Workers at Sega of America are accusing the video game company of "bad faith bargaining with workers" for its plan to lay off dozens of temporary workers. The publisher known for franchises that include Sonic the Hedgehog and Yakuza is now facing an unfair labor practice complaint filed by the Communications Workers of America (CWA). In April, 200 people in various departments across the company overwhelmingly voted in favor of unionization and formed the Allied Employees Guild Improving Sega (AEGIS-CWA) under the CWA. Now, Sega allegedly intends to lay off 80 of those unionized workers.

In its complaint, the CWA explained that it's been in bargaining with Sega since September. On November 6, Sega apparently presented the organization with a proposal to phase out of all its temporary employees by taking their work offshore to the company's offices in Europe and Japan by February 2024. Those temporary employees make up 40 percent of the union's bargaining unit and mostly work in quality assurance and localization, which the group describes as "critical to Sega's success."

The afternoon after their meeting, the CWA said Sega presented its proposal to the affected employees through captive audience meetings. "We believe this is a clear case of bad faith bargaining," the CWA wrote in its complaint, since Sega dealt directly with the union members and "violated status quo" by telling them they're losing their jobs.

"Sega will not be allowed to get away with this unlawful behavior," Elise Willacker, Senior QA Tester Temp, said in a statement. "We call on the company to make all temporary employees permanent and return to the bargaining table in good faith. There is no other just alternative." As Kotaku notes, the organization's complaint is now in the hands of the National Labor Relations Board, but it may take a while to resolve and may not prevent the layoffs from taking place.

A YouTuber named RwanLink recreated Castle Town from The Legend of Zelda: Ocarina of Time as a Studio Ghibli film and released a digital short to show off their efforts. This is to celebrate the game’s 25th anniversary and the YouTuber made the environment and characters in Unreal Engine 5, putting in over 600 hours of work to complete the project. It was a one person job, aside from the music, as reported by Eurogamer.

It’s got a gorgeous opening cinematic in the style of, you guessed it, Studio Ghibli, which is followed up by gameplay in Castle Town. The gameplay recalls Wind Waker, obviously, and even newer cel-shaded Zelda titles like Tears of the Kingdom and Breath of the Wild. There are Gorons, Gerudo, Hylians aplenty and, oddly, some ladies who look pulled straight from the Renaissance. The big bad himself, Ganondorf, also shows up.

The gameplay looks a bit choppy, but it’s still extremely impressive. There are dozens upon dozens of NPCs just about everywhere, many more than would be present in an actual Zelda game. The music is on-point and it just looks, well, cute and fun to explore, like a Zelda title should.

This project comes just a couple of weeks after the official announcement of a live action Zelda movie. Some fans were a bit displeased with the whole idea of a live action film at all, as animation seems to be the best way to do the story and characters justice, particularly something that draws from Studio Ghibli. Still, we’ll see when the film releases if director Wes Ball, from the Maze Runner films, can pull a cucco out of a hat.

Epic has introduced a new tool for documenting toxic behavior in Fortnite. Players will now have access to voice reporting, which will continuously record voice chats in 5-minute segments for players to submit as evidence to moderators when reporting bullying and other forms of harassment. For anyone under the age of 18, this feature will automatically be turned on.

Fortnite players who are over 18 will have a bit more say over how voice reporting is applied. In the game’s main settings, they’ll have the option to set it as “Always On,” which would apply to every channel they’re in, or “Off When Possible,” which would disable it in Party Channels with friends as long as everyone’s preferences match.

In what’s likely an effort to quell privacy concerns, Epic says audio clips won’t be kept for long and they’ll only be stored locally on the user’s device unless submitted as evidence. And, in those cases, you’ll have to move fast. As each new recording comes in, the previous will be deleted. “This means only the immediate last five minutes of audio is reportable,” Epic said.

Under normal circumstances, audio clips will be auto-deleted either after 14 days or once action has been taken, the company added. If the accused player appeals the decision within that time, it may be extended for another 14 days. However, Epic says it will hold onto an audio clip as long as necessary if legally required to do so.

The move follows similar action taken by companies like Activision, Microsoft, Sony and others in the recent past as they attempt to clamp down on harmful online behavior. Earlier this year, Xbox introduced a system for submitting 60-second audio clips alongside reports of abuse in voice chats.

Alan Wake II is a fantastic game. It tells a twisted, serpentine story of paranormal murder, shifting realities and demonic possession, with two brooding investigators at its core. Developers at Remedy Entertainment are masters of mood and Alan Wake II is their latest showpiece, highlighting the studio’s eye for psychedelic terror and complex mysteries. This game is packed with monsters, ghosts, cults, Old Gods, rock operas and mind-bending perspective swaps. And on top of all that, its character models and set pieces are absolutely gorgeous. Even though it just came out at the end of October, it’s no surprise that Alan Wake II is nominated in multiple categories at The Game Awards, including Game of the Year.

There’s a lot more than clue-gathering going on in Alan Wake II. The game regularly mixes full-motion video with CGI in a way that doesn’t feel silly or contrived; set in a universe of broken realities, the visual styles bleed into each other like alternate timelines fighting for dominance, fitting both the narrative and mechanical storytelling on display.

There are two playable characters, Saga Anderson and Alan Wake, and they’re each able to escape inside their own mind to solve the mysteries at hand. Saga, the stoic FBI agent, has a Mind Place where she can connect pieces of evidence with red string on a large, wood-paneled wall, and she can also profile people of interest, using her intuition to speak with their subconscious selves and uncover their secrets. Alan, the author who’s been lost in purgatory for 13 years, has a Writer’s Room with a plot board that literally alters reality when he adds new ideas to it. Players are able to switch between Saga and Alan throughout the game, as they attempt to crack the same case from opposite sides of the underworld.

Both of their environments have been infiltrated by shadow people, the standard enemies in this universe. The black silhouettes, glitching around the edges and hissing Alan Wake’s name, are affected by light — many of them fade away under the beam of a flashlight, but some of them transform into corporeal enemies and immediately attack, requiring multiple gunshots or one strong explosion to take them out. Saga and Alan can find temporary solace under lampposts and other well-lit areas, but these tend to flicker out in the heat of combat.

Which brings us to my issue with Alan Wake II, a game I very much enjoyed and highly recommend. Because I can still hear the furious typing from people who won’t read a negative word about something they love — please remember, it’s possible to enjoy something and also discuss what it could’ve done better. In the case of Alan Wake II, this means removing the guns.

There’s a delicious undercurrent of tension running beneath Alan Wake II, propelled by dark corridors, gruesome rituals and a creeping wave of personal loss. This sense of unease builds throughout the story and bursts through the screen in jump-scare vignettes as the characters’ situations become more desperate. Mystery is the heart of Alan Wake II’s horror. Unfortunately, the slow-burning narrative tension is routinely interrupted by gunplay, replacing it with a different, harsher kind of anxiety that feels out of place in this survival horror experience.

Again and again, I’d be exploring a new area, mentally putting the clues together as the story unspooled, when suddenly — time for a gunfight. The tone would immediately shift from dark, inquisitive terror to pew pew pew, replacing my train of thought with standard action-game things like landing headshots and dodging. After the scuffle, it would take a long moment for me to find the rhythm again, remind myself what I was looking for, what was at stake, what reality I was in. The tension and terror would start to build again, and then — another gunfight.

There’s nothing wrong with the combat in Alan Wake II, but it isn’t revolutionary and it doesn’t serve the game’s narrative. It’s an unnecessary interruption. Alan Wake II has intense detective work, horrific setpieces, paranormal drama, reality-shifting mechanics, secrets uncovered with light, two versions of a Sherlock-style mind palace, small puzzles, grand mysteries, murderous demons and plenty of action without guns at all.

Light is the shadow people’s weakness, and Saga and Alan both carry flashlights for most of the game. Turning on the high beam stuns the shadow enemies and sometimes opens weak points in their chests. Light hurts the ghosts, but it doesn’t kill them. To kill the ghosts you need bullets. I find this concept silly enough, but there are also scenes where the ghosts have guns, which is downright hilarious. On top of that, some of the shadow people are true bullet sponges, eating eight to twelve shots before going down. This sucks in general, but it’s especially egregious in a horror game, as it replaces feelings of dread with frustration and bullet math. Tediously shooting a ghost eight times instead of one doesn’t make an encounter any scarier.

With light as a weapon, Alan Wake II doesn’t need guns. Activating the high beam already uses precious battery power, and both Saga and Alan have to find batteries hidden around their environments, keeping resource-management fears alive. There are scenes where a flashlight and weapon combination actually works well — mainly, the flashlight and flare gun offer a swift one-two punch for standard enemies, preserving the panic of an attack while offering twitchy combat moments that don’t interrupt the overall vibe. Here, the gun is secondary, while the light does most of the work. In terms of game logic, this makes way more sense than a ghosts-and-guns approach.

Remedy is calling Alan Wake II the studio’s “first foray into the survival horror genre,” which makes its reliance on guns and even more perplexing. Regardless of whether Alan Wake II is more of an action horror or survival horror game, I’m most concerned with how it serves horror. In this regard, the gunplay just gets in the way.

I turned on story mode about two-thirds through my playtime, and I didn’t feel cheated out of any tension or terror; the enemies were still scary, and the game’s puzzles remained challenging. Remedy does weird stuff really well, and Alan Wake II is grotesque, mind-melting and darkly soapy, like The X-Files or Twin Peaks, with a touch of Outlast and Resident Evil 4. I just wonder what game we would’ve gotten if the developers didn’t design around basic third-person shooter tropes (feel free to save those for Control, Remedy — guns make sense in that game).

You know how every big-studio action movie nowadays feels like a modified version of Iron Man? The Marvel Cinematic Universe set the modern standard for big-budget action flicks, and it seems like many other movies now attempt to imitate its tongue-in-cheek tone, the epic scale of each battle, its predictable narrative flow and climax, the green-screen action scenes, its cliffhangers and after-credits scenes. A similar phenomenon is occurring with big-budget mainstream games, where there seems to be a formula that developers attempt to emulate, and this includes gunplay with hordes of bullet-absorbing enemies.

It feels like Alan Wake II fell victim to this unnecessary constraint, with negative consequences for the game’s sense of storytelling and terror. I get it — guns, ammo and inventory management are a familiar, accepted mechanic in video games as a whole, which makes firearm combat an easy element to include in mainstream titles. I just don’t think Alan Wake II needed it to be successful.

Nintendo's digital game sales are helping the company continue to perform well as the Switch nears the end of its tenure as its flagship console. In its latest earnings report (PDF) from March to September 2023, Nintendo has revealed that it sold 19.5 million copies of The Legend of Zelda: Tears of the Kingdom, which was released in May. It also sold 2.61 million units of Pikmin 4 after it came out in July, while Mario Kart 8 Deluxe posted 3.22 million more in unit sales after The Super Mario Bros. Movie was shown in April. Nintendo has sold 57.01 million copies of the kart racing game so far.

The gaming company says other Switch titles also continued to grow steadily, including those from other publishers, and that there were 16 games that posted sales of millions of units for the aforementioned period alone. In all, the company's digital sales amounted to 217.5 billion Yen ($1.45 billion) from March to September, which is almost 16 percent higher than its digital sales for the same timespan last year.

"As a result of these factors," Nintendo says, its unit sales for the entire Switch family rose by 2.4 percent year-on-year to 6.84 million units. The only model that sold well and brought the average up, however, was the Switch OLED console. Nintendo sold 32.8 percent more Switch OLEDs this period compared to last year, but it only moved 1.25 million units of the basic Switch model, representing a 44 percent decrease in sales year-on-year. The decrease in sales for the Switch Lite wasn't quite as dramatic, but Nintendo still sold 1.9 percent fewer units.

Going forward, Nintendo intends to release more games so as to entice people to keep playing on the Switch and to buy more than one console for their homes. For this holiday season, it has a few releases in pipeline, including WarioWare: Move It!, Super Mario RPG and add-on content for Pokémon Scarlet and Pokémon Violet. Nintendo is expected to release its new flagship console sometime next year and has reportedly started showing developers the upcoming device's ray-tracing capabilities and other more advanced technologies.

Blizzard is planning an MCU-style future for the World of Warcraft. Chris Metzen, who only recently returned to the company as the executive creative director of Warcraft, has announced that the game's next three expansions will make up a three-part interconnected saga. Since Blizzard typically releases expansions within two years of each other, "The Worldsoul Saga's" story will take years to unfold. The first installment called World of Warcraft: The War Within is slated for release sometime in 2024, followed by World of Warcraft: Midnight and World of Warcraft: The Last Titan in the years after that.

Warcraft general manager John Hight said the trilogy encompasses "one of the most ambitious creative endeavors ever attempted for World of Warcraft." Each one is a standalone narrative, but they're connected by an overall story arc, he explained. "Alongside these epic adventures, the ongoing quality-of-life feature updates players have come to expect from us since Dragonflight will continue in The War Within, further setting us up for the next 20 years and beyond," Hight added.

While Blizzard has yet to released an in-depth summary for The War Within, it did share a few pertinent details about the expansion. It will feature an ancient civilization underneath the surface of the planet as it rises in power, while Alliance and Horde heroes experience visions of possible futures, both good and bad. Players can grind until they reach the expansion's level cap of 80, and they can explore a new continent called Khaz Algar. There's also a new unlockable and playable Titan-forged race called the Earthen, new bite-size adventures that can support one to five players called Delves, as well as a new feature dubbed Warbands, which allows players to share banks, reputations and transmogs across characters.

Fans can already pre-purchase The War Within for $50, and it will also give them instant access to the Dragonflight expansion. The War Within: Heroic Edition, which comes with extras, is available for $70, while the The War Within: Epic Edition that includes beta access to the expansion, along with even more extras, will set them back $90.