One of the most popular and influential titles of all-time, id software's Doom played a key part in gaming's challenging 90s transition from two to three dimensions, and its legacy of technical innovation continues to this day. Last week, Nintendo and Bethesda announced a handheld version of the Doom 2016 reboot, seemingly a technological miracle in handheld form. However, back in 1993, full-fat Doom required a medium to high-end PC - and the race was on to accurately translate this incredible new experience to more affordable console hardware.
Marathon was slated to launch on Sept. 23, 2025 across Xbox, PC, and PlayStation, but Bungie will share the new release date in the fall.
It will lessen though and possibly make all the difference if it launches in a state that rectified a lot of the issues people had with it. A LOT of ifs of course.
They can't cancel it until a themed controller has been released first... like concord.
If they were absolutely certain about the quality of Marathon, then they had not delayed it just now.
So they've basically just confirmed what everyone, well, a lot of people saw: Marathon is not ready yet, still no soul to be seen.
"Doubling down on the Marathon Universe"
They're doubling down on soul, thank goodness this feedback illuminated that for them...
The latest game in BioWare’s fantasy role-playing series went through ten years of development turmoil
In early November, on the eve of the crucial holiday shopping season, staffers at the video-game studio BioWare were feeling optimistic. After an excruciating development cycle, they had finally released their latest game, Dragon Age: The Veilguard, and the early reception was largely positive. The role-playing game was topping sales charts on Steam, and solid, if not spectacular, reviews were rolling in.
Its easy they called the die hard fans people in their nerd caves who will buy anything and then went woke to reach modern audiences....insulting the nerds in their caves along the way showing utter contempt for their fan base. very hapy it failed and any company who insults their fan base and treat their customers with contempt and insults, in future, i also hope fail.
It’s disappointing but not surprising to see what's happening with Dragon Age: The Veilguard and the broader situation at BioWare. The layoffs are tragic — no one wants to see talented developers lose their jobs. But when studios repeatedly create games that alienate their own fanbase, outcomes like this become unfortunately predictable.
There’s a pattern we’re seeing far too often: beloved franchises are revived, only to be reshaped into something almost unrecognizable. Changes are made that no one asked for, often at the expense of what originally made these games special. Then, when long-time fans express concern or lose interest, they’re told, “This game might not be for you.” But when those same fans heed that advice and don’t buy the game, suddenly they're labeled as toxic, sexist, bigoted, or worse.
Let’s be clear: the overwhelming majority of gamers have no issue with diversity, LGBTQ+ representation, or strong female leads. In fact, some of the most iconic characters in gaming — like Aloy, Ellie, or FemShep — are proof that inclusivity and excellent storytelling can and do go hand in hand. The issue arises when diversity feels performative, forced, or disconnected from the narrative — when characters or themes are inserted not to serve the story, but to satisfy a corporate DEI checklist. Audiences can tell the difference.
When studios chase approval from a vocal minority that often doesn’t even buy games — while simultaneously dismissing loyal fans who actually do — they risk not just the success of individual titles, but the health of their entire studio. Telling your core customers “don’t buy it if you don’t like it” is not a viable business strategy. Because guess what? Many of us won’t. And when the game fails commercially, blaming those very fans for not supporting it is both unfair and self-defeating.
Gamers aren’t asking for less diversity or less progress. We’re asking for better writing, thoughtful character development, and a respect for the franchises we’ve supported for decades. When you give people great games that speak to them — whether they’re old fans or new players — they will show up. But if you keep making games for people who don’t play them, don’t be surprised when those who do stop showing up
I thought the writing and character development were fine. Sometimes things just dont resonate with people.
Recent evidence we discovered indicates that the next game in the Just Cause series may have been canceled, potentially two years ago.
this game is so boring i tried several times to at least finish the main campaign - to no avail. after a very short while i stop it again.
i also find it very funny that the switch crowd does not get tired to point out how dull the big titles are compared to their nintendo-approach-exclusives but as soon as someone manages to port one of these dull games to the switch it gets celebrated like the golden calf. how should one take this behavior seriously?
The PS1 version had a soundtrack that ran circles around the PC version. That alone made this console port the best version by far. I don't know who decided to do that, but it was a saving grace to replace those infamous cheap tunes based on famous hard rock tunes played in short loops endlessly with a beautiful and eery soundtrack that really enhanced the terror you felt in some levels.
It only we had been treated to 60Hz games in Europe... :p