A little over a year ago Xbox announced it was going to introduce a gaming streaming service called Project xCloud that could run on your smartphone, tablet, laptop, and virtually any device you own. A few weeks ago, Microsoft finally revealed xCloud to the world with a pubic preview and after a long while with it, I’ve come away impressed.

Now when I say impressed, I’m only speaking towards its performance. As a public preview, xCloud still fairly limited right now to only working on Android devices and offering four first-party games: Halo 5: Guardians, Gears 5, Killer Instinct, and Sea of Thieves.

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Former President of Nintendo of America,  Reggie Fils-Aimé will collect the Andrew Yoon Legend Award at the 9th annual New York Game Awards.

The Andrew Yoon prize is awarded to those who "exhibit a significant, sustained body of work that shows exceptional achievement and innovation". Speaking to IGN via email, Fils-Aimé said:

"It’s an honor to be recognized by the New York Game Awards for my work in an industry that I’ve committed so many years to. But, it’s not just about the time I’ve committed to the gaming industry and specifically to Nintendo, it’s about the people along the way I’ve had the opportunity to lead, influence and inspire. Receiving this honor is a great reminder that my goal of being (and remaining) a strategic and leading force in the industry is recognized by my peers."

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I think probably the easiest way to sum up Reggie’s legacy for Nintendo is the very fact that we all call him by his first name. In 2004, as the games industry morphed into the often faceless fiscal behemoth it is today, Nintendo – itself on the verge of releasing one of the most successful consoles of all time in the Wii – appointed an American company spokesman that wanted us to treat him more like a friend than a corporate overseer. And we did. There are thousands of Reggies in the world but, in the context of games, there’s really only one.

15 years later, we’re still calling him Reggie, and he still feels like some far-flung friend. His retirement from Nintendo in April led to outpourings of woe, bittersweet tributes, and a tidal wave of meme compilations. This was not a normal response to a company president leaving his job. That sheer approachability, exemplified by us being on first name terms, is so much a part of his success that it’s one of the stated reasons that he’ll be presented with the Andrew Yoon Legend Award at next year’s New York Game Awards.

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As a remaster of the 1998 puzzle-platformer of the same name, MediEvil holds up reasonably well. Its cartoonishly charming characters and varied, if relatively simplistic, level design both stands the test of time and looks better than ever thanks to a complete graphical overhaul. But as much as MediEvil can feel like a warm blanket of nostalgia--especially for those of us who played the game 21 years ago--it also feels incredibly dated, with jittery controls and camera issues that regularly get in the way of progress.

You play as Sir Daniel Fortesque, a dead knight who is returned to life when the sorcerer Zarok makes an unexpected return to Gallowmere, bringing with him hordes of monsters. Fortesque remains every bit as charming a character as he was; his gnarled teeth, warbly voice, and single, rolling eyeball lose none of their charisma in the remastering process. Zarok's design hasn't aged well, though, and the new visuals leave him looking like a plastic doll who’s been left out in the sun too long. Enemy designs are otherwise just as fun as ever, with many tying in closely to their given map’s visual themes.

Challenging puzzles, light platforming, and hack-and-slash combat make up the bulk of what you do in MediEvil. The land of Gallowmere feels stuck in a perpetual state of Halloween, with each level brandishing its own delightfully spooky artistic twist to it. The diverse range of locations makes for some wonderful variety in the look and feel of each level; a graveyard, a pumpkin patch, a large hedge maze, and a floating town in the middle of a lake are a small selection of the good choice of maps to slash your way through.

Combat is reliant on simple hack-and-slash controls, and this feels underwhelming in the beginning--not only do you feel initially weak, but one of your two main attacks is so slow and unwieldy that it's borderline useless. Most frays are chaotic at best, rarely involving anything more than mashing the attack button while running around to avoid damage, so having one of your main attacks feel pointless is a real bummer. A handful of new abilities that you gradually learn spice things up a touch but also feel awkward to use, like a charge attack that lets you force enemies off platforms by charging into them with your shield up.

However, combat gradually improves as you earn more powerful weapons and start to deal a more satisfying amount of damage. You earn new weapons by killing enough of the enemies wandering around a level, which will fill and reveal a hidden chalice. This grants you entrance to the Hall of Heroes--an in-between level where characters from Daniel’s past offer up new weapons. Filling and finding each chalice isn’t essential for progression, but the extra effort it takes to do so is very much worth it.

Because it's a straightforward remake, a big issue with MediEvil are the aspects that feel dated by modern standards. Progression often relies on some variety of fetch-quest, like collecting the right runestones to unlock the next door or gathering a few items to encourage some help from a new character. This encourages exploration around hidden corners or through smashing boulders blocking a new path, which can be rewarding when you find a stash of gold or a health-extending life bottle, it can also lead to much annoyance as you grapple with the game’s occasionally nonsensical camera.

When in an open area, the camera acts like any other third-person camera and can be controlled with relative ease, only rarely getting caught in the world geometry. But when inside a cave or a building the camera switches to a fixed view, doing so regularly and without warning. Not only does it look and feel clumsy, but it also switches the movement to tank controls for as long as the camera is stuck in place, which is a tremendous hassle. The result is often jerky and awkward movement, which can be a killer during combat, and these controls are even worse when trying to navigate puzzles and platforming sections.

Adding to these frustrations is the fact that mid-level checkpoints are non-existent, so when you die, you go back to the beginning, which becomes a problem when combined with MediEvil’s annoying movement and another one of its aging design concepts: watery death. It can be so easy to fall foul of some bad geometry and slip to your death that any surface around water will become instantly anxiety-inducing, such is the consistency with which I found myself in this situation.

Furthermore, character health is continuous across the game--finish a level with low health and you’ll either have to tackle the next one with what you’ve got and hope for the best, or backtrack to a previous one and try to find as much health as you can before attempting to move forward. Stack that on the ever-growing pile of issues, and MediEvil becomes the kind of grind that makes you want to put it down and never come back to it.

MediEvil does have some nostalgic charm, but due to its bevy of issues, it feels not just old, but undeniably outdated. For every part that helps us look back fondly on a time when games were made differently, there’s another that reminds us of how far we’ve come in those years since. MediEvil's delightful level and character design mostly still stands tall, but its combat and controls largely fall well short of what feels tolerable by modern standards, and it left me feeling wholly ambivalent to its existence.

As a remaster of the 1998 puzzle-platformer of the same name, MediEvil holds up reasonably well. Its cartoonishly charming characters and varied, if relatively simplistic, level design both stands the test of time and looks better than ever thanks to a complete graphical overhaul. But as much as MediEvil can feel like a warm blanket of nostalgia--especially for those of us who played the game 21 years ago--it also feels incredibly dated, with jittery controls and camera issues that regularly get in the way of progress.

You play as Sir Daniel Fortesque, a dead knight who is returned to life when the sorcerer Zarok makes an unexpected return to Gallowmere, bringing with him hordes of monsters. Fortesque remains every bit as charming a character as he was; his gnarled teeth, warbly voice, and single, rolling eyeball lose none of their charisma in the remastering process. Zarok's design hasn't aged well, though, and the new visuals leave him looking like a plastic doll who’s been left out in the sun too long. Enemy designs are otherwise just as fun as ever, with many tying in closely to their given map’s visual themes.

Challenging puzzles, light platforming, and hack-and-slash combat make up the bulk of what you do in MediEvil. The land of Gallowmere feels stuck in a perpetual state of Halloween, with each level brandishing its own delightfully spooky artistic twist to it. The diverse range of locations makes for some wonderful variety in the look and feel of each level; a graveyard, a pumpkin patch, a large hedge maze, and a floating town in the middle of a lake are a small selection of the good choice of maps to slash your way through.

Combat is reliant on simple hack-and-slash controls, and this feels underwhelming in the beginning--not only do you feel initially weak, but one of your two main attacks is so slow and unwieldy that it's borderline useless. Most frays are chaotic at best, rarely involving anything more than mashing the attack button while running around to avoid damage, so having one of your main attacks feel pointless is a real bummer. A handful of new abilities that you gradually learn spice things up a touch but also feel awkward to use, like a charge attack that lets you force enemies off platforms by charging into them with your shield up.

However, combat gradually improves as you earn more powerful weapons and start to deal a more satisfying amount of damage. You earn new weapons by killing enough of the enemies wandering around a level, which will fill and reveal a hidden chalice. This grants you entrance to the Hall of Heroes--an in-between level where characters from Daniel’s past offer up new weapons. Filling and finding each chalice isn’t essential for progression, but the extra effort it takes to do so is very much worth it.

Because it's a straightforward remake, a big issue with MediEvil are the aspects that feel dated by modern standards. Progression often relies on some variety of fetch-quest, like collecting the right runestones to unlock the next door or gathering a few items to encourage some help from a new character. This encourages exploration around hidden corners or through smashing boulders blocking a new path, which can be rewarding when you find a stash of gold or a health-extending life bottle, it can also lead to much annoyance as you grapple with the game’s occasionally nonsensical camera.

When in an open area, the camera acts like any other third-person camera and can be controlled with relative ease, only rarely getting caught in the world geometry. But when inside a cave or a building the camera switches to a fixed view, doing so regularly and without warning. Not only does it look and feel clumsy, but it also switches the movement to tank controls for as long as the camera is stuck in place, which is a tremendous hassle. The result is often jerky and awkward movement, which can be a killer during combat, and these controls are even worse when trying to navigate puzzles and platforming sections.

Adding to these frustrations is the fact that mid-level checkpoints are non-existent, so when you die, you go back to the beginning, which becomes a problem when combined with MediEvil’s annoying movement and another one of its aging design concepts: watery death. It can be so easy to fall foul of some bad geometry and slip to your death that any surface around water will become instantly anxiety-inducing, such is the consistency with which I found myself in this situation.

Furthermore, character health is continuous across the game--finish a level with low health and you’ll either have to tackle the next one with what you’ve got and hope for the best, or backtrack to a previous one and try to find as much health as you can before attempting to move forward. Stack that on the ever-growing pile of issues, and MediEvil becomes the kind of grind that makes you want to put it down and never come back to it.

MediEvil does have some nostalgic charm, but due to its bevy of issues, it feels not just old, but undeniably outdated. For every part that helps us look back fondly on a time when games were made differently, there’s another that reminds us of how far we’ve come in those years since. MediEvil's delightful level and character design mostly still stands tall, but its combat and controls largely fall well short of what feels tolerable by modern standards, and it left me feeling wholly ambivalent to its existence.

Lucifer star Tom Ellis has confirmed that the fifth and final season of Netflix's supernatural drama will be split into two parts when it hits the streamer.

During a recent episode of The Kelly Clarkson Show, the singer-talk show host invited her family to visit the set of Lucifer for a guided tour compered by Ellis, who later announces that season five will be released in two separate batches of eight episodes.

"Season 5 of Lucifer is going to be split into two halves," he explains in the clip. "Netflix is going to drop eight episodes, there's going to be a little break, and then they're going to drop another eight more episodes."

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Xbox One X 1TB Gears 5 Limited Edition Bundle for £369

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Game of Thrones showrunners David Benioff and D.B. Weiss are no longer working on a new Star Wars trilogy.

As reported by Deadline, Benioff and Weiss "cited their historic deal with Netflix" and explained that "their enthusiasm for Star Wars remains boundless but, regrettably, their schedule is full up."

“We love Star Wars,” Benioff and Weiss said. “When George Lucas built it, he built us too. Getting to talk about Star Wars with him and the current Star Wars team was the thrill of a lifetime, and we will always be indebted to the saga that changed everything. There are only so many hours in the day, and we felt we could not do justice to both Star Wars and our Netflix projects, so we are regretfully stepping away.”

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The Mandalorian received a brand new trailer today and it was filled with Star Wars goodness and hints of what is to come in the new series headed to Disney+.

We've gathered together 37 of the best images from the trailer and put them in a gallery with a bit more information on each each one. The images include everything from Pedro Pascal's Mandalorian, Gina Carano's Cara Dune, aliens in carbonite, Trandoshans and Quarrens, the Razor Crest ship, a cantina, IG-11, and even Bill Burr.

You can see all the best images from The Mandalorian's new trailer below!

The Mandalorian will begin streaming on Disney+ on November 12, 2019, and the first impressions of this new Star Wars series are very positive.

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Netflix is reportedly testing a variable playback speed feature on its mobile apps, which allows viewers to watch their favorite movies and TV shows at slower or faster rates.

Per Android Police, the playback option is only being tested on Google's mobile operating system (Android) and gives the subscriber the ability to slow down the program they're watching "to 0.5x or 0.75x, or raise it to 1.25x or 1.5x." Features like these have been around for years on podcasts and audiobooks but it's an uncommon practice in the world of live-action entertainment.

Director Judd Apatow, who co-created Netflix's Love, responded to the variable playback news via his Twitter account: "No @Netflix no. Don’t make me have to call every director and show creator on Earth to fight you on this. Save me the time. I will win but it will take a ton of time. Don’t f**k with our timing. We give you nice things. Leave them as they were intended to be seen."

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