MindsEye is a bit of a mess. The first proper effort of Build a Rocket Boy, a studio helmed by former GTA developer Leslie Benzies, the game fell flat on its face mostly because it was just wasn't great. The studio hasn't given up on it though, in part because it was apparently all because of saboteurs.

Back in July of last year, Benzies went off on one, stating to IGN that there had been saboteurs scuffing the game's success. This was then echoed in March of this year, wherein Benzies claimed the studio had "overwhelming evidence of organized espionage and corporate sabotage."

I won't sit here and naysay all of that, but I do have to wonder out loud how corporate espionage produces a game with pretty mid combat and an unappealing story—I mean, MindsEye's debut trailer was set to Mad World. Its first impression gave me 'this game wandered out of the early Xbox 360 era with no self awareness'.

Then, in February of this year, Benzies stated that some of the individuals the studio had allegedly caught doing something would star in an upcoming mission: "We will use these people, these names and these facts for our own fun. We’re gonna put some of these names into our upcoming spy mission." Normal!

Given that this was just initially an internal meeting, you'd be forgiven for thinking it to be a mere moment of corporate fugue: But no, this really is what Build a Rocket Boy is doing. It is going to use a DLC to dunk on former employees it alleges sabotaged its ostensibly mid videogame.

In a recent Gamesbeat interview, Benzies states that the new mission, dubbed Blacklist, will be used "to share some of the evidence of the sabotage with the community".

Earlier in the talk, Benzies seems to think it's all well-in-hand, that the evidence is compelling and that the truth will all come out. What truth? Who's to say: "We’ve got very strong evidence of this and conducted quite thorough investigations over the months since launch. We’ve identified parties involved, and it’s now with the authorities both [in the] U.K. and U.S. to deal with.

"I can confirm that they’re assisting us with this investigation, but it’s also in their hands now. We’ll leave them to do what they do, make their arrests or any announcements in due course. I think we’re not saying anything further at this stage on that. We’ll just let the natural course of justice take its path."

Look, maybe there actually was large-scale saboteur work going on at MindsEye, based on the sheer confidence Benzies has that people are going to get potentially arrested over it. That confidence has translated to naming and shaming said people in a mission called Blacklist, which I have to assume is trying (and failing) to be subtle about the mission itself blacklisting those people from the industry.

But also, doesn't that seem a little petty for something you're taking serious legal action on? If there was espionage at work, wouldn't that show up as like… something more than just an inoffensively poor videogame? Isn't making an update where you name and shame developers whose guilt is yet to be proven in a court of law jumping the gun just a little?

The game's publisher, IO Interactive, certainly seems to be keeping the studio at arm's length over all of this, outright denying the claims. I suppose we'll just have to wait and see.

I was recently visiting friends who have young kids, and like every child on the planet in the year 2026 they love K-Pop Demon Hunters—or at least, most of it. The parents had to fast-forward past "the demon parts," since they were apparently a bit too scary for at least one member of the under-five crowd. Those kids might've died on the spot if they'd watched the cartoons that scarred me as a kid, including All Dogs Go to Heaven (which begins with a dog going to hell) and Little Nemo: Adventures in Slumberland, which I remember virtually nothing about because I only watched half of it 30 years ago and it scared me shitless.

The 1989 animated movie has the honor of a write-up on the website Kindertrauma.com, which contains a number of evocative descriptions: Nemo gets "dropped like 5,000 feet into some insane vortex that turns into a tunnel where he almost gets run down by an evil choo-choo train" and there are "creepy, slimy looking, black, smoky-type nightmare monsters with the red eyes who flood out of evil looking doors in caves." This is emphatically not the tone of the new Little Nemo game, Guardians of Slumberland, released on Tuesday.

At least based on its opening couple hours, Little Nemo and the Guardians of Slumberland is pure joy instead of sheer terror. As in the film, Nemo is a little boy who can go to sleep and scurry off to dreamland, and Slumberland is again in trouble: parts of it are disintegrating into oblivion, creating rippling, black hole-esque voids in the 2D levels. But Nemo is smiling. His head bobs with loving hand-drawn detail. Every bed he comes across is a welcome checkpoint, not an express bus to hell.

This game is beautiful in a style that platformers began toying with early in the "HD" era, reimagining the pixel art of Super Nintendo games as if they were instead illustrations come to life. Nintendo's Wario Land: Shake It! and Cuphead come to mind in particular, but it seems to me the novelty of this art style faded pretty quickly—it doesn't guarantee attention anymore. But for a game that pulled in only $80,000 on Kickstarter, Little Nemo is punching far, far above its weight class.

It's not the first time—Hollow Knight, famously, was an incredibly modest 2014 Kickstarter, earning even less. Both are beautiful games, but Nemo is deliberately softer and more rounded than Hollow Knight—more bubble letters than Helvetica. The little boy jogs along unhurriedly, and despite only having three hit points (on the harder of two difficulties), Slumberland feels far less threatening than Hallownest. Autosaves preserve every accomplishment. You lose all the candy you've collected if you die ("get woken up"), but there's a character collecting your lost riches somewhere, and there are no Dark Souls-style runbacks.

Nemo's chunky geometry and abilities, like plucking plants from the ground to fling at enemies, feel more directly rooted in decades-old platformers than Hollow Knight ever did. But it looks so damn nice and has such a joyous soundtrack I found myself getting sucked in far more quickly than I expected.

Prior to the recent ubiquity of the phrase "it's got the juice" more or less meaning "good," the word "juice" had a specific meaning in game design—the small flourishes of bouncy animation or reaction that make a game just feel good. The menu sound effect in Final Fantasy is pure, undiluted juice. Capcom's Street Fighter 3: Third Strike spritework? Hand-squeezed, with extra pulp.

It's clear just from the title menu that the indie team behind Little Nemo worshipped at the altar of juice.

Tonally, Guardians of Slumberland likely has more in common with the original Winsor McCay Nemo comics than the 1989 movie that traumatized me. It's light and whimsical, but filtered through the minds of game designers who went to sleep dreaming of Duck Tales and Mega Man. The first boss I fought, a giant octopus, hinted that the full game won't be nearly as easy as the first hour of baby mode platforming, but the stakes are low—trying again is quick, and the accessibility options are generous.

I didn't finish Hollow Knight: Silksong last year. As much as I admired the attention to detail, I just wasn't in the mood to push past its most punishing bosses. I'm sure I'll go back to it someday. But after years of anticipation, it just didn't grab me the way Hollow Knight did years ago. Nemo, by contrast, is thrilled for me to fill in every inch of its bubblegum fantasy map. It's a truly delightful change of pace for a genre that's more and more defined by difficult combat and precision platforming.

Those games are great, but these days my real dreams are stressful enough.

Launched in mid-March and set to run until April 1 (tomorrow), the latest GTA Online update is one of its most structured Community Series events to date—turning player-created content into a multi-week showcase with escalating rewards and rotating features.

Community Series jobs and weekly bonuses are nothing new in GTA Online, of course, but this iteration is being billed as the first of its kind by way of formalising the series into a clear, time-limited progression loop where each week has introduced refreshed playlists, repeatable objectives and cumulative cash incentives.

As opposed to a typical one-week bonus cycle, Rockstar's aim here has been to keep players engaged over multiple weeks while spotlighting some of the invariably cool stuff the game's community has produced for more than a decade.

And while an initial login reward of GTA$1,000,000 and triple GTA$ and RP on Community Series jobs has been nice—as has following the loop in pursuit of GTA$1,500,000 in additional payouts—I can't help but think this particular event offers a glimpse of Grand Theft Auto's future to some degree.

Back and forth

I first felt this through the lens of GTA 6 and the prospect of GTA Online 2.0, or whichever descriptor Rockstar gives the next multiplayer offshoot. Ever since the green and purple alien wars of mid-pandemic 2020—an inadvertent, player-led upstart phenomenon that swept servers worldwid—Rockstar has appeared determined to push community-facing initiatives as a means of replicating that appeal in official terms. Sprunk vs eCola is the standout to this end, but a number of group-led heist series have called for players to hit time-limited collective goals over the last few years.

With FiveM creators Cfx.re officially part of the Rockstar family as of 2023, user-generated content is likely to play a distinguished role in GTA 6 and its online counterpart, and I also remain convinced the next crime sim series outing will flirt with Fortnite-style live events in some shape or form given its stake in Circo Loco Records. Tapping into community spirit, then, is likely to be huge for Grand Theft Auto in the coming months and years.

It was only after sitting with GTA Online's latest Community Series event, however, that I started to consider its influence through the lens of GTA 5. Huge question marks hang over the future of GTA Online once GTA 6 arrives, simply because it's inevitable at least something will need to give way when Rockstar turns Leonida and Vice City into its latest chaos playground.

GTA Online in its current state makes the company so much money that, for me, an Overwatch / Overwatch 2 situation seems unlikely—where the successor essentially killed off its forerunner. Sure, a sizable chunk of players will migrate to Grand Theft Auto 6 when the time comes, taking their cash with them, but you'd have to assume that process will be gradual, so how does Rockstar maintain the appeal of a world now pushing 13 years old, 11 on PC?

I don't know the answer, but the promise of in-game cash into the millions simply for playing along definitely appeals to players. And being able to showcase pre-existing player-made content without lifting a finger, you'd have to assume, definitely appeals to Rockstar. So perhaps this is what the future looks like for GTA Online 1.0.

That or Project Americas actually does exist and will tie Los Santos and Vice City together seamlessly. One can dream.

The Shadow Armor set in Crimson Desert is a bit similar to the Frostcursed Armor, so if you enjoy those lich king vibes, or looking like a member of the Wild Hunt from The Witcher 3, you're sure to like this set. While you can get the entire set for defeating Beloth, a tanky and fairly annoying boss in the Hoenmark Ruins, you can also find most of the set scattered around Everfrost.

Beloth is a bit of a DPS check since he has so much health, you're contending with an ice DoT, and you'll periodically freeze (just for some added fun). He can be a pain, especially if you choose to fight him properly versus doing the pillar cheese. Either way, here's how to get the Shadow Armor in Crimson Desert, which grants daze and petrification immunity and some decent fire resistance.

All Plate Armour of the Shadows piece locations in Crimson Desert

There are four pieces of Shadow Armor, scattered across the Everfrost region of northwest Hernand, though for the fifth and final piece, the Plate Helmet of the Shadows, you'll have to defeat Beloth in the Hoenmark Ruins.

It's worth noting that defeating Beloth will get you all pieces of the Shadow Armor as well, though he's a tough boss, especially early on. All the pieces are relatively close to each other, so I've arranged them in the most efficient route.

Plate Gloves of the Shadows location

The Shadow Gloves are located in Everfrost Cave to the west of Fort Warspike, following the river to its end, and northwest of Scholastone, in the mountains. There really isn't much to identify this one landmark-wise, but you're essentially looking for a cave entrance with some ice blocking the path just inside.

You can smash this, slide down the tunnel and grab the chest at the end to get the Plate Gloves of the Shadows.

Plate Boots of the Shadows location

You can find the Shadow Boots in Frostclaw Cave, directly northeast from the previous Everfrost Cave, along the river. You'll come to a waterfall you can drop down to the base of.

Use the Stab skill to get through the waterfall and find the chest inside. Open it up to get the Plate Boots of the Shadows.

Plate Cloak of the Shadows

The Shadow Cloak is in the Hoenmark Ruins, far to the north of Frostclaw Cave. This one is a bit of a hike across tough terrain, so you might want to approach it from Calphade instead if you have a fast travel there. It's also to the north of the Sanctum of Benediction, which you might remember from the Witch quest.

You'll know when you reach it because ghosts will start attacking you and you'll take frost DoT damage (depending on your resistances). The cloak itself is hidden in the building on the west side, shown in the clip below, close to where Beloth is. Make sure you unlock the Abyss Nexus while you're here also.

On top of the building you'll find a trapdoor where you crouch and Force Palm to enter a hidden room with the chest containing the Plate Cloak of the Shadows.

Plate Helmet of the Shadows

To get the Shadow Helmet, you need to defeat Beloth at the centre of the Hoenmark Ruins. Unlike the Frostcursed Armor, there doesn't seem to be a location where you can grab this. After the boss, you'll be directed to find his loot, which will lead you to his helmet and give you the whole armor set when you pick it up. This is also the best piece, since it lets you breathe frost.

My key tips to beat Beloth are to grab the Frostcursed Armor and other ice resistance to prevent the DoT, and periodically evade to stop yourself from freezing, since this increases your temperature. If you're looking for an alternative helmet for this set in the meantime, the Frostcursed Helmet looks pretty good with it, as does Crowcaller's black bird head.

Plate Armor of the Shadows

The Shadow Armor itself is at the Everfrost Watchtower, to the north of the Hoenmark Ruins, across the river.

Fight the enemies to liberate it, and then look for a little cave covered by a metal gate with a lamp off to the side of the main watchtower. Light the lamp, open the chest, and the Plate Armor of the Shadows is yours.

Legacy of Kain is the kind of series where everyone needs to take a big hit of the bong before it can be unpacked. Time travel, alternate realities, paradoxes, a big magical sword, vampires and elder gods—it's a wonderful, tangled mess woven across five largely fantastic games. And now, unfortunately, a sixth terrible one.

I tried to get onboard with Legacy of Kain: Ascendance. Sure, a pixel-art sidescroller was never going to give the die-hard fans what they really wanted, but the series made some significant shifts between 1996 and 2003—jumping between and then uniting protagonists, mucking around with timelines, experimenting with mechanics and perspectives. So it's not a total deviation.

And at least it's not another competitive multiplayer spin-off.

That optimism seems a bit silly in hindsight. Ascendance is based on a poorly received comic, The Dead Shall Rise, which retconned a significant portion of the series' story and introduced a new character, Elaleth, who also happens to be Raziel's sister.

"Mary Sue" has been bandied around a lot in reference to Elaleth, but that's often a sexist dog whistle—how dare a woman play an important role, and god forbid she go toe-to-toe with popular male characters. But Raziel was also once the new guy, and he rules, so the benefit of the doubt was duly given. Unfortunately, Elaleth is 100% a Mary Sue, and in a mere four hours she manages to undermine an entire universe.

Essentially, she's behind everything that led up to Soul Reaver, while also being a time-travelling Raziel knock-off—only a lot more powerful. The game, like the comic, establishes that she's the most important person in the universe, and in doing so it removes all agency from the other two protagonists and rewrites history.

This could have been thrilling. An 'everything you know is wrong' kinda deal. Instead, developer Bit Bot has contorted this long-running story with a complete lack of care just so it can jam a half-baked fanfic OC into it. Her motivation is a dead boyfriend and her power is seemingly limitless. She's an unkillable demigod who can talk anyone into doing what she wants—something established just off-hand, because whatever, why not give her mind control on top of everything else?

Ascendance is Elaleth's game, through and through. And Bit Bot's made a lot of effort to try and make us smitten with her—at least mechanically, because as a character she is dreadful. A poorly defined anti-hero with a tiresome grudge, she's just a walking 'scorned woman' trope, which Bit Bot tackles without any nuance while offering zero insights.

While you'll get to play a fair amount of Raziel, both in human and vampire form, you'll spend even more time in Elaleth's shoes. And when you step out of them, you'll be desperate to go back. See, Elaleth's just so damn powerful. In the first level, you'll be dashing and flying and drinking blood constantly, slaughtering humans without a thought. None of her levels throw any real obstacles in your way, and in the unlikely event that you die, the checkpoints are absurdly generous.

She simply has no weaknesses or friction—aside from the HP-draining thirst for blood that all the vampiric characters have. I had to actually go back and check if Elaleth's sections featured this mechanic, though, because she gets to heal so frequently that it's hard to notice. This is not true of the other characters.

Going into the second level as human Raziel is brutal. The checkpoints are further apart, opportunities to heal are few and far between, you can't fly, and enemies hit you like a truck—while also frequently spawning behind you, off-screen. It's awful. The jump in difficulty is bewildering. And when you get to play as vamp Raziel, you'll face much stronger enemies and everything is on fire. It's not the fun kind of challenge—it's cheap and jarring.

While Raz does have tricks up his sleeve, I was never able to get into a flow. Combat is just so much smoother when you're playing his sister, and the game is too short and disjointed for things to click. Not that I'd want it to be longer. After just four hours I was utterly exhausted by the whole affair.

Oh yeah, and Kain is here. For one level. Yes, you get maybe 30 minutes of the big lad, culminating in one of Ascendance's terrible, single-mechanic boss fights. Being able to turn into mist or briefly transform into a swarm of bats is mildly diverting, but just like Raziel, he feels underpowered compared to Elaleth—despite his godlike status. 23 years of waiting, and this is what we get? I mean, c'mon. He does get some great scenery-chewing dialogue, though.

There's just so much to dislike about Ascendance. The pixel art is at best serviceable but often ugly. The completely different art style used for dialogue isn't any better, and for some reason every character is constantly bouncing and bobbing. On multiple occasions it switches to PS1-era 3D for no reason, aside from reminding us about the better, older games. There's also a flashback with static images that look like they belong in a children's cartoon. And at the end you get some slightly nicer animated cutscenes. It's all over the shop, speaking to the game's lack of a strong identity.

Meanwhile, the level design is uninspired, the enemy behaviour is sometimes so weird that it's hard to tell if they're just dumb or bugging out and, if it wasn't already clear, the story is just awful. I feel like I'm beating a dead horse at this point, so I will add that the dialogue is fine, albeit cheesy, even though it's limited by the weak story, and Simon Templeman once again knocks it out of the park as the voice of Kain—shame he's barely in the game.

It's such a disappointment that I'm worried this will kill any chance of us getting a meatier Legacy of Kain game—but at the same time, given how Ascendance sets up Elaleth's further adventures, it might be better if Kain and his pals go back into their coffins.

Crimson Desert is filled with all sorts of weird magical gizmos. You've got pots you can stuff endless Abyss puzzle junk into (which you then immediately forget about), jetpacks that can only be worn by orcs, helmets that light bonfires, plus a helmet that puts them out, too. But one of my favorites so far has to be the Vaporwalkers. These unassuming shoes give you the Skipping Stones ability, allowing you to slide across shallow areas of water.

Like many of Crimson Desert's random magical items, it sounds a little useless, but I've actually found it great for quickly bypassing rivers when you're exploring and running around Pywel. You can find the Vaporwalker boots in the Ancient's Heart Cave in the Ancient Rift in north Hernand, north of the Forest of Wolves and the Hills of No Return, or southeast from the "P" in Pailune on the map.

Just like the Frostcursed Armor, the chest is hidden behind a waterfall, and you'll have to use the stab skill to get through it. Behind that is a rock which you can either Force Palm or Turning Slash to smash open, letting you open the chest inside to get the Vaporwalkers (plus a Refined Palmar Pill).

To use the Vaporwalkers, make sure to equip them, but beyond that I've found the best results come from entering a slide with C (L3 on controller) just as you go into the water, which will propel you along it. You'll go much farther on shallow water, but you can skate over a bit of deeper water if you've got momentum, meaning you can bypass deeper rivers provided you start sliding as you enter the shallows.

The timing can be tricky, though, and sometimes you will just find yourself sliding into a deep pool. Although the Vaporwalkers only have three charges, you'll get one back every 20 seconds, so as long as you're not constantly using them, you should be able to surf across the water whenever you want.

After 10 long years of Pico Park using colourful little guys to rip apart friendship groups, the developer TecoPark has accidentally turned off monetisation on the classic edition, making it permanently free-to-play.

"I was planning to switch to a paid plan after updating the online support, but I forgot that once you switch from paid to free, I can never go back to paid," TecoPark says in a Steam blog post (via GamesRadar). "If you enjoy playing this free version, be sure to try the series (Pico Park, Pico Park 2)."

It's quite the unfortunate blunder, and my heart goes out to the dev for accidentally backing themself into this corner. Although the good news is that the more recent version of Pico Park is still $5 (£49), and Pico Park 2 is $9 (£7.49), so there is still some monetisation coming from this series of co-op platformers.

It seems like the error was made after TecoPark decided to make the classic edition free while updating it for the first time in nine years. "Since I'm doing it anyway, I'll update it with online support. I might charge a small fee for it… We'll keep it free for about a week." Cue the next blog post, which reads "Classic edition is permanently free!"

There are ways to switch monetisation on and off for games, see Content Warning, which had a 24-hour free period when it first came to Steam. It must be a different setting, but that doesn't change the fact that this slip-up seems like an oversight on Valve's behalf.

The whole debacle does seem like a shame given just how great Pico Park is, but there could be a silver lining. The classic edition being free is a great excuse for players to check this game out. I've played plenty of Pico Park, and it's truly one of the best co-op platformers out there.

Teaming up with friends to solve puzzles in Pico Park is just as hilarious as it is infuriating. I've had friends drag me into an abyss, leave me for dead at the bottom of an elevator, and fail to connect their remaining two brain cells to get us to the next checkpoint. It's tricky but good quality fun that I'd recommend everyone check out, especially now that the classic edition is free. Then, if you like that, maybe you could give Pico Park 2 a look.

"You're a demon made of glass and pain" has to be one of the hardest taglines there's ever been for a videogame. Now that Skate Story has a December 8 release date and approximately hour-long demo, we've found out there's an addendum to that sick as hell pitch: "And you're on a quest to eat the Moon."

Skate Story is a game that has periodically poked its head out over the past few years to say, "This is still happening, here's an absolutely incredible-looking trailer with killer music." There is nothing else out there that looks like Skate Story: Its marble columns and greek statuary poking out of surreal dreamscapes are very vaporwave, but there's so much else going on that makes it distinct from other abstract, crunchy works of surrealism like Hyper Demon. This is a rare game that leverages 3D graphics being untethered from reality to show you things that are breathtakingly, impossibly beautiful.

Every new vista in the demo's frenetic opening⁠—which sees you following a rabbit through hell portals, skating into new areas every few seconds⁠—had me hooting and guffawing so loud it scared my pets. Comparing the launch day trailer to the 2020 debut that already stole our hearts, it's easy to see where at least some of that long development effort went.

Skate Story looks much more refined and advanced in its current state, like 2020 Skate Story was an initial outing, and 2025 Skate Story is its much better-funded sequel on a new console generation. But we already knew Skate Story was going to look and sound incredible from those mic drop trailers. Along with the pleasant surprise of an actual release date after all this time, I had a wonderful feeling of relief discovering that Skate Story is also extremely fun to play.

In a real "I don't know what else I expected" moment, it plays a lot like other skateboarding videogames: You press a button to kick off the ground and pick up speed, auto grind on rails by landing on them, and have an assortment of button combos to kickflip, ollie, pop shuvit, and all that other stuff that's corroding the moral fibre of the youth. Comboing tricks together in succession, with an emphasis on variety and audacity, will contribute to a soul score you use to buy stuff, and also plays a role in Skate Story's boss fights.

That's one big thing that sets Skate Story apart for me: Having a structured, substantial story campaign with complex boss fights and some linear, obstacle course levels in addition to making your own fun sandbox play. You can still tool around in the open-ended hub worlds, racking up money from combos to get stickers, wheels, and all new boards. But it feels like the sandbox is an addition to the campaign, rather than the sandbox being front and center over those kind of ad hoc story missions you see in a lot of skating, racing, and live service games.

Skate Story also nails its mechanical execution: It feels fantastic in the hand. Its zoomed-in, off-center camera contributes to a real sense of speed, while you're encouraged to end combos with an authoritative stomp move with some delicious hitstop.

The weight and momentum of the Skater led to all kinds of close calls and rescued combos for me, particularly when I'd just about collided with some grindable terrain or some of the hell glass obstacles strewn around and ollied into a grind or drifted at just the last second to avoid wiping out. If you do beef it, no sweat⁠—Skate Story spawns you just a few feet back and you can get right back into it, a system that reminds me of Hotline Miami with its speed and convenience, but notably does not set back your progress.

So, Skate Story: Believe the hype. This game has gone from vaporware to a personal GOTY contender in the span of a two minute trailer and 50 minutes of demo. You can try Skate Story's demo for yourself and wishlist it on Steam ahead of its December 8 launch.

Indiana Jones and the Great Circle is getting a New Game+ mode as part of a free anniversary update that's set to go live on October 10—and yup, that's tomorrow.

First things first: You may be thinking that this is not an anniversary of any sort for Indiana Jones and the Great Circle, which came out on December 9, 2024. And you would be correct. But it is the 15th anniversary of developer MachineGames, and that's a pretty big deal in its own right.

So, to the update: The New Game+ mode will unlock once you've completed the game, enabling you to replay the entire adventure with all your collected and unlocked Adventure Books, as well as any unspent Adventure Points, local currency, and medicine bottles from your previous playthrough.

You will of course be a lot more powerful all kitted out like that, so MachineGames suggests increasing the difficulty for the NG+ playthrough, but you do you—as long as Nazis are getting socked in the chops, all is well. As a reward for your efforts, completing the Great Circle in NG+ will unlock an all-new ending sequence that rolls after the credits.

The update will also add a new "Cairo outfit," enabling Indy to travel the blistering heat of the desert without wearing his incredibly ill-suited-for-the-weather leather jacket, and will let players mix and match any of the game's nine voice languages with its 14 text languages—so you can, for instance, play with German voices and Korean subtitles.

The anniversary update makes a handful of other fixes, all of which are run down in the patch notes below. The Indiana Jones and the Great Circle MachineGames Anniversary Update, as it is fully known, drops on October 10 and, just to be sure everyone caught it, is free.

General Fixes

• Fixed an issue where enemies might linger in their “stumble” animation if you punched them while they’re breaking out of your grab.
• Fixed an issue where pushing a grabbed enemy into a tight space could leave the enemy detached from Indy but still in the “grabbed” animation state.
• Fixed an issue with a specific “finisher” animation where the camera would clip through Indy’s arms.
• Fixed an issue where you could enter wall squeezes while downed and using the “Lucky Hat” ability that resulted in you standing up and unable to progress properly.
• Fixed an issue that could cause a control-lock if restarting a checkpoint during the middle of a save.
• Fixed an issue where using the “push” button to open “disguise doors” could prevent you from being able to walk through the door.
• Fixed an issue where, if you left a level while holding an inventory item, it would be stuck to your hands when revisiting the level

Missions & Quests

• DLC
  • Fixed another issue that might cause pipes to be placed incorrectly during the Gladiator puzzle.
  • Fixed the animation of the blackshirt being dropped from the bridge near the entrance to the Gladiator puzzle.
  • Fixed many minor graphical glitches through the whole story.
• Peru
  • Fixed an issue where audio was missing in the Main Menu if you quit the game during the opening cutscene.
• Gizeh
  • Fixed an issue where the clothes of certain villager NPCs would not animate when the character moved.
• Sukhothai
  • Fixed an issue that might cause the boat engine sounds to never stop when you arrive at the rebel village at night.
• Iraq
  • Fixed an issue where skipping the cinematic where Indy frees Gina might result in the Siren sounds to never stop.

UI

• The price of guides and books now show correctly when inspecting them from one of the vendors.

PC Specific Fixes

• Fixed an issue where binding the interact/use key to be the same as the “buy” button from vendors, it could prevent you from buying items.
• Fixed an issue where setting Reflections to the lowest quality made certain objects look completely black.

Localization

• In Arabic, fixed the alignment of the quick-inventory warning text about restricted zones.