you know? It felt like it had a little secret thing, and I knew that little secret now. [It meant that] the game and I now had a bit more of a deeper relationship, you know?

And so I love the fact that there's only going to be a small percentage, and it is—when you look at the actual numbers on Steam or whatever, it can be like 6% of people get to the boss battle. It's crazy, [but] I don't care. I love that. I think that's actually really cool because for those 6% of people that will get it, they'll get something that's specific and unique. You know what I mean? And I get to build a relationship with that player that the rest of the population doesn't have. I think that's really quite special.

IGN: Speaking of Doom, your work on that series was so remarkable because it became something beyond merely background music, it actually had an active influence on the player. Like the rhythm of the music basically dictated the rhythm of the action and vice versa. It was like a perpetual motion machine. Is that the absolute ideal for you? That your compositions will literally ride shotgun with the player?

Gordon: Yeah. The term I like is "forward momentum." I love that games, I feel, are the only art form where there is a direct link between the audience and the art form itself. If I'm in an art gallery, there is a gap between the canvas and me, the viewer. If I'm watching a film, there is a gap between the film itself and me sitting on the couch. But a game only works if you, the player, are interacting with it. Without that, the game is useless. It doesn't do anything. It needs your input.

So, there is this cyclical thing between you and the game. This cycle that you work back and forward. The player is a collaborator. It's very important. If you take out the player, the game doesn't exist. It's absolutely useless. You need that. So, I'm always trying to think about how that works.

Now, it doesn't just work philosophically. It works on a technical level. My music for a game is essentially a three or a four or a five-hour song. It's one song. It exists in one session. That song gets broken up into multiple little segments that then get rearranged based on what the player is doing. If the player is low on health, if they're into the next level, if they're fighting a boss, if they're doing really well, if they're not doing really well, if they're in a tutorial… Whatever it is, if they're playing with their friends, the music will change based on what they're doing. They are literally in control. They're the conductor. So, there is always going to be that relationship between what I'm doing and the player. That's absolutely super important. And that's always in the back of my mind. I can't escape it. That is literally the nature of video games.

IGN: Thank you very much for your time.

Warhammer 40K: Boltgun 2 is out now on PlayStation 5, PC, and Xbox Series X|S, with a Nintendo Switch 2 version to be released at a later date. You can check out IGN’s review of the retro-styled first-person shooter sequel here, where we gave it 8 out of 10 and declared it was “an explosive sequel that packs a bloody punch.”

Warhammer 40,000 Boltgun 2 Mick Gordon Spilmusik Doom Auroch Digital

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Mick Gordon On How He Helped to Make Warhammer 40,000: Boltgun 2’s Climactic Boss Fight “Big and Bombastic”

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