A federal judge has denied Nintendo's request to dismiss the class action lawsuit over the drift problem found with the Nintendo Switch Joy-Cons.

Top Class Actions reports that US district judge Thomas S. Zilly rejected Nintendo's dismissal request but did agree to have the case handled in arbitration for now. That means the issue will be resolved outside of the courts by a neutral party known as an arbitrator.

However, Judge Zilly has only put the case on hold until the arbitrator comes to a decision. Once a decision has been made, the case could still return to the courts. Nintendo and the customers trying to sue the company have to report the outcome of the arbitration to the courts 14 days after a decision has been made, or by December 31, 2020 - whichever comes first.

[ignvideo url="https://www.ign.com/videos/2018/09/27/nintendo-switch-review-2018"]

The class-action lawsuit was filed against Nintendo by Ryan Diaz back in September 2019. He claimed that Nintendo sold the Switch's Joy-Cons as if they didn't have any defects while knowing that they had a drift problem. He says that Nintendo then charged customers to repair Joy-Cons with the drift issue.

Drift, in this case, refers to the joysticks on the Joy-Cons registering movements despite there being none, causing cursors and reticles to drift across the screen. Diaz claims that Nintendo must have known about the drift in some Joy-Cons as he and other customers contacted the company about it online to get it repaired.

He decided to try to sue Nintendo for the financial damage this defect has caused customers and demanded that Nintendo fix Joy-Cons with the drifting issue for free. Nintendo has since decided to repair Joy-Cons with drift for free and has refunded customers that were previously charged to have it repaired.

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IGN held a survey last year to get an idea of how many Switch players had experienced the Joy-Con drift issue. In total, 9774 IGN readers out of 26,000 said they had, which is about 38%, not an insignificant percentage. If you're experiencing Joy-Con drift then there's a guide on how to get it fixed.

Chris Priestman is a freelancer who writes news for IGN. Follow him on Twitter.

The Last of Us TV show being produced by HBO won't go into full production until after Naughty Dog has finished developing The Last of Us Part 2.

Craig Mazin revealed this on the latest episode of his weekly podcast Scriptnotes now that the news is out that he's co-writing The Last of Us TV show's adaptation. Production can't start properly until The Last of Us creative director and co-writer of the TV adaptation Neil Druckmann is freed from his duties on the game's sequel.

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"We can't start on it right away because they're still finishing up the second game, but pretty soon," Mazin said. "We've been talking about it for months and coming up with little plans and things. But we're going to dig in in full, full earnest pretty soon, just as soon as they wrap up their final work on the sequel. So hopefully more exciting news to come on that front because it's something we're both motivated to see on TV."

Mazin also revealed that he was introduced to Druckmann via a mutual friend, Shannon Woodward, who is Elsie Hughes in HBO's TV show Westworld. Mazin also talked about how he insisted The Last of Us should be made into a TV show rather than a movie, which it was being turned into previously.

"It was going to be a movie for a long time. Neil was working on it as a movie for one of Sony's divisions, and my feeling was that you can't make a movie out of this thing, it has to be a show, it needs length," Mazin said.

"It is about the development of a relationship over the course of a long journey, so it has to be to be a television show and that's that. That's the way I see it. Happily, Neil agreed and HBO was delighted, and so here we are."

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After the announcement of The Last of Us TV show last week, Mazin responded to a question from a fan on Twitter, promising that main character Ellie will still be gay in the show, just as she is in the games.

There aren't any further details yet, but we can tell you why The Last of Us will be perfect as an HBO series - it helps that it's being co-written by the writer/director of the award-winning Chernobyl series.

Chris Priestman is a freelancer who writes news for IGN. Follow him on Twitter.

Doom Eternal won't support true 4K on Google Stadia as was promised when it was announced for the platform a year ago.

Bethesda, the game's publisher, released new technical specifications for each platform that Doom Eternal is coming to (after leaking them earlier this week). Revealed is that the Google Stadia version of Doom Eternal "will run at 1080p @60 FPS on HD displays and up-sample to 2160p from 1800p @60 FPS on 4K displays."

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For it to be true 4K the game would have to run with a horizontal display resolution of approximately 4,000 pixels, usually 4096 x 2160. Instead, it will run at 3840 x 2160, which means it doesn't run at true 4K.

Upsampling the 2160p display resolution simply means that extra pixels are calculated to make it up to around 4K. However, this is an artificial means of hitting 4K and is sometimes criticised for not having as sharp an image as true 4K.

DOOM Eternal is coming to #Stadia.

4K with HDR 60fps #GoogleGDC19 https://t.co/6YBdOhHhNV — DOOM (@DOOM) March 19, 2019

It's worth pointing out that the Xbox One X and PlayStation 4 Pro versions of Doom Eternal upsample in exactly the same way - though, those versions were not promised to run true 4K. The PC version's "Ultra-Nightmare" specs, the highest setting, also have 2160p at 60 fps.

When IGN went hands-on with Doom Eternal on Stadia back in June 2019, id Software said it hadn't tried demoing the first-person shooter with 4K at that point, but that it would be soon, and would announce details about the 4K support at a later date.

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With this latest news it seems that id Software hasn't been able to get a true 4K version of Doom Eternal working with Stadia yet. It's not the first developer that has run into this issue.

When Stadia launched in November 2019, controversy arose around Destiny 2 and Red Dead Redemption 2 for not supporting true 4K on Google's game streaming platform. Despite Google saying its launch games would. In response, Google said that it's down to developers to get their games running true 4K on Stadia.

Doom Eternal comes out for PC, PS4, Xbox One, and Google Stadia on March 20, 2020. A Nintendo Switch version will be released later in 2020. If you pre-order Doom Eternal then you'll get Doom 64 as a free bonus.

Chris Priestman is a freelancer who writes news for IGN. Follow him on Twitter.

In a world where everything is temporary, honor is forever. Explore more of the AC universe in Altered Carbon: Resleeved coming to @netflix March 19th. pic.twitter.com/zHG9pQ7CMF

— Altered Carbon (@AltCarb) March 9, 2020

Ori and the Blind Forest was a delight in 2015--a tough-as-nails combination of a metroidvania structure and Meat Boy-like demands with a surprising amount of heartfelt heft. Five years later, Moon Studios' followup, Ori and the Will of the Wisps, is every bit as graceful and lovely as its predecessor, even if some of the emotional beats and exploration feel a little less novel the second time around.

Will of the Wisps picks up almost immediately where Blind Forest left off, with Ori's patchwork family unit welcoming a new member, the owlet Ku. The family is happy and loving, but Ku wants to fly and Ori wants to help her. Soon the two are swept off in a gale to a new forest deep with rot, which begins the adventure in earnest.

Because this setting is disconnected from the one in Blind Forest, the geography is new, yet familiar. The painterly imagery is comforting, especially in the opening hours as you explore similar biomes. They're beautifully rendered again, but a little samey if you've played the first game. After a while, Will of the Wisps opens up to more varied locales, like an almost pitch-black spider's den or a windswept desert. The theme throughout the story is the encroachment of the Decay, a creeping evil that overtook this neighboring forest after its own magical life tree withered. But if it's meant to be ugly, you wouldn't know it from many of the lush backgrounds--especially in the case of a vibrant underwater section. Ori is often swallowed up by these sweeping environments, emphasizing just how small the little forest spirit is compared to their massive surroundings.

Ori and the Blind Forest was a delight in 2015--a tough-as-nails combination of a metroidvania structure and Meat Boy-like demands with a surprising amount of heartfelt heft. Five years later, Moon Studios' followup, Ori and the Will of the Wisps, is every bit as graceful and lovely as its predecessor, even if some of the emotional beats and exploration feel a little less novel the second time around.

Will of the Wisps picks up almost immediately where Blind Forest left off, with Ori's patchwork family unit welcoming a new member, the owlet Ku. The family is happy and loving, but Ku wants to fly and Ori wants to help her. Soon the two are swept off in a gale to a new forest deep with rot, which begins the adventure in earnest.

Because this setting is disconnected from the one in Blind Forest, the geography is new, yet familiar. The painterly imagery is comforting, especially in the opening hours as you explore similar biomes. They're beautifully rendered again, but a little samey if you've played the first game. After a while, Will of the Wisps opens up to more varied locales, like an almost pitch-black spider's den or a windswept desert. The theme throughout the story is the encroachment of the Decay, a creeping evil that overtook this neighboring forest after its own magical life tree withered. But if it's meant to be ugly, you wouldn't know it from many of the lush backgrounds--especially in the case of a vibrant underwater section. Ori is often swallowed up by these sweeping environments, emphasizing just how small the little forest spirit is compared to their massive surroundings.